Doctor of Philosophy, Women’s Studies, Texas Woman’s University, Denton, TX 2013- Present
• Gender and Agency in the Artistic Representation of Women (Tentative)
Master of Fine Arts, Visual Art and New Media, San Francisco Art Institute, San Francisco, CA 2010-2012
• Crimson Perennial Annal: Global Menstrual Taboos
Prof. Dewey Crumpler and Prof. Allan deSouza
• Honors Student and Runner-up Class Valedictorian
Post-baccalaureate Certificate, Visual Art, San Francisco Art Institute, San Francisco, CA 2009-2010
Bachelor of Fine Arts, Visual Art, The Savannah College of Art and Design, Savannah, GA 1999-2003
· Feminist Art Conference (FAC) Residency, Artscape Gibraltar Point, Toronto Islands, Canada. May 14- 24, 2016.
· Sanskriti Kala Kendra, Sanskriti Foundation, Anandagram, New Delhi, India. December 2006.
· Visiting Artist. Shilpigram Indigenous Artists’ Center Residency. Bastar, Maharashtra, India. 1995-1999.
Awards, Distinctions and Fellowships
· SEWSA 2015 Student Travel Grant. Center for Women, Gender, and Sexuality Studies at Florida Atlantic University. Boca Raton, FL. March 2015.
· TWU Graduate Student Scholarship ($2,500). Texas Woman’s University Denton, TX. 2013-2015.
· Graduate Valedictorian Speaker Nominee Award. San Francisco Art Institute, San Francisco, CA, USA. 2012
· MFA Fellowship Award. San Francisco Art Institute, San Francisco, CA. USA. 2010- 2012.
· Sanskriti Kala Kendra Residency. New Delhi, India. 2004.
· Dean’s List Award. The Savannah College of Art and Design, Savannah, GA, USA. Summer 2002.
· Dean’s List Award. The Savannah College of Art and Design, Savannah, GA, USA. Fall 2002.
· Student Artist Development. Shilpigram Indigenous Artists’ Center Residency. Bastar, Maharashtra, India. 1995- 1999.
· Emerging Artists of Thailand Award. National Cultural Commission of Thailand. Bangkok, Thailand. 1999.
Between 2005- 2009, I was conducting an independent study on acid survivors in Bangladesh. The goal of the project was to create a global awareness on the premeditated acid attacks that were in rise against women between 2003 and 2008. The study brought the voices of numerous survivors to the international public, through exhibitions, speaking at classrooms, and writing, all donations were made to the Acid Survivor’s Foundations of Dhaka allowing young women to get proper medical treatment. This 9-year project displays the scope at which I work, not only as an artist, a student scholar, but also an activist.
Working and living with acid survivors created a platform for developing future work on the issues related to violence against women in south Asia. My current interests lie on the historical representations of violence against women in Bollywood cinema ranging from rape to dowry murders, and the impact it has on modern India. As an artist, my goals are to contribute to the Indian art scene. As an activist my goals are to educate young girls who do not have the financial and social support to study in rural India.
On December 2012, India experienced a brutal gang rape of a young woman who was later given the title as “India’s daughter.” The debate that arose from the rape and murder of the young woman was based on whether violence is legitimized due to women’s lack of modesty being represented in the Westernization of media and Indian cinema. On the one hand many Indians saw the West- influenced modernization of India as an abandonment of ancient, traditional cultural values, and on the other hand the youth perceived modernization as a necessary path towards numerous freedoms, primarily for women. Keeping this narrative as a core question to examine, my present research explores the politics of representation of women and gender in art history, focusing primarily on Renaissance and Baroque art. The research explores the meaning of representation, the impact it has on people, the social climate that artistic representations can disclose, how artists, primarily female artists’ representations differ from that of male artists, and finally how is the question of gender and agency addressed through artistic representations.
· Govindnathan, Pallavi. “Acid Violence Against Women in Bangladesh.” Public
Culture: Society for Transnational Cultural Studies 22 (2010): 7- 15. Print.
· Paidipaty, Poornima. “Reconstructing Corrosion: A Conversation with Pallavi
Govindnathan.” Public Culture: Society for Transnational Cultural Studies. 22
(2010): 17- 23. Print.
· Govindnathan, Pallavi. Corrode: An Artist’s Response to Acid Violence in
South Asia. New Delhi: Roli Books, 2010. Print.
· New Knowledge in Transdisciplinary Dissertation Research in WGS: Moving from Institutionalization to Lived Practices. National Women’s Studies Association. November 2015.
· Challenging the Representation of the Devine-Whore in Bollywood Cinema Through the Emergence of Indian Indie-Cinema. Spring 2015. Center for Women, Gender, and Sexuality Studies. SEWSA conference. March 2015.
· Art, Activism, and Social Change: Tree Speech Art. Spring 2015. Guest Lecturer for Gender and Social Change classroom- Instructor Carla Wilson. Texas Woman’s University. Denton, Texas, April 2015.
· Transgressing Gender Based Violence Through Art and Activism. Fall 2014. Panel Presenter at NWSA 2014. San Juan, Puerto Rico. November 2014.
· Art, Activism, and Social Change: Activist Billboard Project. Fall 2014. Guest Lecturer for Gender and Social Change classroom- Instructor Sara-Ishii Downing. Texas Woman’s University. Denton, Texas, October 2014.
· Art, Activism, and Social Change: Clothesline Project. Fall 2014. Guest Lecturer for Gender and Social Change classroom- Instructor Sam Schmitt. Texas Woman’s University. Denton, Texas, October 2014.
· Women and Labor. Summer 2014. Guest Lecturer for Gender and Social Change classroom- Instructor Sam Schmitt. Texas Woman’s University. Denton, Texas, July 2014.
· Art and Activism: Rock Art as Public Awareness. Summer 2014. Guest Lecturer for Gender and Social Change classroom- Instructor Sam Schmitt. Texas Woman’s University. Denton, Texas, July 2014.
· Material Bodies Challenging Morality in Art. 2014 Student Creative Arts and Research Symposium, Denton, Texas, April 8, 2014. (Under Review)
· Creativity as Transgression of Gendered Boundaries in Women’s Studies. 2014 Student Creative Arts and Research Symposium, Denton, TX, April 9, 2014. (Under Review)
· Musical History of Devious Heroines in Bollywood Cinema- Guest Presentation. History of Jazz and Critical Studies. San Francisco Art Institute, San Francisco, CA, November 2012.
· Reversing the Gaze: Man As Object by Women’s Caucus for Art- Guest Presentation. Veiling, Revealing, and Creative Practice. SOMArts Cultural Center, San Francisco, CA, November 2011.
· Transcultural Circumstances Group Lecture. Diego Rivera Gallery. San Francisco, CA, August 2011.
· Hinduism Striptease: Religion and Cultural Misrepresentations. Kearny Street Workshop: Asian Artists Collective. San Francisco, CA, May 2010.
· Independent Researcher and Photographic Documentation. Women and Empowerment Through Land Ownership in Rural India. 2013.
· Independent Researcher and Photographic Documentation. The Pink Sari Gangs of India. 2013.
· Independent Researcher. Educational Awareness Project: Acid Violence in South Asia.
· Gender and Social Change: An Introduction to Multicultural Women’s Studies, Sections WS2013.01 and WS2013.02. Women’s Studies, Texas Woman’s University, Denton, TX. Fall 2015.
· Gender and Social Change: An Introduction to Multicultural Women’s Studies, Sections WS2013.01 and WS2013.02. Women’s Studies, Texas Woman’s University, Denton, TX. Spring 2016.
· Research Assistant for Dr. Claire Sahlin. Women’s Studies, Texas Woman’s University, Denton, TX. Summer 2015.
· Family Violence SOCI 5663, Sociology and Women’s Studies, Texas Woman’s University, Denton, TX. Summer 2015.
· Gender and Social Change: An Introduction to Multicultural Women’s Studies, WS 2013, Women’s Studies, Texas Woman’s University, Denton, TX. Fall 2013, Spring 2014, Summer 2014, Fall 2014, and Spring 2015.
· Family Violence and Sexual Assault, WS 4203. Texas Woman’s University, Denton, TX. Summer 2015. Dr. Linda Marshall.
Course Description: Family Violence and Sexual Assault. Family Violence and Sexual Assault examines the various forms of family violence and sexual assault with an emphasis on women as victims and as survivors. Theoretical explanations, research literature, treatment, and prevention will be studied in relation to child abuse, battering, incest, and sexual assault.
· Introduction to Multicultural Women’s Studies, WS2013. Texas Woman’s University, Denton, TX. Fall 2013- Summer 2015.
Course Description: Introduction to Multicultural Women's Studies as an interdisciplinary field and how gender, "race," class, nationality, sexuality, disability, and other identity categories shape human experiences. Examination of social institutions, norms, and practices for their impact on the status and roles of women; visions and strategies for social transformation.
· History of Jazz: Global Cultural Studies, CS-220-01. Critical Studies, San Francisco Art Institute, San Francisco, CA. Spring 2012. Dewey Crumpler.
Course Description: Jazz is one of the most dynamic musical forms to emerge in the 20th century. Its use of complex rhythms and musical ideas has influenced many other art forms such as painting, literature, and politics. This course will explore complex musical traditions that have contributed to the growth and development of jazz. Through weekly lectures, music presentations, and videos, this course will illuminate the impact that social and artistic movements have had on jazz music.
· Veiling, and Revealing: Screens, Canvases and Voyeurism in Western Art, ARTH-220-1. Art History, San Francisco Art Institute, San Francisco, CA. Fall 2011. Dr. Laura Fantone.
Course Description: This course explores the various ways in which the operations of voyeurism characterize the representational conventions of Western Art. Students will compare the uses of the canvas and the screen in 19th and 20th century visual arts, and will consider their relation to novelty and otherness. Drawing upon the methodologies of post-colonialism, this course will analyze the ways in which visual artists have used forms of veiling and covering to challenge classical notions of visuality such as realistic representation, hyper-realism, transparency, and immediacy. Topics will include the baroque’s obsession with draping and folds; the unveiling of new forms of beauty in industrialization and techno-culture; the discovery of “other worlds” (as in Orientalist paintings); the masking behind cameras of experimental filmmakers; forms of self-revealing in artists’ installations and body art; and the veiled female body as negating democracy and equality in contemporary debates on the politics of gender.
· Painting Culture, PA-208-1. Painting, San Francisco Art Institute, San Francisco, CA. Fall 2011. Dewey Crumpler.
Course Description: This course will focus on the material and iconographic forms that are particular to cultural groups located within Africa, Asia, and the Americas. The class will be divided into two sections: the first of these will feature slide lectures and video presentations that will provide students with a general understanding of the ways that the symbolic artifacts of the above-mentioned groups relate to ideas of environment, community and religious belief. In the second section of the class, students will develop paintings and drawings that will demonstrate a knowledge of and visual involvement with one or more of the aforementioned iconographic traditions. Examples of such demonstrations may take the form of traditional African cosmological diagrams or Indo-Tibetan Mandala forms. Students will also be encourages to pursue independent research that can integrate the work dine in this class with their understanding of contemporary visual practices.
· Trauma, Resilience, and Creative Practice, CS-301-1. Critical Studies. San Francisco Art Institute, San Francisco, CA. Spring 2011. Dr. Susan Green.
Course Description: The relationship between memory, context, power dynamics and time will guide our investigations into trauma, resilience and creative practice. What makes something traumatic? What roles do context and power play? Traumas contain threads of the personal, political, social, and cultural. How do we navigate this terrain? How are these dynamics and experiences performed, researched, written, and painted? Through films, literature, exhibitions, 2D work, installations, psychological and anthropological research, public art and theory, testimony and narrative, students will investigate the subtexts of the global reaches of trauma, how we attempt to make meaning of it, how we organize to resist its effects and proliferation and the role that creative practice plays.
· Representation of Gender and Agency in Italian Renaissance and Baroque Art
· Representation of Violence in Baroque Art
· Painting and Cultural Dialogues
· Representation of Violence Against Women in Bollywood Cinema
· Body as a Sex Object in International Films
· European New Wave Cinema and Women’s Identity (Russian Chernuka, French, and Italian)
· History of the Devious Heroine in Bollywood Cinema
· Feminist Performance Art as Transgression of Cultural Boundaries
· Representation of Women in American Film Noir
· Chernukha and Soviet- Russian Cinema- Focus on Sex Work and Poverty
· Hindu Mythology and Representation in Art and Culture
· Art and the Politics of Veiling in Muslim and Non-Muslim Nations
· Art, Activism, and Social Change
· Menstruation and Global Socio-Cultural Taboos and Restrictions
· Runner-up Valedictorian Speaker at San Francisco Art Institute. Conducting interviews with students.
· Designing catalogues, brochures, and book covers for UN Women, New Delhi, India.
· Creating and donating art for women’s conferences/ events for funding and discussion.
· Academic mentoring and advising for enrolling students in art institutes, and former students.
Solo Art Exhibitions
· Acerbic Drips. International Panel Lecture Series. Cornell Law School and AVON Global Center for Women and Justice. New Delhi- India and New York- United States. 2012.
· Spidey Meets Barbie: Breaking Gender Stereotypes Through Toys. Collaboration with artist Laura H. Kim. Swell Gallery. San Francisco, California. 2011.
· Hinduism Striptease. Kearny Street Workshop(Asian Pacific American multidisciplinary art organization). San Francisco, California. 2009- 2010.
Selected Group Art Exhibitions
· Feminist Art Conference Residency Open Studio Exhibit. Work Series: Historical Inequality: Iron Angels. Curated and Organized by Ilene Sova. Artscape Gibraltar Point, Toronto Island. Canada. 2016.
· Art, Education and Girl Power. Women of Color Art Gallery (WOCA). Directed and crated by Lauren Cross. Fort Worth, Texas. March 2014.
· Flying Fish. Work Series: The Barbie Revolution. Curated by Mido Lee and Hosted by Asian American Women Artist Association (AAWAA). San Francisco, California. 2012.
· Perennial Annal. MFA Graduate Thesis Exhibition. The Phoenix Hotel. San Francisco, California. 2012.
· Haraam. Third Strike: 100 Performances in the Hole. Performance collaboration with artist Nicole McClure. Curated by Justin Charles Hoover. SOMArts Cultural Center. San Francisco, California. 2011.
· Historical Inequality. Reversing the Gaze: Man As Object. Curated by Priscilla Otani. Women’s Caucus for Art. SOMArts Cultural Center. San Francisco, California. 2011.
· Inspecting the Self (Selected work from series Menstrual Taboo). Keeping an Eye on Surveillance. Performance Art Institute. Curated by Hanna Regev. Class collaboration: Prof. Allan deSouza. San Francisco, California. 2011.
· Erasing My Culture. One Size Fits All. Kearny Street Workshop. San Francisco, California. 2011.
· Transcultural Circumstances. Expression of Art Through an Interwoven Culture. Asian-American Artists Group Collaboration. Curated by Orlando Lacro. The Diego Rivera Gallery, San Francisco Art Institute. San Francisco, California. 2011.
*A complete CV with a full list of group exhibitions can be provided for further review.