Karin Zitzewitz
Biographic Data
| ID | 82289 |
|---|---|
| NAME | Karin Zitzewitz |
| GIVEN NAMES | Karin |
| FAMILY NAME | Zitzewitz |
| SIGNATURE | ZITZEWITZ K |
| AFFILIATIONS | University of Chicago |
| ORCID | 0000-0003-4851-8143 |
| VERIFIED | Yes |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 5 |
| AUTHOR COUNT | 12 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2008 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
How Secular Is Art?: On the Politics of Art, History and Religion in South Asia
As an invitation to interrogate the secular modality of art, the book unsettles both the categories of 'art' and 'secular' in their theoretical and historical implications. It questions the temporal, spatial and cultural binaries between the 'sacred' and the 'secular' that have shaped art historical scholarship as well as artistic practice. All the essays here are anchored in a conception of a region, whether we call it South Asia or the Indian s…
Refiguring Art and Anthropology, For Whom? A conversation with George E. Marcus and Fred R. Myers
Art and anthropology: Twenty-five years of The Traffic in Culture
Special issue introduction
When Does Infrastructure "Qualify for [Artistic] Attention"? The "ABCs" of Contemporary Art in Post-Liberalization India
The period between "liberalization," or the 1991 opening of India's economy to foreign direct investment, and the 2008 onset of the Great Recession was one of unprecedented change in the forms of Indian art and the infrastructures that supported its understanding, presentation, and circulation. This period of efflorescence-of multiplying growth in and transformation of a set of interlocking artistic and social forms-poses methodological challenge…
We Have Entered a Stage of Overproduction”
Karin Zitzewitz: Here we see stills from your 2019 vid eo, How to be a SUCKcessful art ist. It is just one in a se ries of video and text works that you've made to dis trib ute over so cial me dia plat forms, ex plor ing the po ten tials and lim i ta tions of your role as an art ist. It's a short vid eo, and with ex traor di nary econ omy it skew ers many typ i cal cu ra to rial ap proaches to the po lit i cal po si tion of "the fe male art ist f…
Art Histories of Excess: Hammad Nasar in Conversation with Karin Zitzewitz
Asia Art Archive (AAA) is an independent nonprofit organization founded in 2000 by Claire Hsu and Johnson Chang in Hong Kong to address the need to document and make accessible the recent art histo
Infrastructure as Form: Cross-Border Networks and the Materialities of ‘South Asia’ in Contemporary Art
The South Asian Network for the Arts (SANA), established in 2000, facilitated artistic exchanges across the highly contested borders in the region. SANA was made up of Khoj in India, Vasl in Pakistan, Teertha in Sri Lanka, and Britto in Bangladesh, which are all member organisations of the UK-based Triangle Network. The principal goal of these organisations was the development of cutting edge art practice in each country, but the signature gestur…
Life in Ruins: Materiality, the City, and the Production of Critique in the Art of Naiza Khan
Naiza Khan'sThe Manora Archive(2007-), the product of her long-term engagement with a small island in Karachi's harbor, is exemplary of both Pakistan's vibrant contemporary art and its burgeoning discourse of urban space. Dominated by a naval base and port rejuvenation project, nearly all of Manora's civilian population was bought out by investors in 2006 for a now-abandoned real estate development. Khan has recorded the island's abandoned archit…
Books: Review Forum
Writing against Historicism: Accounting for Modernism in India
The Moral Economy of the Street: The Bombay Paintings of Gieve Patel and Sudhir Patwardhan
In the context of contemporary debates concerning the use of urban space in Bombay, this article finds in the paintings of Sudhir Patwardhan and Gieve Patel insights into the aesthetic, moral and political problems confronted by city dwellers in everyday life. By bringing the street into the gallery, the author argues, these artists provide viewers adequate space to contemplate how the street serves as a site of social contestation and overwhelmi…
The Secular Icon: Secularist Practice and Indian Visual Culture
Since the 1980s, modernist artists, like much of India's secular intelligentsia, have struggled to understand the nature of the threat that Hindu nationalism poses to more inclusive forms of national culture. Visual culture, and particularly Hindu iconography, was perhaps the form most obviously targeted by Hindu nationalist political practices. Artist and writer K. G. Subramanyan has been the most influential articulator of a secularist form of …
Infrastructure as Form: Cross-Border Networks and the Materialities of ‘South Asia’ in Contemporary Art
The South Asian Network for the Arts (SANA), established in 2000, facilitated artistic exchanges across the highly contested borders in the region. SANA was made up of Khoj in India, Vasl in Pakistan, Teertha in Sri Lanka, and Britto in Bangladesh, which are all member organisations of the UK-based Triangle Network. The principal goal of these organisations was the development of cutting edge art practice in each country, but the signature gestur…
The Secular Icon: Secularist Practice and Indian Visual Culture
Since the 1980s, modernist artists, like much of India's secular intelligentsia, have struggled to understand the nature of the threat that Hindu nationalism poses to more inclusive forms of national culture. Visual culture, and particularly Hindu iconography, was perhaps the form most obviously targeted by Hindu nationalist political practices. Artist and writer K. G. Subramanyan has been the most influential articulator of a secularist form of …
When Does Infrastructure "Qualify for [Artistic] Attention"? The "ABCs" of Contemporary Art in Post-Liberalization India
The period between "liberalization," or the 1991 opening of India's economy to foreign direct investment, and the 2008 onset of the Great Recession was one of unprecedented change in the forms of Indian art and the infrastructures that supported its understanding, presentation, and circulation. This period of efflorescence-of multiplying growth in and transformation of a set of interlocking artistic and social forms-poses methodological challenge…
The Secular Icon: Secularist Practice and Indian Visual Culture
Since the 1980s, modernist artists, like much of India's secular intelligentsia, have struggled to understand the nature of the threat that Hindu nationalism poses to more inclusive forms of national culture. Visual culture, and particularly Hindu iconography, was perhaps the form most obviously targeted by Hindu nationalist political practices. Artist and writer K. G. Subramanyan has been the most influential articulator of a secularist form of …
The Moral Economy of the Street: The Bombay Paintings of Gieve Patel and Sudhir Patwardhan
In the context of contemporary debates concerning the use of urban space in Bombay, this article finds in the paintings of Sudhir Patwardhan and Gieve Patel insights into the aesthetic, moral and political problems confronted by city dwellers in everyday life. By bringing the street into the gallery, the author argues, these artists provide viewers adequate space to contemplate how the street serves as a site of social contestation and overwhelmi…
Writing against Historicism: Accounting for Modernism in India
Books: Review Forum
Life in Ruins: Materiality, the City, and the Production of Critique in the Art of Naiza Khan
Naiza Khan'sThe Manora Archive(2007-), the product of her long-term engagement with a small island in Karachi's harbor, is exemplary of both Pakistan's vibrant contemporary art and its burgeoning discourse of urban space. Dominated by a naval base and port rejuvenation project, nearly all of Manora's civilian population was bought out by investors in 2006 for a now-abandoned real estate development. Khan has recorded the island's abandoned archit…
Infrastructure as Form: Cross-Border Networks and the Materialities of ‘South Asia’ in Contemporary Art
The South Asian Network for the Arts (SANA), established in 2000, facilitated artistic exchanges across the highly contested borders in the region. SANA was made up of Khoj in India, Vasl in Pakistan, Teertha in Sri Lanka, and Britto in Bangladesh, which are all member organisations of the UK-based Triangle Network. The principal goal of these organisations was the development of cutting edge art practice in each country, but the signature gestur…
Art Histories of Excess: Hammad Nasar in Conversation with Karin Zitzewitz
Asia Art Archive (AAA) is an independent nonprofit organization founded in 2000 by Claire Hsu and Johnson Chang in Hong Kong to address the need to document and make accessible the recent art histo
We Have Entered a Stage of Overproduction”
Karin Zitzewitz: Here we see stills from your 2019 vid eo, How to be a SUCKcessful art ist. It is just one in a se ries of video and text works that you've made to dis trib ute over so cial me dia plat forms, ex plor ing the po ten tials and lim i ta tions of your role as an art ist. It's a short vid eo, and with ex traor di nary econ omy it skew ers many typ i cal cu ra to rial ap proaches to the po lit i cal po si tion of "the fe male art ist f…
Refiguring Art and Anthropology, For Whom? A conversation with George E. Marcus and Fred R. Myers
Art and anthropology: Twenty-five years of The Traffic in Culture
Special issue introduction
When Does Infrastructure "Qualify for [Artistic] Attention"? The "ABCs" of Contemporary Art in Post-Liberalization India
The period between "liberalization," or the 1991 opening of India's economy to foreign direct investment, and the 2008 onset of the Great Recession was one of unprecedented change in the forms of Indian art and the infrastructures that supported its understanding, presentation, and circulation. This period of efflorescence-of multiplying growth in and transformation of a set of interlocking artistic and social forms-poses methodological challenge…
How Secular Is Art?: On the Politics of Art, History and Religion in South Asia
As an invitation to interrogate the secular modality of art, the book unsettles both the categories of 'art' and 'secular' in their theoretical and historical implications. It questions the temporal, spatial and cultural binaries between the 'sacred' and the 'secular' that have shaped art historical scholarship as well as artistic practice. All the essays here are anchored in a conception of a region, whether we call it South Asia or the Indian s…
Art (9 works) · Sociology (7 works) · Aesthetics (6 works) · History (6 works) · Law (5 works) · Anthropology (4 works) · Art history (4 works) · Political science (4 works) · Politics (4 works) · South Asian Cinema and Culture (4 works)