Indian Photographies
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Visual Culture in the Subcontinent
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PROJECT | 'Kitchen Gods' by Priya Kambli

PROJECT | 'Kitchen Gods' by Priya Kambli | Indian Photographies | Scoop.it
One of my most startling early childhood memories is of finding one of my father’s painstakingly composed family photographs pierced by my mother. She cut holes in them so as to completely obliterate her own face while not harming the image of my sister and myself beside her. Even as a child I was aware that this act was quite significant - but what it signified was beyond my ability to decipher. As an adult I continue to be disturbed by these artifacts, which not only encompass the photographer’s hand but also the subject’s fingerprints. Even though her incisions have a violent quality to them, as an image-maker I am aesthetically drawn by the physical mark, its presence and its careful placement. These marred artifacts have formed a reference point for my new body of work, Kitchen Gods, but they do not limit the form my own work takes. I am fascinated by how my mother’s physical mark complicates the read of an otherwise mundane family photographs. In this body of work like my mother, I alter the family photographs to modify the stories they tell.

www.priyakambli.com

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Who has Photographs? by Janaki Abraham

Who has Photographs? by Janaki Abraham | Indian Photographies | Scoop.it

The Thiyyas, a matrilineal community from North Kerala whose members are spread all over the India and the world, tend to document family history through photographs, letters, family trees, genealogies and myths of creation. Sociologist Janaki Abraham has been researching the visual cultures of the Thiyyas for the last five years. In the following essay she presents photographs found in home in Thalassery, Kerala, and challenges the assumption that the privileged alone had collections of old photographs.

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Wearing her ghoonghat a few inches higher | ShahidulNews

Wearing her ghoonghat a few inches higher | ShahidulNews | Indian Photographies | Scoop.it

"This image was photographed in Delhi, shortly after my Paternal grandparents Chameli and Phool Chand, got married. She was 14 and he was 16. It was unusual for couples in our family to be photographed, especially holding hands, which turned out to be an indication of the unconventional direction their lives would take. They were both Gandhians and Freedom fighters..."

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