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Journal articles on the topic 'Bombay School of Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Khullar, Sonal. "“We Were Looking for Our Violins”." Archives of Asian Art 68, no. 2 (2018): 111–32. http://dx.doi.org/10.1215/00666637-7162219.

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Abstract This essay examines a creative dialogue between painters and poets, among them Nissim Ezekiel, Adil Jussawalla, Bhupen Khakhar, Arun Kolatkar, Arvind Krishna Mehrotra, Gieve Patel, and Sudhir Patwardhan, in Bombay (Mumbai) during a period that encompassed Khakhar's first solo show at the Jehangir Art Gallery in 1965 and the publication of four books of poetry by Clearing House, an independent press established in 1976 by Jussawalla, Kolatkar, Mehrotra, and Patel. Through a close analysis of word and image, it illuminates the distinctive aesthetics and politics of these artists encapsu

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2

Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”." BioScope: South Asian Screen Studies 8, no. 1 (2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.

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This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture a

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3

Bharucha, Rustom. "Kroetz's ‘Request Concert’ in India, Part Two: Bombay." New Theatre Quarterly 3, no. 12 (1987): 377–88. http://dx.doi.org/10.1017/s0266464x00002517.

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In the first of this series of three articles, published in NTQ 11, the director Rustom Bharucha – born in India. but living and working mainly in New York – described how he initially became intrigued by the idea of transposing Franz Xaver Kroetz's play without words, Request Concert, concerning the last evening in the life of a very ordinary German woman, into a variety of Asian contexts. His ambition was first realized – in collaboration with fellow-director Manuel Lutgenhorst, and with valued assistance from the International School of Theatre Anthropology – in a production mounted in Calc

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Jain, Sushma. "GRAFFITI ART OF CHANDVAD RAJPRASAD." ShodhKosh: Journal of Visual and Performing Arts 2, no. 2 (2021): 1–13. http://dx.doi.org/10.29121/shodhkosh.v2.i2.2021.26.

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English: A small town named Chandvad is situated on the Agra-Mumbai highway between Nashik and Malegaon in the state of Maharashtra. The Holkar's palace at Chandvad was built between 1753 and 1797. Many paintings have been made on the walls of this palace, which are older than the paintings of Rajbara found in Indore, but from the point of view of study, these paintings could be known much later. In 1929 the eminent archaeologist Shri R.D. When the Chandwad palace was surveyed by Banerjee, no importance was given to the painted walls there. After 12 years, the then District Collector of Nashik

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Varghese, Elsa, Meena Galliara, and Manjari Srivastava. "OSCAR Foundation: empowering lives through football." Emerald Emerging Markets Case Studies 6, no. 3 (2016): 1–32. http://dx.doi.org/10.1108/eemcs-05-2016-0077.

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Subject area Social entrepreneurship, Social enterprise. Study level/applicability Masters Programme in Social Entrepreneurship, Social Work, Business Administration; Management Development Programme for Social Entreprenuers. Case overview Organisation for Social Change, Awareness and Responsibility (OSCAR) Foundation is a non-profit organisation registered in 2010 under the Bombay Public Trust Act, 1950. Born and raised in the slum colony of Ambedkar Nagar, Cuffe Parade, Ashok, the founder, grew up seeing his friends becoming a victim to many socially inappropriate behaviours due to dropping

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6

Karande, A. S., and P. B. Shetty. "Urban School Health Problems in Bombay City." Journal of Tropical Pediatrics 38, no. 3 (1992): 142–44. http://dx.doi.org/10.1093/tropej/38.3.142.

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7

Windover, Michael. "Exchanging Looks: ‘Art Dekho’ Movie Theatres in Bombay." Architectural History 52 (2009): 201–32. http://dx.doi.org/10.1017/s0066622x00004196.

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Bombay of the interwar years was a city in transition. TheUrbs Prima in Indus, and second city of the British Empire, became increasingly both a site of nationalist sentiment and a conduit of cosmopolitan cultural and economic currents. Its urban fabric witnessed the shift from colonial, Victorian city tomodernemetropolis. Captured in A. R. Haseler’s dramatic aerial photograph from the mid-1930S (Fig. 1), the Regal Cinema stands out against the Indo-Saracenic monuments of late imperial Bombay — notably George Wittet’s Gateway of India (1924) seen at the top of the photograph, his Prince of Wal

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8

McGregor, R. S. "Gadyarāja: a fourteenth century Marathi version of the Kṛṣṇa legend. Translated from the Marathi with annotations by Ian Raeside. pp. xxxv, 312. Bombay, Popular Prakashan Pvt. Ltd; London, School of Oriental and African Studies, University of London, 1989. £20.00." Journal of the Royal Asiatic Society of Great Britain & Ireland 122, № 2 (1990): 403–5. http://dx.doi.org/10.1017/s0035869x00108822.

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9

Jayaram, N. "The ‘Bombay School’ and Urban Sociology in India." Sociological Bulletin 62, no. 2 (2013): 311–23. http://dx.doi.org/10.1177/0038022920130208.

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10

Jayaram, N. "Introduction: The Bombay School – So-called – and its Legacies." Sociological Bulletin 62, no. 2 (2013): 195–203. http://dx.doi.org/10.1177/0038022920130201.

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11

Momin, A. R. "Revisiting the Legacy of the Bombay School of Sociology." Sociological Bulletin 62, no. 2 (2013): 204–16. http://dx.doi.org/10.1177/0038022920130202.

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12

Vaidya, Girish, and Hemangee S. Dhavale. "Child psychiatry in Bombay: the school mental health clinic." Hospital Medicine 61, no. 6 (2000): 400–401. http://dx.doi.org/10.12968/hosp.2000.61.6.1354.

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13

Etherington, Margaret. "Secondary school art." Management in Education 29, no. 2 (2014): 83–88. http://dx.doi.org/10.1177/0892020614537515.

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14

Wood, John. "Art school futures." Journal of Writing in Creative Practice 14, no. 1 (2021): 13–26. http://dx.doi.org/10.1386/jwcp_00011_1.

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The late Sir Ken Robinson attracted great interest for noting the education system’s lack of support for imaginative and creative skills. This omission has important ramifications throughout society as a whole, especially given the challenges of the COVID-19 pandemic, not to mention environmental emergencies that threaten our very survival as a species. Although our predicament calls for a co-creative and transformative response, this amounts to a paradigm change that is beyond the capacity of our current systems of governance. The article therefore calls for a review of education policy that

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15

Neher, Ross. "Art and Delusion: Unreality in Art School." Academic Questions 23, no. 1 (2009): 117–24. http://dx.doi.org/10.1007/s12129-009-9143-5.

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16

Haanstra, Folkert. "Self-Initiated Art Work and School Art." International Journal of Art & Design Education 29, no. 3 (2010): 271–82. http://dx.doi.org/10.1111/j.1476-8070.2010.01662.x.

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17

AGER, MIKE. "Secondary School Art Methodology." Journal of Art & Design Education 5, no. 3 (1986): 253–62. http://dx.doi.org/10.1111/j.1476-8070.1986.tb00206.x.

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18

Pandya, Sunil K. "Dr John McLennan MD (Aberdeen), FRCP (Lond) (1801–1874) and the Medical School of Bombay that failed." Journal of Medical Biography 27, no. 1 (2017): 46–54. http://dx.doi.org/10.1177/0967772017702762.

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In 1826, Dr John McLennan was asked by Governor Mounstuart Elphinstone of Bombay to set up the first school to teach modern medicine to Indian citizens. He was expected to create textbooks on a variety of subjects in local languages and teach medicine to poorly educated students in their native tongues. Despite his valiant efforts, the school was deemed a failure and was abolished by the Government in 1832. Sir Robert Grant, appointed Governor of Bombay in 1835, analysed records pertaining to this medical school and concluded that the school failed since Dr McLennan was not provided the assist

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19

McGowan, Abigail. "Domestic Modern: Redecorating Homes in Bombay in the 1930s." Journal of the Society of Architectural Historians 75, no. 4 (2016): 424–46. http://dx.doi.org/10.1525/jsah.2016.75.4.424.

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In the 1930s, upper-class residents of Bombay were bombarded with ideas and products intended to make their homes modern. Showrooms, exhibitions, advertisements, and design books all addressed a consuming public newly interested in “the art and comfort of the home.” As Abigail McGowan demonstrates in Domestic Modern: Redecorating Homes in Bombay in the 1930s, attempts to remake Indian homes were hardly new; from the late nineteenth century on, sanitary reformers, girls’ educators, and urban planners introduced new principles of home management and hygiene into domestic space. In 1930s Bombay,

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20

Cho, Jeoung-eun. "Analysis of Art High School Students’ School Satisfaction." Korean Society of Music Education Technology, no. 40 (July 16, 2019): 111–30. http://dx.doi.org/10.30832/jmes.2019.40.111.

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21

Sadhana, Paroma. "Contours of Cinema Theatres and Bombay City." Journal of Heritage Management 2, no. 2 (2017): 112–24. http://dx.doi.org/10.1177/2455929617734933.

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Bombay cannot be divorced from Bollywood, its medusa-like industry. While the relationship between the city of Bombay and the cinema it produces has been much talked about, this article seeks to look at the history of single-screen cinema theatres that are testimony to the urban history of Bombay. They are the receptacle in which cinema meets its audience. Within the darkened space of the theatre, a heterogeneous audience meets for a homogenous activity—to consume cinema. On the outside, their façades bear the marks of a city’s growth—be it Art-Deco theatres like Liberty, or warehouse structur

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22

Elkins, James. "Art School Critiques as Seductions." Journal of Aesthetic Education 26, no. 1 (1992): 105. http://dx.doi.org/10.2307/3332733.

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23

Downing, Dick. "School Art - What's in it?" International Journal of Art & Design Education 24, no. 3 (2005): 269–76. http://dx.doi.org/10.1111/j.1476-8070.2005.00450.x.

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24

LaMantia, Joe. "The Art of celebrating school." Phi Delta Kappan 93, no. 8 (2012): 80. http://dx.doi.org/10.1177/003172171209300822.

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25

MCGREAD, C. "Glasgow School of Art Archives." Journal of Design History 11, no. 2 (1998): 173–74. http://dx.doi.org/10.1093/jdh/11.2.173.

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26

Koszerek, Pippa. "The Independent Art School Conference." Journal of Visual Art Practice 1, no. 2 (2001): 111–15. http://dx.doi.org/10.1386/jvap.1.2.111.

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27

Beck, John, and Matthew Cornford. "The Art School in Ruins." Journal of Visual Culture 11, no. 1 (2012): 58–83. http://dx.doi.org/10.1177/1470412911430467.

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28

Smith, Ray. "The Art School: Drawing; Figures." Art Book 2, no. 1 (1994): 19. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00354.x.

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29

Smith, Ray. "The Art School: Drawing; Figures." Art Book 2, no. 1 (1995): 19. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00354.x.

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30

Joohee, Kang. "Art Teachers in Collaboration between Art Museum and School." Journal of Art Education 24, no. ll (2008): 1–26. http://dx.doi.org/10.35657/jae.2008.24..001.

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31

KimChangSik. "A Study on Art Texts in School Art Education." Journal of Research in Art Education 9, no. 2 (2008): 89–114. http://dx.doi.org/10.20977/kkosea.2008.9.2.89.

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32

Gude, Olivia. "New School Art Styles: The Project of Art Education." Art Education 66, no. 1 (2013): 6–15. http://dx.doi.org/10.1080/00043125.2013.11519203.

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33

Atkinson, Jeanette, Tracy Buck, Simon Jean, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.

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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, G

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34

Ahmed, Akbar S. "Bombay Films: The Cinema as Metaphor for Indian Society and Politics." Modern Asian Studies 26, no. 2 (1992): 289–320. http://dx.doi.org/10.1017/s0026749x00009793.

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It is difficult to distinguish between art and life in South Asian society; they no longer imitate each other but appear to have merged. Political philosophies, social values, group behaviour, speech and dress in society are reflected in the cinema and, like a true mirror, reflect back in society. Furthermore, film stars cross over from their fantasy world into politics to emerge as powerful figures guiding the destiny of millions. It is thus possible to view the cinema as a legitimate metaphor for society; this perception helps us to understand society better.

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35

Ganesh, Kamala. "New Wine in Old Bottles? Family and Kinship Studies in the Bombay School." Sociological Bulletin 62, no. 2 (2013): 288–310. http://dx.doi.org/10.1177/0038022920130207.

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36

Jogdand, P. G., and Ramesh Kamble. "The Sociological Traditions and Their Margins: The Bombay School of Sociology and Dalits." Sociological Bulletin 62, no. 2 (2013): 324–45. http://dx.doi.org/10.1177/0038022920130209.

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37

Jeffers, Carol S., and Pat Parth. "Relating Controversial Contemporary Art and School Art: A Problem-Position." Studies in Art Education 38, no. 1 (1996): 21. http://dx.doi.org/10.2307/1320310.

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38

Lam, Bick-har, and David Kember. "Conceptions of Teaching Art Held by Secondary School Art Teachers." Curriculum and Teaching 19, no. 2 (2004): 61–82. http://dx.doi.org/10.7459/ct/19.2.05.

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39

LEE, Jooyon. "Exploring Educational Approaches to Contemporary Art in School Art Education." Society for Art Education of Korea 72 (December 1, 2019): 85–115. http://dx.doi.org/10.25297/aer.2019.72.85.

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40

Lam, Bick Har, and David Kember. "Conceptions of Teaching Art Held by Secondary School Art Teachers." International Journal of Art Design Education 23, no. 3 (2004): 290–301. http://dx.doi.org/10.1111/j.1476-8070.2004.00408.x.

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41

Seiden, Don, Abby Callisch, and David Henley. "Graduate art therapy training within a school of professional art." Arts in Psychotherapy 16, no. 1 (1989): 21–27. http://dx.doi.org/10.1016/0197-4556(89)90034-8.

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42

AJADI, Michael Olaniyi. "Eclecticism Style in Ceramic Art Practices of Ife Art School." Journal of Education and Practice 5, no. 2 (2021): 45–58. http://dx.doi.org/10.47941/jep.630.

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Purpose: The study discusses Ife ceramic wares in tandem with the historical approach of the decorative patterns. It equally determines the origin of each style and how it moved and spread across the phases. The sequences of creative impulse and stylistic trends of ceramic practices in the art school from inception have not received scholarly attention in terms of the examination of the approaches towards the conceptions. The specific objective is to investigate the inception of eclecticism in the art school and circumstances behind the conceptions in order to reveal the contextual definitions

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43

Tollifson, Jerry, and Thomas A. Hatfield. "An Art Teacher in Every School?" Art Education 38, no. 2 (1985): 42. http://dx.doi.org/10.2307/3192846.

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44

Galbraith, Lynn, and Marvin J. Spomer. "Does Art History Go to School?" Art Education 39, no. 5 (1986): 10. http://dx.doi.org/10.2307/3192918.

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45

Indriyani, Irma. "Strategi Pengelolaan Mila Art Dance School." JURNAL TATA KELOLA SENI 6, no. 1 (2020): 19–32. http://dx.doi.org/10.24821/jtks.v6i1.4112.

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ABSTRAKPenelitian ini bertujuan untuk menganalisis strategi pengelolaan Mila Art Dance School, di mana Mila Art Dance School ini merupakan salah satu sanggar tari yang namanya cukup terkenal di Yogyakarta. Mila Art Dance School sendiri didirikan oleh salah satu seniman tari muda di Yogyakarta yaitu Mila Rosinta Totoatmojo. Mila Art Dance School berdiri pada tahun 2015 dan masih beroperasi hingga sekarang bahkan saat ini semakin banyak peminat untuk menjadi konsumen di Mila Art Dance School. Dalam kurun waktu 4 tahun, Mila Art Dance School bisa meluluskan 854 siswa. Metode yang digunakan pada p

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46

Crookendale, Carla-Mae. "The Art School and the Library." Art Documentation: Journal of the Art Libraries Society of North America 39, no. 1 (2020): 114–35. http://dx.doi.org/10.1086/709816.

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47

Arda, Zuhal. "Art instruction in pre-school education." Procedia - Social and Behavioral Sciences 1, no. 1 (2009): 150–53. http://dx.doi.org/10.1016/j.sbspro.2009.01.028.

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48

Kowalewska, Marta, Michał Jachuła, and Irena Huml. "The Polish School of Textile Art." TEXTILE 16, no. 4 (2018): 412–19. http://dx.doi.org/10.1080/14759756.2018.1447074.

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49

Михеева, Л., L. Miheeva, М. Джичоная, and M. Dzhichonaya. "School Room of World Art Culture." Primary Education 7, no. 1 (2019): 46–49. http://dx.doi.org/10.12737/article_5c5aa9f3ac7f31.96113555.

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The article highlights the work on the creation in the school office “World Art Culture.” The description of the content of eight proposed stands, which reveal the richness of the world artistic culture, is given. The article considers the peculiarities of using the materials of the exposition of the cabinet by the primary school teacher in the process of teaching the subject “Basics of the spiritual and moral culture of the peoples of Russia”, which makes it possible to enrich the knowledge of younger schoolchildren, expand their horizons, generate interest in world artistic values and the ne

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50

Cazeaux, Clive. "A Philosophy of the Art School." British Journal of Aesthetics 60, no. 4 (2019): 489–92. http://dx.doi.org/10.1093/aesthj/ayz047.

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