It has been a momentous journey for Indian art from the by lanes of Hauz Khas village to swanky locations in luxury malls in the cities which dot the cultural landscapes of the country.
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I have, for several years, had excellent relations with galleries across the country. When I started collecting, blissfully unaware of who was who, I was guided by the Sarkar of CIMA and by Geetha Mehra and Usha Gawde at Sakshi. All four wonderful women to whom I am forever indebted.
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In 2007, riding the wave of the Indian art market, Mithu Sen, a young Santiniketan trained artist advertised a ‘Summer Dhamaka’. Select hundred invitees logged onto www.mithusen.com that redirected them to ‘Free Mithu’.
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What is fascinating about Europe is Europe’s lack of feeling a historical connection to the rest of the world, Okwui Enwezor told one of Holland’s biggest dailies in an interview in 2008.
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One of the most characteristic aspect of the current Indian gallery scene is the mixture of the notions of ‘commercial’ and ‘non-commercial’. Whereas in Europe these both categories are seen as fairly strictly separated from each other.
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I’m not sure if it was the multi-storied interiors of the space or the fluorescent red and yellow lights of its sign, but there was something very special about going to Tower Records for a teenager growing up in the Tri-state area around New York.
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In 1976 a group of three artists and one art critic co-wrote a seminal text arguing the virtual non-existence of a Brazilian art market was not to be celebrated as a sign of artistic freedom.
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Collaborative ventures between galleries and institutions have become an inherent function of the art world. While some gallerists have maintained an ongoing dialogue in this field since the gallery’s establishment, many institutions and galleries are entering this shared space.
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The art bubble has burst and does not look as though it will reappear anytime soon. The shallow, empty, pretentious art that was produced during the boom period has disappeared as have its purveyors
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February 26, 2080: Struldbruggian and valetudinarian have swiftly become the two adjectives most readily associated with contemporary visual art as it were. Although the mandarin-keepers of this rarefied atmosphere have adopted several well-intentioned, albeit spurious, strategies to carry out the much-needed resuscitation, thus far no approach has hit the ground running.
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