One of the primary responsibilities of a gallery is to position the artist and its work outside the commercial market. It’s the relationship with non-market entities such as curators, museums, writers and critics which is essential.
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The first time when I visited Bombay as an artist I saw every nook and corner has an art gallery and was impressed till I was told; “Idiot all are not art galleries! All kinds of exotic shops are also called ‘Gallery’”.
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Bangalore is now seen as the third major art centre in India along with New Delhi and Mumbai: a city with scarcely an art market, or long history of professional modern art practice and few galleries. The Phantom Lady looks at the vibrant alternative art scene in the city...
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Galleries are the places where a work of art is presented in a supposedly neutral context for aesthetic appreciation in tranquility. In this ideal/idealistic definition what we fail to recognize is the ideological role of the galleries and their premises that comes to play a major role in the production of meanings, values and paradigms of monetary exchanges.
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In a country where art has been a part of life since earliest days of civilisation, professionally run art galleries came into existence post-independence.
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This brief essay on India’s National Gallery of Modern Art traces the early years of the institution from when it was set up in 1954. It was an important site for the art world as much as for the newly independent nation state declaring its commitment to modernity.
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The Calcutta Group was an artist’s collective that came together in 1943. From the early phase of the modern in Indian art this collective was involved in negotiating the issue of identifying a visual language (mostly in formal/ stylistic terms) that would neither succumb to the art school brand academism nor the prevalent alternative of the so-called ‘Bengal School’ patterns.
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Year 2010: Arguably the art capital of the country,Delhi has a plethora of art institutions. Artists studios,commercial galleries and even public spaces like malls now function as the locus of art making and display.
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Ram Kinkar Baij, a towering figure excavated the concerns of a world inhabited by people who at that point in Indian history lived in luminal spaces.
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It is refreshingly educativeto read art criticism that isalmost half a century old.Richard Bartholomew’scatalogue essay in 1961 onRam Kumar’s paintingsreveals the extent to whichthe late critic puts himselfinto the picture. The essayalmost reads like a letterto the painter—both in itsrather personal tone andslightly rambling and self indulgentnature.
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