Rebecca M Brown
Biographic Data
| ID | 3784485 |
|---|---|
| NAME | Rebecca M Brown |
| GIVEN NAMES | Rebecca M |
| FAMILY NAME | Brown |
| SIGNATURE | BROWN R M |
| AFFILIATIONS | Johns Hopkins University |
| ORCID | 0000-0003-4130-5620 |
| VERIFIED | Yes |
| TOTAL WORKS | 22 |
| TOTAL CITATIONS | 76 |
| AUTHOR COUNT | 20 |
| EDITOR COUNT | 2 |
| FIRST PUBLICATION YEAR | 1961 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
Artistic Relations: Mapping KCS Paniker’s Constellations
As student, teacher, and principal of the Madras School of Art, and as mentor, colleague, editor, and painter, KCS Paniker (1911–77) lived within a network of relations that one might map, following Alex Seggerman's reading of Egyptian modernism, as a constellation. These figures include artists and critics in his immediate local network, students who helped build Cholamandal Artists' Village with him, and his legacy in the form of the following …
Being in the World Artfully: Institutions, Infrastructure, Interconnections
Mimicry and Misrecognition: Re-dressing the Colonial Relation in Annu Palakunnathu Matthew’s Photographic Transformations
Annu Palakunnathu Matthew’s work “re-dresses” the legacies of nineteenth-century modes of imaging “Indians,” that is, both Native Americans and South Asian Americans. She honours the self-fashioning buried in nineteenth-century photographs of “native types” by restaging photographs with her own body, re-dressed in a construction of what an “Indian from India” is expected to be, all the while subtly pushing back at those expectations. For Matthew,…
Intimate Archive: Dayanita Singh, the Photo-book and Feminist Iteration
Dayanita Singh (b. 1961) has long pursued a practise of close relationships with her subjects, human and otherwise. In pairing this commitment with disseminating her photographs through book and portable museum formats, in which photographs are reused over the course of decades, she has developed a practice that she recognises as fundamentally archival. This article examines two distinct elements of Singh’s oeuvre: Myself Mona Ahmed (2001), a boo…
KCS Paniker’s Painterly Deflections
In 1963, the Chennai-based artist KCS Paniker shifted his mode of painting from ethereal, floating, sketchy bodies to a series entitled Words and Symbols that occupied him until his death in 1977. These paintings combine writing, symbols, geometry, equations, charts, rivers, trees, and a multitude of birds and animals. The text – in English, Malayalam, and Sanskrit – cannot be read beyond a word or two, the diagrams hint at astrology and birth ch…
To Pick Up a Brush: A Double-Take, Gieve Patel, and Indian Art of the 1980s
This article reads anew Gieve Patel's important 1985 essay ‘To Pick up a Brush’, entering into dialogue with the rich conversations among twentieth-century Indian artists Patel unfolds. Rather than focus solely on the generation after Partition and Independence in 1947, and rather than further intensify attention on artists of the past two decades, the period of ‘long-1980s’ anchors both Patel's text and this one. As such, the article revisits Pa…
Two Stories From Mysterious
Other| January 01 2017 TWO STORIES FROM MYSTERIOUS Rebecca Brown Rebecca Brown Search for other works by this author on: This Site Google Common Knowledge (2017) 23 (1): 116–119. https://doi.org/10.1215/0961754X-3692547 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Rebecca Brown; TWO STORIES FROM MYSTERIOUS. Common Knowledge 1 January 2017; 23 (1): 116–119. doi: https://doi.org/10.1215/0961754X-…
Rethinking Place in South Asian and Islamic Art, 1500-Present
InFlux: Contemporary Art in Asia
Colonial Polyrhythm: Imaging Action in the Early 19th Century
This article proposes a new reading of early-19th-century modernity by examining India's so-called “ethnographic” paintings, and arguing that rather than participate in a trajectory of speed and acceleration these works produce colonial polyrhythmic temporality. First, the article establishes that many of these images depict action, not ethnicity or occupational group. It then situates these images in economies of circulation, viewing, politics a…
Companion to Asian Art and Architecture
A Companion to Asian Art and Architecture
A companion to Asian art and architecture
"This companion presents new critical views on crucial aspects of the large and varied field of Asian art and architectural history. The essays collected here provide scholars and the pubic with an opportunity to engage with the field in all its diversity - from coinage to monastic spaces to imperial commissions and beyond. Regions and topics covered include Korea, Japan, China, several regions of Southeast Asia, South Asia, global and colonial i…
Spinning without Touching the Wheel: Anticolonialism, Indian Nationalism, and the Deployment of Symbol
For the nationalist movement in early-twentieth-century India, the practice of spinning each day and the symbol of the spinning wheel served, together, to unify an extremely diverse nation in ways that earlier movements (notably the 1905–11 Bengal-centered swadeshi movement) had not. While certainly both khadi (homespun cloth) and clothing were central for the nationalist movement, this article instead investigates the distinct visual imagery of …
Reviving the Past: Post-Independence Architecture and Politics in India's Long 1950s
In 1959, a group of architects and policy makers gathered in Delhi to debate the direction for post-1947 architecture; they firmly chose modernist free expression over a state-driven revivalist style. Despite this prevailing modernist direction for India's architecture, revival buildings of the 1950s demonstrate India's negotiation with and construction of its past at a crucial time in the formation of a national identity. The Ashok Hotel and the…
Women in Colonial India: Essays on Politics, Medicine, and Historiography by Geraldine Forbes Women, Education, and Politics: The Women's Movement and Delhi's Indraprastha College by Meena Bhargava an…
Partition and the uses of history in Waqt/Time
One of the first ‘lost-and-found’ stories produced in Bollywood, Waqt/Time (Yash Chopra, 1965) follows a young family from their separation after a major earthquake to their final reunion as adults in 1965 Bombay. The earthquake operates as a Partition metaphor and allows Waqt to participate in a nostalgic melancholy for pre-Partition India. Waqt also shores up an ebbing hope in the new modern independent India, particularly important given the t…
The Modern and the Ancient: 20 Th Century Re-Readings of Indian History
(2006). The Modern and the Ancient: 20th Century Re-Readings of Indian History. South Asian Studies: Vol. 22, No. 1, pp. 103-113
Inscribing Colonial Monumentality: A Case Study of the 1763 Patna Massacre Memorial
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Cemeteries And The Suburbs: Patna's Challenges to the Colonial City in South Asia
Abject to Object: Colonialism Preserved through the Imagery of Muharram
Address in American English
Address in American English
Reviving the Past: Post-Independence Architecture and Politics in India's Long 1950s
In 1959, a group of architects and policy makers gathered in Delhi to debate the direction for post-1947 architecture; they firmly chose modernist free expression over a state-driven revivalist style. Despite this prevailing modernist direction for India's architecture, revival buildings of the 1950s demonstrate India's negotiation with and construction of its past at a crucial time in the formation of a national identity. The Ashok Hotel and the…
Spinning without Touching the Wheel: Anticolonialism, Indian Nationalism, and the Deployment of Symbol
For the nationalist movement in early-twentieth-century India, the practice of spinning each day and the symbol of the spinning wheel served, together, to unify an extremely diverse nation in ways that earlier movements (notably the 1905–11 Bengal-centered swadeshi movement) had not. While certainly both khadi (homespun cloth) and clothing were central for the nationalist movement, this article instead investigates the distinct visual imagery of …
The Cemeteries And The Suburbs: Patna's Challenges to the Colonial City in South Asia
Address in American English
The Cemeteries And The Suburbs: Patna's Challenges to the Colonial City in South Asia
Abject to Object: Colonialism Preserved through the Imagery of Muharram
The Modern and the Ancient: 20 Th Century Re-Readings of Indian History
(2006). The Modern and the Ancient: 20th Century Re-Readings of Indian History. South Asian Studies: Vol. 22, No. 1, pp. 103-113
Inscribing Colonial Monumentality: A Case Study of the 1763 Patna Massacre Memorial
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Women in Colonial India: Essays on Politics, Medicine, and Historiography by Geraldine Forbes Women, Education, and Politics: The Women's Movement and Delhi's Indraprastha College by Meena Bhargava an…
Partition and the uses of history in Waqt/Time
One of the first ‘lost-and-found’ stories produced in Bollywood, Waqt/Time (Yash Chopra, 1965) follows a young family from their separation after a major earthquake to their final reunion as adults in 1965 Bombay. The earthquake operates as a Partition metaphor and allows Waqt to participate in a nostalgic melancholy for pre-Partition India. Waqt also shores up an ebbing hope in the new modern independent India, particularly important given the t…
Spinning without Touching the Wheel: Anticolonialism, Indian Nationalism, and the Deployment of Symbol
For the nationalist movement in early-twentieth-century India, the practice of spinning each day and the symbol of the spinning wheel served, together, to unify an extremely diverse nation in ways that earlier movements (notably the 1905–11 Bengal-centered swadeshi movement) had not. While certainly both khadi (homespun cloth) and clothing were central for the nationalist movement, this article instead investigates the distinct visual imagery of …
Reviving the Past: Post-Independence Architecture and Politics in India's Long 1950s
In 1959, a group of architects and policy makers gathered in Delhi to debate the direction for post-1947 architecture; they firmly chose modernist free expression over a state-driven revivalist style. Despite this prevailing modernist direction for India's architecture, revival buildings of the 1950s demonstrate India's negotiation with and construction of its past at a crucial time in the formation of a national identity. The Ashok Hotel and the…
A Companion to Asian Art and Architecture
A companion to Asian art and architecture
"This companion presents new critical views on crucial aspects of the large and varied field of Asian art and architectural history. The essays collected here provide scholars and the pubic with an opportunity to engage with the field in all its diversity - from coinage to monastic spaces to imperial commissions and beyond. Regions and topics covered include Korea, Japan, China, several regions of Southeast Asia, South Asia, global and colonial i…
Companion to Asian Art and Architecture
Colonial Polyrhythm: Imaging Action in the Early 19th Century
This article proposes a new reading of early-19th-century modernity by examining India's so-called “ethnographic” paintings, and arguing that rather than participate in a trajectory of speed and acceleration these works produce colonial polyrhythmic temporality. First, the article establishes that many of these images depict action, not ethnicity or occupational group. It then situates these images in economies of circulation, viewing, politics a…
InFlux: Contemporary Art in Asia
Rethinking Place in South Asian and Islamic Art, 1500-Present
To Pick Up a Brush: A Double-Take, Gieve Patel, and Indian Art of the 1980s
This article reads anew Gieve Patel's important 1985 essay ‘To Pick up a Brush’, entering into dialogue with the rich conversations among twentieth-century Indian artists Patel unfolds. Rather than focus solely on the generation after Partition and Independence in 1947, and rather than further intensify attention on artists of the past two decades, the period of ‘long-1980s’ anchors both Patel's text and this one. As such, the article revisits Pa…
Two Stories From Mysterious
Other| January 01 2017 TWO STORIES FROM MYSTERIOUS Rebecca Brown Rebecca Brown Search for other works by this author on: This Site Google Common Knowledge (2017) 23 (1): 116–119. https://doi.org/10.1215/0961754X-3692547 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Rebecca Brown; TWO STORIES FROM MYSTERIOUS. Common Knowledge 1 January 2017; 23 (1): 116–119. doi: https://doi.org/10.1215/0961754X-…
KCS Paniker’s Painterly Deflections
In 1963, the Chennai-based artist KCS Paniker shifted his mode of painting from ethereal, floating, sketchy bodies to a series entitled Words and Symbols that occupied him until his death in 1977. These paintings combine writing, symbols, geometry, equations, charts, rivers, trees, and a multitude of birds and animals. The text – in English, Malayalam, and Sanskrit – cannot be read beyond a word or two, the diagrams hint at astrology and birth ch…
Mimicry and Misrecognition: Re-dressing the Colonial Relation in Annu Palakunnathu Matthew’s Photographic Transformations
Annu Palakunnathu Matthew’s work “re-dresses” the legacies of nineteenth-century modes of imaging “Indians,” that is, both Native Americans and South Asian Americans. She honours the self-fashioning buried in nineteenth-century photographs of “native types” by restaging photographs with her own body, re-dressed in a construction of what an “Indian from India” is expected to be, all the while subtly pushing back at those expectations. For Matthew,…
Intimate Archive: Dayanita Singh, the Photo-book and Feminist Iteration
Dayanita Singh (b. 1961) has long pursued a practise of close relationships with her subjects, human and otherwise. In pairing this commitment with disseminating her photographs through book and portable museum formats, in which photographs are reused over the course of decades, she has developed a practice that she recognises as fundamentally archival. This article examines two distinct elements of Singh’s oeuvre: Myself Mona Ahmed (2001), a boo…
Artistic Relations: Mapping KCS Paniker’s Constellations
As student, teacher, and principal of the Madras School of Art, and as mentor, colleague, editor, and painter, KCS Paniker (1911–77) lived within a network of relations that one might map, following Alex Seggerman's reading of Egyptian modernism, as a constellation. These figures include artists and critics in his immediate local network, students who helped build Cholamandal Artists' Village with him, and his legacy in the form of the following …
Being in the World Artfully: Institutions, Infrastructure, Interconnections
Art (12 works) · History (11 works) · Archaeology (7 works) · History (7 works) · Aesthetics (6 works) · Sociology (6 works) · Visual arts (6 works) · Ancient history (5 works) · Colonialism (5 works) · Philosophy (5 works)