4.5 out of 5 stars 10. The support is handmade paper from Khadi Gram Udyog Bhawan, the New Delhi artisan collective founded by Gandhi to promote traditional crafts and revivify manufacturing shut down with the rise of British imports.15 In addition to this historical link to material strategies for Indian independence, Door gains a more elegiac dimension when considering the previous coordinates of the objects Zarina depicts. x�s In Afternoon, one of the woodcuts from the series, for example, we find the title, in printed Urdu and handwritten English, underneath the geometricized rendering of a ceiling fan. 2). Relief print from collaged wood, printed in burnt umber on Indian handmade paper, edition of 10, 29¼ × 21⅞ in. 16. endobj Margaret Bourke-White was born in New York City in 1904, and grew up in rural New Jersey. In my larger project, “Leaving Yourself Behind: The Partition of India and Its Aftermath in American Art,” I examine the range of artistic production resulting from mobilities related to Partition or its underlying religious and colonialist conflict. In the pre-Depression years in a country where virtually anybody could become anything, Margaret … With the crooked arrangement of the anthropomorphic planks, which the artist imprinted in a blood-like burnt umber ink, no less, Door evokes the moribund bodies and the chain of tragic violence linked to that period. During this time, spurred by the loss of her homeland, she began to create abstracted prints with poetic text probing her lingering yearnings for home. She kept photographing and documenting all the way till 1969, when she retired. The boy, in other words, becomes metonymic for all the desperate lives in those provisional structures. Remembered as the first female war correspondent and the first foreign photographer permitted to document Soviet industry, she captured countless iconic images of 20th-century life, conflict, and the politicians at its center. On the biography of Bourke-White, see Sean M. Quimby and Olivia María Rubio, Margaret Bourke-White: Moments in History (New York: D.A.P. http://www.moma.org/explore/inside_out/2010/11/04/at-home-with-zarina. Saved by Chris Padgett. The photographer is Margaret Bourke-White. © Zarina, Courtesy of the artist and Luhring Augustine, New York. Hardcover. ��w3T�PI�2T0 BCcScC3��\. Butalia, Urvashi. Crossref reports no articles citing this article. 7. endstream endobj ͐,.�. In 1927, Margaret Bourke-White was spotted by Henry Luce, the publisher of Time who had seen her architectural and industrial images and promptly decided that she should be hired for his new venture, Fortune. The Partition of the Indian Subcontinent Seen through Margaret Bourke-White's Photographic Essay. x�s 3 0 obj endstream Like Bourke-White, Zarina’s mobilities shaped an artistic selfhood that by nature transcends borders and resists categorization.14 Thus, even though she has lived in the United States since 1975, participated in feminist art shows in New York since the late 1970s, is an American citizen, and identifies herself as Muslim, Zarina’s global identity has remained multivalent and elusive to many—as evidenced by her inclusion as one of four Indian artists in the 2011 Venice Biennale. Together they covered the great migration. Margaret Bourke-White lived the life any photographer would want. ͐,.�. © 2017 by The Smithsonian Institution. The aesthetic of the map or diagrammatic plan is typical of Zarina’s mature oeuvre, as is the calligraphed Urdu, which relates to her love of Indo-Pakistani poetry. Homi K. Bhabha, “Beyond the Pale: Art in the Age of Multicultural Translation,” in Cultural Diversity in the Arts: Art, Art Policies, and the Facelift of Europe, ed. These photographs taken in 1947 during the period of independence of India and Pakistan. New York: Simon and Schuster, 1949. <>>>/BBox[0 0 666 810]/Length 43>>stream