Pranlal patel biography books
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AHMEDABAD, Gujarat — A little over five weeks before his first exhibition in the United States, one of India’s first street photographers sat crossed-legged on a bed in his home in Ahmedabad, Gujarat, and pulled out one of his favorite photographs. It was an image taken in 1937 of women washing clothes on the banks of the Sabarmati river that cuts through Ahmedabad.
For Pranlal Patel, 104, perhaps Gujarat’s most celebrated photographer, the picture was remarkable because it contained nearly every shape imaginable.
“You can see squares, rectangles, and circles. You can also see people, animals, water, sky and earth,” Mr. Patel said, his voice rising with excitement.
For Lisa Trivedi, a professor of history at Hamilton College in New York who curated the upcoming exhibition of Mr. Patel’s photographs for the Ruth and Elmer Wellin Museum of Art, the photos are remarkable for another reason.
“At the time, most photography was indoor studio work, but Pranlal showed women in the public space, contributing to society and engaged in every day activities,” Ms. Trivedi said. “It was a revolutionary new way to show women, something rarely seen before in pre-World War II photography from India.&#x
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Refocusing the Lens: Pranlal K. Patel's Photographs of Women at Work in Ahmedabad
Abstract
About the Exhibit:
This exhibition features photographs taken by well-known Indian photographer Pranlal Patel. Depicting women at work in the homes, neighborhoods, and markets of Ahmedabad, India, in 1937, these images—many of which are on view for the first time—were commissioned by the Jyoti Sangh, a philanthropy dedicated to women’s advocacy, support, and vocational training organization. Lisa Trivedi’s research focuses on the seldom-explored history of women in the workforce in early twentieth-century India.
Refocusing the Lens also examines the early history of photography in India and the role of amateur photographers like Patel. Patel’s approach was noteworthy because he shot in the field rather than in the studio; the resulting images offer an unprecedented documentary view of Indian society. Furthermore, Patel focused upon a subject rarely photographed in India at this time: working-class women. Capturing ordinary aspects of these women’s lives and the enterprises through which they survived, the photographs are important as material products of both philanthropy and photography of the era. They are also important historical artifacts unto themselves, as they were conceive
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