Abstract
This article explores some ways in which even positive publicity may entail the censorship of the persons and things being publicised. It focuses on the case of the nationally celebrated Indian artist Mario Miranda, some of whose productions reflected his attachment to his home-state, Goa. Since the 2000s, a fraction of his oeuvre has been used as a means of branding and individuating the region for a tourist clientele. I discuss the disjuncture between a limited repertoire of displayed images and a much larger archive of the artist’s work. As Miranda’s illustrations are made ever more widely available in the form of souvenirs and ‘public art’, the images themselves are bowdlerised and their political content evacuated. This repertoire of Miranda’s work, created in the likeness of the tourism industry against which he fulminated, has the retroactive effect of authoring the author and circumscribing the extent to which he is known.
Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
