Talk:Vidya Dehejia

Vidya Dehejia

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My cv for your editors.

VIDYA DEHEJIA

560 Riverside Drive, Apt 21M New York, NY 10027 Over the past thirty-five years, I have combined research with teaching and exhibition-related activities around the world. Extensive field travel in South Asia, with visits to sites of importance in Southeast Asia, has given me first-hand familiarity with the art of the region. My background in classical Sanskrit and Tamil, and knowledge of a range of modern Indian languages has proved invaluable. My writings have incorporated translations of ancient poetry, and material from unpublished manuscripts, in order to illuminate an artistic milieu. I have explored at length the theoretical basis for the portrayal of visual narratives in the context of India’s sculpture and painting, and have examined issues of gender and colonialism. My most recent work has taken me in a different direction – to explore artistic agency through a study of issues relating to craftsmen, workshops, teams, stone, and tools. Over the years, my work has ranged from Buddhist art of the centuries BC to the esoteric temples of North India, and from the sacred bronzes of South India to art under the British Raj. Management and curatorial experience at the Smithsonian’s Freer and Sackler Galleries provided a broad mandate to convey the excitement of the field of South Asian art to non-specialist audiences.

PROFESSIONAL EXPERIENCE

Barbara Stoler Miller Professor of Indian Art 2002–present Columbia University, New York Provide undergraduate and graduate courses on South Asian art from the early Buddhist period to modern and contemporary art; direct doctoral candidates; departmental work as Director of Graduate studies; work with the Advisory Committee to raise funds for teaching lines and student fellowships. Director, Southern Asian Institute 2003-2008 Columbia University, New York Directed the University’s South Asia program across disciplines from Economics and Political Science to Art History and Anthropology; organized its distinguished lecture series and visiting scholar’s program; established the Institute’s reputation as the premier resource for education about South Asia Freer Gallery of Art and Arthur M. Sackler Gallery Smithsonian Institution, Washington, D.C. Acting Director (October 2001–May 2002) 1994–2002 Deputy Director & Chief Curator (June 2000–October 2001) Broad management responsibilities including policy planning with director and members of the board. Supervised curatorial departments, education, publications, conservation and scientific research, collections management, library and archives, exhibition coordination, as well as associate director responsible for departments of design, photography, building services, and information systems. Oversaw budget of $8.8 million and staff of 118. Dehejia-2 Associate Director & Chief Curator (1998–June 2000) Management responsibility for curatorial and education departments; accomplished strategic reorganizations of both departments. Raised $650,000 for two exhibitions of Indian art, and initiated development of a CD-ROM on China for third-grade students that won a MUSE award at AAM (American Association of Museums), and is now in use by 150,000 children in Fairfax County, VA. Curator of South & Southeast Asian Art (1994–March 1998) Responsible for acquisitions, exhibitions, research, publications, and public service. Columbia University, Department of Art History and Archaeology 1982–1994 New York, NY Associate Professor (1982–1994) Lecture courses on various aspects of the art of South and Southeast Asia, Masterpieces of Western Art, Masterpieces of Indian and Islamic art, seminars for graduate students, and supervision of doctoral candidates Guggenheim fellow and fellow of the National Endowment for the Humanities (1990–1991) Project: Visual Narratives. Discourse in Early Buddhist Art (published) Visiting associate professor, Noble Chair, Sarah Lawrence College (Spring term 1990) Seminar: Woman, Goddess, and Power in Indian Art Visiting associate professor, University of Chicago (Winter term 1989) Seminar: Buddhist Visual Narrative Senior Mellon fellow, Columbia Society of Fellows in the Humanities (July 1984–1986) Project: Saints of South India (published) Delhi School of Planning and Architecture New Delhi, India Professor (1973–1979) Lecture courses on Indian art history Fellow, Indian Council for Historical Research, New Delhi (1978–1980) Project: Yogini Cult and Temples (published) Fellow, Homi Bhabha Program, New Delhi (1973–1979) Project: Early Stone Temples of Orissa (published) University of Hong Kong, Dept.Extra-Mural Studies, Hong Kong Lecturer Courses on Buddhist Art of India and Hindu Art of India University of Sydney, Dept of History, Sydney, Australia Post-doctoral fellow 1973–1980 1970–1972 1968–1972

EDUCATION

• 1968 Ph.D. Cambridge University, England
• Dissertation: “Early Buddhist Caves of Western India” (published) Cambridge University Research Grant, 1963–1966
• 1968 M.A. Cambridge University, England
• 1963 B.A. Honours, First Class. Newnham College, Cambridge University, England Tripos in Archaeology & Anthropology (special areas: India and China)
• Hannah Floretta Cohen Award, Newnham College, 1963
• Sir Thomas Young Medal (Cambridge University) for “Outstanding distinction in the field of Oriental Studies,” 1963
• 1961 B.A. Honours, First Class. St. Xavier’s College, Bombay University, Bombay, India, in “Ancient Indian Culture”

PUBLICATIONS Books

• The Unfinished: Indian Stone Carvers at Work is the result of a collaborative NEH project conducted with Peter Rockwell, working sculptor and consultant of stone conservation. It investigates questions relating to stone and quarrying, tools and materials, the varying processes of working rock-cut monuments, the application of "the rhythm of construction" to unfinished areas of constructed monuments; and a variety of issues including the flexibility of the concept of “finish,” and attitudes towards the adaptation, alteration, and reuse of monuments. Forthcoming: Delhi, Roli Books, 2015
• 1 The Body Adorned: Dissolving Boundaries between Sacred and Profane in India’s Art, Columbia University Press, New York & Mapin Publications, India, 2009.
• 2 Delight in Design: Indian Silver for the Raj, Mapin Publications, India, 2008.
• 3 Chola. Sacred Bronzes of Southern India. London: Royal Academy of Arts, 2006. Catalogue essay “Beauty and the Body of God,” and all Catalogue entries.
• 4 The Sensuous and the Sacred: Chola Bronzes from South India, New York: The American Federation of Arts, 2002.
• 5 India through the Lens: Photography 1840 – 1911, Washington D.C., Ahmedabad, Cologne: Freer Gallery of Art and Arthur M. Sackler Gallery, Mapin Publishing, Prestel Verlag, 2000.
• 6 Devi, The Great Goddess: Female Divinity in South Asian Art, Washington D.C., Ahmedabad, Cologne: Arthur M. Sackler Gallery, Mapin Publishing, Prestel Verlag, 1999.
• 7 Indian Art. Art and Ideas. London: Phaidon, 1997, 1998, 2000, 2002. Japanese and Greek editions issued; French and German editions forthcoming.
• 8 Ed. Representing the Body: Gender Issues in Indian Art. New Delhi: Kali for Women, 1997.
• 9 Discourse in Early Buddhist Art: Visual Narratives of India. New Delhi: Munshiram Manoharlal Publishers, 1997.
• 10 Ed. Unseen Presence: The Buddha and Sanchi, Bombay: Marg Publications, 1996.
• 11 Ed. The Legend of Rama: Artistic Visions, Bombay: Marg Publications, 1994.
• 12 Art of the Imperial Cholas. (The Polsky lectures for 1987). New York: Columbia University Press, 1990.
• 13 Antal and her Path of Love: Poems of a Woman Saint from South India. Albany: SUNY Press, 1990.
• 14 Slaves of the Lord: The Path of the Tamil Saints. New Delhi: Munshiram Manoharlal, 1988.
• 15 Ed. Royal Patrons and Great Temple Art. Bombay: Marg Publications, 1988.
• 16 “Impossible Picturesqueness.” Edward Lear's Indian Watercolors. 1873–1875. New York: Columbia University Press, 1988.
• 17 Yogini Cult and Temples. A Tantric Tradition. New Delhi: The National Museum, 1986.
• 18 With Pratapaditya Pal. From Merchants to Emperors: British Artists and India 1757–1930. Ithaca,
• New York: Cornell University Press, 1986.
• 19 Early Stone Temples of Orissa. Durham, North Carolina: Carolina Academic Press, 1979.
• 20 Looking Again at Indian Art. New Delhi: Publications Division, Government of India, 1978.
• 21 Things of Beauty. New Delhi: Publications Division, Government of India, 1979. [A book on Indian art for children, to mark the International Year of the Child.]
• 22 Living and Dying: An Enquiry into the Enigma of Life after Death. New Delhi: Vikas Publishers, 1979.
• 23 Early Buddhist Rock Temples. London: Thames & Hudson, London, 1972.
• 24 Namakkal Caves. Madras: Tamil Nadu State Department of Archaeology, 1968.

Articles

• 1 `With Peter Rockwell, “A Flexible Concept of Finish: Rock-Cut Monuments of Pre-Modern India, Archives of Asian Art, 2011
• 2 With Richard Davis, “Addition, Erasure, and Adaptation: Interventions in the Rockcut Monuments at Mamallapuram,” Archives of Asian Art, 2010
• Dehejia-5
• 3 “Questioning Narrativity and Inscribed Labels: Buddhist Bharhut, Sannati, and Borobudur,” in Himanshu Prabha Ray edited, Sacred Landscapes in Asia: Shared Traditions, Multiple Histories, New Delhi: IIC - Manohar, 2007.
• 4 “Identity and Visibility: Reflections on Museum Displays of South Asian Art,” in Gita Rajan and Shailaja Sharma eds. New Cosmopolitanisms: South Asian in the US, Stanford: Stanford University Press, 2006.
• 5 “Divine Beauty: Revealed and Concealed,” Orientations, Nov-Dec 2006: 42-45
• 6 “The Very Idea of a Portrait.” Ars Orientalis, 28 (1998): 41-50.
• 7 “Reading Love Imagery on the Indian Temple.” In Love in Asian Art & Culture. Washington D.C.: Arthur M. Sackler Gallery, 1998: 96-113.
• 8 “Circumambulating the Bharhut Stupa: The Viewers’ Experience.” In Picture Showmen: Insights into the Narrative Tradition in Indian Art, ed. Jyotindra Jain, Bombay: Marg Publications, 1998: 22- 31.
• 9 “The Dominance of Space over Time in India’s Visual Narratives.” In Paradigms of Indian Architecture: Space and Time in Representation and Design, ed. G.H.R.Tillotson, London: Curzon Press, 1998: 80-106.
• 10 Entries on South Asia in Beyond the Legacy. Anniversary Acquisitions for the Freer Gallery of Art and the Arthur M. Sackler Gallery, ed, Thomas Lawton and Thomas W. Lentz, Washington D.C.: Smithsonian Institution, 1998: 160-175, 178-83, 186-203.
• 11 “Narrative Structure in Jagat Singh’s Ramayana: A Preliminary Study,” Artibus Asiae, 54 (1996): 303-324.
• 12 “Enduring Stereotypes About Asia: All Indian Art is Religious,” Education About Asia, I (1996): 5-9.
• 13 “Iconographic Transference between Krsna and Three Saiva Saints.” In Indian Art and Connoisseurship. Essays in honour of Douglas Barrett, ed. John Guy, Ahmedabad: Mapin Publishing, 1995: 140-49.
• 14 “Woman's Body: Site of Contestation.” In Meera Devidayal, Bombay: Cymroza Gallery, 1995: 1-3.
• 15 “Sculptures from Southern India in The Florence and Herbert Irving Galleries at the Metropolitan
• Museum of Art.” Orientations (1994): 44-53.
• 16 “Comment: A Broader Landscape.” In Sati. The Blessing and the Curse, ed. J.S. Hawley, New
• York: Oxford University Press, 1994: 49-54.
• 17 “The Heritage of Sri Lankan Art.” Asian Art (Summer 1993): 6-31.
• 18 “Aniconism and the Multivalence of Emblems.” Ars Orientalis 21 (1992): 45-66.
• 19 “The Collective and Popular Basis of Early Buddhist Patronage.” In The Powers of Art. Patronage in Indian Culture, ed. Barbara Stoler-Miller, New Delhi: Oxford University Press, 1992: 35-45.
• 20 “Narrative Modes in Ajanta Cave 17: A Preliminary Study.” South Asian Studies, 7 (1991): 45-57.
• 21 “On Modes of Narration in Early Buddhist Art,” Art Bulletin 72 (1990): 374—392.
• 22 “The Future of India’s Past. Conservation of Cultural Heritage.” In India Briefing 1990, Boulder, San Francisco, Oxford: Westview Press, 1990: 131-157.
• 23 “Stupas and Sculptures of Early Buddhism.” Asian Art (1989): 7-32.
• 24 “Bodh Gaya and Sri Lanka.” In Bodhgaya: The Site of Enlightenment, ed. Janice Leoshko, Bombay:
• Marg Publications, 1989: 89-100.
• 25 “Southern Indian Art.” In South and Southeast Asian Art in the Norton Simon Museum, Pasadena,
• special issue of Orientations (1988): 34-47.
• 26 “The Persistence of Buddhism in Tamilnadu.” In A Potpourri of Indian Art, ed. Pratapaditya Pal,
• Bombay: Marg Publications, 1988: 53-74.
• 27 “Sambandar: A Child Saint from South India.” South Asian Studies, 3 (1987): 53-71.
• 28 “Brick Temples of India: Origins and Development.” In From Indian Earth: 4000 Years of Indian Terracotta Art, ed. Amy Poster, New York: The Brooklyn Museum, 1986: 43-56.
• 29 “Royal Temple of the Eighty-one Yoginis.” In Dimensions of Indian Art. Pupul Jayakar Seventy, ed. Lokesh Chandra, New Delhi: Agam Kala Prakashan, 1986: 93-98.
• 30 Paul F. Walter.” In American Collectors of Asian Art, ed. Pratapaditya Pal, Bombay: Marg Publications, 1986: 205-223.
• 31 “The Sri Lankan Collection of the Los Angeles County Museum of Art.” Arts of Asia (1985): 80-89.
• 32 With Gary M. Tartakov. “Sharing, Intrusion and Influence: The Mahisasuramardini Imagery of the
• Calukyas and the Pallavas.” Artibus Asiae, 45 (1984): 287-345.
• 33 “Yogini Temples of India: A Preliminary Investigation.” Art International, 25 (1982): 6-29.
• 34 “Early Activity at Amaravati.” Archives of Asian Art, 23 (1969/70): 41-54.
• 35 “Early Buddhist Caves at Junnar.” Artibus Asiae, 31 (1969): 147-166.

FILM PROJECT

Developed concept for India: Past Forward: Purva Uttara, an eight-part television film series on India’s heritage, sponsored by Marg Publications, that aired on India’s Star TV and Discovery channels in 1997 to celebrate fifty years of India’s independence. Served as host and narrator for three segment

EXHIBITIONS

• 2008 Delight in Design: Indian Silver for the Raj. The Wallach Gallery, Columbia University, New York. With catalogue of the same title published by Mapin Publications, India.
• 2006 Chola. Sacred Bronzes of Southern India. With catalogue. London: Royal Academy of Arts. Jointly curated with John Eskanazi.
• 2002 The Sensuous and the Sacred: Chola Bronzes from South India. With catalogue. American Federation of Arts, New York, jointly with Arthur M. Sackler Gallery, Smithsonian Institution,
• Washington, D.C. Exhibition traveled to Dallas Museum of Art and Cleveland Museum of Art.
• 2000 India Through the Lens: Photography 1840–1911. With catalogue. Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C.
• 1999 Devi: The Great Goddess. With catalogue. Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C.
• 1998 Sakhi: Friend and Messenger in Rajput Love Paintings. With brochure. Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C.
• 1988 “Impossible Picturesqueness.” Edward Lear’s Indian Watercolors. 1873–1875. With catalogue. Wallach Gallery, Columbia University, New York.
• 1986 From Merchants to Emperors. British Artists and India. 1857–1930. Cocurated with Pratapaditya Pal. With catalogue. Pierpont Morgan Library, New York, and Los Angeles County Museum of Art.
• PROFESSIONAL ACTIVITIES & AWARDS
• 2012 Padma Bhushan. Awarded by the President of India for exceptional contribution to art and education
• 2011-2015 General Editor, Marg Publications, Mumbai
• 1998 Getty Museum Management Institute, Berkeley.
• 1997–2000 Member, Board of Advisers, Center for Advanced Study in the Visual Arts, National Gallery, Washington D.C.
• 1992 Organized and led an NEH Summer Institute for college and university teachers titled “The Art of India: Sacred and Secular” at Columbia University.
• 1990 Hettleman Award for “Outstanding achievement in teaching and service to the Columbia University community.”
• 1986–current Reader for a range of university presses and scholarly journals, and reviewer for competitive grants and awards.

PUBLIC LECTURES AND SYMPOSIA

I have given numerous public lectures and participated regularly in symposia organized by a variety of institutions, universities, and museums in the United States and in India, including:

• Indira Gandhi National Centre for the Arts, New Delhi The National Museum, New Delhi
• The Prince of Wales Museum, Bombay
• National Centre for Performing Arts, Bombay
• India International Centre, New Delhi Ashmolean Museum, Oxford
• Newnham College, Cambridge, UK Ancient India & Iran Trust, Cambridge, UK Asia Society, New York
• The Metropolitan Museum of Art, New York
• The Cooper-Hewitt National Museum of Design, New York The Brooklyn Museum, Brooklyn
• Cleveland Museum of Art
• The Art Institute of Chicago
• The Harvard Art Museums, Cambridge
• The Nelson-Atkins Museum, Kansas City
• Dallas Museum of Art, Dallas
• Walters Art Gallery, Baltimore
• Los Angeles County Museum of Art
• New Orleans Museum of Art
• Asian Art Museum, San Francisco
• Freer and Sackler Galleries, Washington DC
• Royal Ontario Museum, Toronto

PERSONAL

Birthplace: Bombay, India U.S. citizen since 1994 Married to Jay Dehejia; two sons (59.94.11.203 (talk) 10:24, 5 January 2016 (UTC)).

Hello, Vidya Dehejia, and welcome to Wikipedia. Thank you for providing your CV; however, we cannot include it in the article as currently formatted. It would have to be re-written in prose and substantially condensed, as Wikipedia usually does not host resumes or CVs. For ease of reading, only summarized details that would be of importance to the average reader should be included in an article. Generally, writing autobiograpies is discouraged due to conflict-of-interest issues, so I think the best course of action is to leave your suggestion on this page and see if any editors are interested in incorporating the information provided into the article. Altamel (talk) 22:50, 12 January 2016 (UTC)

She wasn't proposing it as the article text. I've formatted it for some sort of readability, and incorporated the list of books. We could do the same with the exhibitions, probably. Chiswick Chap (talk) 14:47, 3 February 2022 (UTC)

Excellent editing and informative.tks

Arun Goyal 122.180.179.68 (talk) 08:17, 19 April 2024 (UTC)