AN ANALYTICAL STUDY OF THE GROWTH OF NEW MEDIA ART WITHIN INDIAN VISUAL ART PRACTICES
DOI:
https://doi.org/10.29121/shodhkosh.v3.i2.2022.5792Keywords:
Media Art, Visual Art, IndianAbstract [English]
Artistic creativity has always evolved in response to cultural contexts and the intent of individual artists. In the contemporary digital age—often framed as a postmodern or even post-postmodern reality—visual art practices are undergoing profound transformations. Technological advancements are reshaping the way art is produced, disseminated, and experienced, and neither galleries nor museums are exempt from this shift. By the mid-1990s, a growing number of Indian artists began exploring installation art, site-specific works, and digital mediums, even as others continued to engage with conventional forms such as painting, sculpture, and printmaking.
References
J. Duran, Ajanta and Ellora: The aesthetics of the cave. Philosophical inquiry,20(3/4), 64-70, (1998). DOI: https://doi.org/10.5840/philinquiry1998203/416
B. Graham and S. Cook, Rethinking curating: Art after new media. mit Press,(2010).
A. Smuts, What is interactivity?. The Journal of Aesthetic Education, 43(4), 53-73, (2009) S. Rafi and F. Ahmad, Interdisciplinary art practices in India. 1(4), (2006). DOI: https://doi.org/10.1353/jae.0.0062
E. Huhtamo, Trouble at the interface, or the identity crisis of interactive art.(2004).
H. J. Seo, G. Corness, Aesthetics of Immersion in Interactive Immersive Installation: Phenomenological Case Study. In the Proceedings of International
G. Sinha, Voices of Change: 20 Indian Artists. Marg Foundation, p. 62-63, (2010).
J. Dhar, Sudarshan Shetty, Shoonya ghar. ArtAsiaPacific, (99), 105, (2016).
S. Merali, Delineating the Vernacular. Art Institute of Chicago Museum Studies, 36(2), 27-47, (2011).
G. Kapur, K. Wien, and H. Cantz, Body City Siting Contemporary Culture InIndia. New Delhi: Tulika, (2003).
. T. Roy, History in the ‘Mise en Abyme of the Body’: Ranbir Kaleka and the ‘Art of Auschwitz’after Virilio. Virilio and Visual Culture, 102, (2013). DOI: https://doi.org/10.1515/9780748654468-010
M. Roussou, Immersive interactive virtual reality in the museum. Proc. of TiLE (Trends in Leisure Entertainment), (2001).
M. L. Alexenberg, Educating artists for the future: Learning at the intersections of art, science, technology, and culture. Intellect Books. (2008) DOI: https://doi.org/10.2307/j.ctv36xvp2m
C. Gere, New media art and the gallery in the digital age. New media in the white cube and beyond: Curatorial models for digital art, (2008). DOI: https://doi.org/10.1525/9780520942349-003
V. Vidwans, Expressing with grey cells: Indian perspectives on new media arts, p.141-154 Alexenberg M Ed,(2006). DOI: https://doi.org/10.2307/j.ctv36xvp2m.12
N. Adajania, The ecologies of technological experimentation: Sheba Chhachhi’s multimedia environments. The Moving Image Review & Art Journal (MIRAJ),7(2), 204-220(2018). 10541 DOI: https://doi.org/10.1386/miraj.7.2.204_1
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2022 Sanjeev Kumar Mishra
This work is licensed under a Creative Commons Attribution 4.0 International License.
With the licence CC-BY, authors retain the copyright, allowing anyone to download, reuse, re-print, modify, distribute, and/or copy their contribution. The work must be properly attributed to its author.
It is not necessary to ask for further permission from the author or journal board.
This journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge.
