Modernism in Relation

In this lucid study and methodological tour de force, Rebecca Brown renders the words and symbols of KCS Paniker legible even as she champions the power of illegibility. Her analysis-deeply grounded in philosophies of language and power as well as archives and collections-offers new ways to understand artistic creativity. Ultimately, Brown's work stands as an incisive meditation on the techniques and very purpose of art historical writing.

-Karin J. Zitzewitz, Professor of Art History, University of Maryland, College Park

Rebecca Brown takes us on a wondrous journey through a single artist's creativity to reimagine modernism's relational geographies. This is an art history that is methodologically bold, at once perspicacious and poetic-a book to savor and think with.

-Monica Juneja, Heidelberg University, author of Can Art History Be Made Global? Meditations from the Periphery

In this searching and deeply self-aware book, Rebecca Brown offers a probing account of what she calls the "errant archive" of KCS Paniker-a body of work that resists neat organization yet insists on being remembered. Moving across his painting, publishing, and institution-building practices with rare critical intimacy, she illuminates how Paniker wove a distinctly South Indian cultural and intellectual sensibility into the very foundations of modern Indian art.

-Saloni Mathur, Professor of Art History, University of California, Los Angeles

This is not just a monograph on KCS Paniker, but a book that offers a lens onto the history of modern Indian art and its conversation with global modernism. At once poetic, it also narrates the cultural politics of the time while centering Paniker's oeuvre and its aesthetics.

-Parul Dave Mukherji, Dean, School of Arts and Aesthetics, Jawaharlal Nehru University

Rebecca M. Brown’s book is a close and searching look at one body of work by one artist—KCS Paniker’s capacious, intriguingly cryptic Words and Symbols series of paintings, made in Madras in the 1960s and 1970s—and an ambitious demonstration of seeing Modernism in Relation. Brown places Paniker’s paintings in relation to questions of writing and color, to his publishing and archiving, and to artists near and far, with special emphasis on Paniker’s conversation with the Swiss German prewar modernist Paul Klee. As Brown, reflecting on the form of her project, writes, “Critically astute monographs allow for a rich, complex unfolding of ideas, readings of works of art, and the underpinnings of art historical method.”

— Annie Bourneuf, Professor, Department of Art History, Theory, and Criticism, School of the Art Institute of Chicago