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Use History of Art & Architecture Databases to find more on Dayanita Singh.
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Dayanita Singh: Go Away Closer by
Originally trained as a photojournalist and bookmaker, Dayanita Singh has exhibited widely both in India and abroad. Her work often takes a curious view of the everyday, and is characterized by an unsparing view of her subject matter. Best known for her portraits of India's urban middle and upper classes, her images of people working, celebrating or resting depict everyday life without embellishment, capturing insights that often challenge exotic stereotypes in the West. Published alongside an exhibition at Hayward Gallery, the book includes images from throughout Singh's career and an in-depth interview with Singh.
Museum Bhavan by
In Museum Bhavan, Dayanita Singh creates a new space between publishing and the museum. Consisting of nine individual "museums" in book form, Museum Bhavan is a miniature version of Singh's traveling exhibition of the same name, whose prints are placed in folding expanding wooden structures. The images in Museum Bhavan have been grouped into lyrical chapters in a visual story. The books are housed in a handmade box and fold out into accordion-like strips, which Singh encourages viewers to install and curate as they wish in their own homes. The exhibition thus becomes a book, and the book becomes an exhibition.
Dayanita Singh: File Room by
Dayanita Singh's File Room is an elegy to paper in the age of the digitization of information and knowledge. The analogue photographer and bookmaker has a unique relationship with paper that is integral to making images as well as confronting chaos and mortality in the bureaucratic archives. The rows of files in Indian courts, state archives, and other such institutions for the conservation of human data create monuments to knowledge and to the arts of memory. File Room is itself an archive of archives. It documents and reflects on the nature of paper as material and symbol in the work of making photographs and books.
Dream Villa by
In Dream Villa, Singh explores the ways in which the night transforms what seems ordinary by day into something disquieting and enigmatic. The series of color photographs illustrated in this book presents a landscape that exists as much in the artist's imagination as it does in the real world. In search of these mysterious nocturnal effects, Singh travels to many cities across India, never knowing where her "Dream Villa" or its shadowy inhabitants will present themselves.
House of Love by
Dayanita Singh's House of Love is a work of photographic fiction that takes the form of 13 short stories. The "House of Love" itself is the Taj Mahal, but the Taj Mahal as a recurring motif that stands for a range of meanings. Through images of cities both visible and invisible, people real and surreal, Singh creates her own mysterious and ineffable, strange yet familiar language, using her trademark black-and-white photography and her newer investigations of nocturnal color. Therefore, Singh explores the relationship between photography and writing.
The article informs the works of photographer Dayanita Singh. Topics discussed include the impact of photography on Indian films and two of her books. In "Museum Bhavan" she creates a new space between publishing and the museum, while "Myself Mona Ahmed" is focused on films that provide her with an internalized language of self-presentation.
The Indian Evidence Act
The Indian Evidence Act of 1872 defined a fact according to interior as well as exterior experience, which – from then through to the present – has made the identity of self and nation difficult to prove in India. This article weaves together the media constructions of journalists and politicians with recent works by contemporary artists Zuleikha Chaudhari, Dayanita Singh, Sudarshan Shetty, and Rina Banerjee. These figures mine archives to turn five types of evidence central to identity formation into the materials of their art: the body, speech, paper, architecture and objects.