Interview: Indian Art Market Has Potential

"Many important artists have long been overlooked, and are waiting to be properly recognised for their contribution to art history. We need to continue to further the global conversation around Indian art, ensuring that their work is measured and considered against the work of international artists, not only in a South Asian context," elaborates Manjari Sihare-Sutin, Head of Sale, Modern and Contemporary South Asian Art, New York in an exclusive e-mail interaction with Art Scene India

Vasudeo S. Gaitonde, Untitled

Sotheby's upcoming annual auction on 16th March in New York, commemorates the 25th anniversary of Modern & Contemporary South Asian Art sales at Sotheby's. It will feature a selection of rare, never-before-seen works, with 95% of works emerging from private collections. 

Led by two 1960s paintings by pioneer Indian abstractionists Nasreen Mohamedi and Vasudeo S. Gaitonde, the auction also features an important work by Indian National Treasure artist Raja Ravi Varma; a selection of sculptures led by modernist works by Amarnath Sehgal and Adi Davierwalla; a curated selection on Neo-Tantra. including works by Biren De, G. R. Santosh and more; and a diverse selection of works from the Bengal School of Art as well as Modern and Contemporary art from Pakistan.

NM: How has last year been for Sotheby's in terms of modern and contemporary Indian art sales?

MSS: We are feeling optimistic. We are adding new clients into our fold, coming from India, the US, China, and more. We are also witnessing new artist records set in each sale.

Look closely at the results of our recent sale in Mumbai, and you’ll see that the sell-through rate was strong (and even a little higher than in our inaugural sale in 2018), and we saw a real depth of bidding; almost 60% of lots sold for prices over their high estimates.

Our sales in the summer in London last year saw particularly pleasing results of over £7.5 million - the highest sale total achieved for a sale of Modern & Contemporary South Asian Art at Sotheby’s London in a decade. The auction was led by Bhupen Khakhar’s landmark Two Men in Benares (1982) which established a new record for the artist at £2.54 million / $3.2 million (£450,000-600,000), more than doubling the previous auction record. There’s continued vitality in the market, and a promising future.

Sayed Haider Raza, Prairie,

NM: Given the economic conditions, what are your strategies to strengthen sales? And your future plans in India?

MSS: The Indian diaspora comprises one of the largest and geographically diverse populations, because of this geographical spread, there is an inherent stability in the Indian market which metaphorically we liken to a four legged stool with one leg in India and others in North America, Europe and Asia. It means that the market is not beholden to the economies or politics of one particular region in order to thrive.

When we are building our auctions, we look to source fresh to the market works which will to appeal to a wide range of collectors at all price points. For instance, our next sale in New York features a spectacular array of works with storied provenances - most fresh to the market or unseen for at least a generation. 95% of the sale is sourced from private collections. This is an opportunity for collectors to discover hidden gems - artworks which have never exhibited anywhere before but are being unveiled by Sotheby’s for the first time. The array of works have been selected to appeal to collectors of every stripe, with each work carefully chosen from the diverse corpus of South Asian Art created in the Twentieth Century. Estimates range from just $500 to $1,000,000.

Sotheby’s holds three dedicated sales of South Asian Art across the world each year, and special one-off auctions for exceptional single-owner collections, such as The Guy and Helen Barbier Family Collection which we offered in London in June and online sales such as the one in September last year.

 Raja Ravi Varma, Untitled (Swami Vishwamitra in Meditation)

NM: Could you comment on the huge disparity in art prices of Indian and Western artists, what could be or needs to be done to narrow the gap?

MSS: There is still so much potential for the Indian art market. It is a relatively new Market - just 25 years old. Many important artists have long been overlooked, and are waiting to be properly recognised for their contribution to art history. We need to continue to further the global conversation around Indian art, ensuring that their work is measured and considered against the work of international artists, not only in a South Asian context.

All images courtesy Sotheby's

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Interview: Albrecht Behmel - This is the Era of the Artist

In a discussion with Art Scene India, Albrecht Behmel, the well known German artist, novelist, historian and award-winning playwright shares his views on the art market, the future of art criticism and the relevance of marketing in the Internet age.

NM: How would you briefly describe the art scene in Germany?

AB: There is a lot of talent around here. Great people like Christian Awe with a unique vision. I love to follow careers such as his from street art to major creator. There are great art-dealers and collectors here, like Jenny Falckenberg and Frieder Burda.
So that side of the scene is healthy and well. Galleries are in trouble as everywhere else with the internet taking their place more and more every year. Just imagine what Google did in the last years to make all the museums of this world accessible online using big data. I know that personal relations are what keeps a gallery alive but I am not sure most of the galleries are aware of how massive the pressure will become.

NM: What inspires you as an artist?

AB: Two things: nature and the movies. I am a huge fan of both. I live in the country with my wife, two kids, a brother in law and a mother in law. It is brilliant when an extended family can live together in harmony. Nature is near, there is a lot of wild life. that inspires me. And I love the movies, so I did a series of super heroes whose outlines I filled with silhouettes of other heroes, monsters, villains, victims etc. That is fun! I especially love the Marvel Series and a Star Wars series I created. I can totally lose myself in these paintings. On another level I am inspired by colors that make me happy, powerful deep red, massive yellow or turquoise and so on.

NM: What is your take on art critics? Do you think their relevance is waning or on the rise in the contemporary context?

AB: Well, If you mean professional art critics, I am not sure they have much of a future in the era of social media. Instagram, Pinterest are such powerful platforms for artists to create their own tribes that I am not sure how traditional criticism can survive without major adaptation. Yet I don’t really see this happening. I am convinced that in the future they will lose much of their power to “fanboy99” who comes out of nowhere but manages to entertain better because he understands how the internet really works. Long articles in newspapers are surely not the way of this century.

NM: How important is it for artists to remain current on trends and stay updated on global markets in general?

AB: It is 100% vital to understand the market if you depend on the market, i.e. if you want to sell. Funnily, having said that, prices are not the main thing here at all but marketing is. I always study the latest developments, I go to as many art fairs as I can manage, I read a lot and I follow auctions. That doesn’t mean I have to change my work or my style. It means that I try to understand what makes other artists remarkable. There is so much to learn.

NM: What would you advise upcoming artists?

AB: Feel good about charging the right price, don’t undersell, and know your numbers! That’s about the only advice I can give because as far as the art is concerned there is so much talent out there, so much passion and innovation! This is the era of the artist. It has never been so easy to become a creator as it is today. Everything a young artist needs today is totally in reach, all the knowledge, the exposure, the materials - most of which is free! But if you want to make a living, or better if you want to thrive: make sure you are not cheap but expensive.

Albrecht was born in 1971, studied arts and humanities in Heidelberg and Berlin, Germany and founded his own painting technique The Magic of the Swarms in 2012. This style is also called abstrahistic because it merges figurative shapes into abstract forms. A frequent and generous donor to international charities, Albrecht has recently supported Evelina Children’s Hospital in London, Al Madad Foundation London, Dolphin Aid, Rotary Clubs and university clinics in Germany. Albrecht co-authored international bestselling books like “The Successful Kid” as well as 20 other titles, novels, non-fiction, games, etc. He lives in the German Black Forest not far from France and travels a lot. 

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Art News: Presentation on "The art market and the Bangalore visual art scene"

"The art market and the Bangalore visual art scene" at BIC on Thursday, 28th May, 2015 at 6.30 PM.

Bangalore International Centre

(A TERI Initiative)

cordially invites you to a Presentation on

The art market and the

Bangalore visual art scene

By

Nalini Malaviya

Well-known Art Consultant, Writer and Blogger

On

Thursday, 28th May, 2015 at 6:30 pm

Tea will be served at 6.00 pm

RSVP

Bangalore International Centre

Phone: 98865 99675

Venue details

Auditorium,

Bangalore International Centre

TERI Complex, 4th Main, 2nd Cross, Domlur II Stage,

Bangalore – 560 071

---------------------------------------------------------------------------------------------------------

About the Presentation

An orientation to the visual arts scene in our city, the presentation will provide an overview of the art market in the Indian context with a look at gallery functioning and some of the factors involved in pricing of art. It will include tips on buying art, and on displaying artworks and maintaining them to prevent damage. The art market will be explored further through the art scene in Bangalore, and will look at some of the public and private spaces in the city that one could visit to view art exhibitions, learn about art and buy art. The session will conclude with a brief mention of select Bangalore based artists, who have made significant contributions through their work.

About Nalini Malaviya
Nalini Malaviya is a Bangalore based art consultant, writer and blogger. She has been writing for the media since 2003, and has been an art columnist for Financial Times (Delhi and Bangalore) and Bangalore Mirror. Nalini writes primarily on visual arts, but has also written on health and lifestyle. She has contributed to Times of India, Femina and several other publications including art magazines and catalogs. Some of her prefatory essays for art catalogs are 'Irreverent Gene', curated for Crimson Art Gallery, 'Feeling Absence' a photography show by Shibu Arakkal, ‘Icons in our Midst’ a group show at Artspeaks India, New Delhi, ‘Sounds, Resonance and Imagery’ on musical drawings by Suresh Nair, and several of Yusuf Arakkal's catalogs and books.
An occasional fiction writer, Nalini has published short stories as part of anthologies, such as, The Shrinking Woman, The Curse of the Bird and Bhelpuri. She publishes www.artsceneindia.com, a popular blog cum Ezine featuring art news, events and articles. The website functions as an artist resource and also promotes artists. Currently, she is working on creating an eBook from her published articles.

Framing: Choosing the Right Frame for a Painting

Many readers find framing a challenge and wonder how to best frame a painting. Here are a few points to keep in mind while choosing the frame. It is important to choose a good quality frame which will not only enhance the look of the painting, but will also provide adequate support to it. These days most paintings come with a frame – when you buy one from an artist or a gallery, but these are generally a simple and a basic wooden frame. Very often, people prefer to change the frame according to their interiors. In fact, in some instances it is better to not frame the painting at all, such as when the canvas is mounted on a 2” or more of stretcher frame, or when the painting continues on the sides of the canvas. Adding a frame to the latter will spoil the beauty of the painted sides.

In case of line drawings or black and white works one can go for a simple black frame which will give it a sleek and elegant finish. A plain or a slightly textured wooden frame will suit drawings and sketches the best. The width of the frame can be chosen according to the size of the artwork.

Art on paper is usually displayed behind glass, and if necessary one can double mount them to make them appear larger. And, now that there is an additional distance between the painting and the frame, a slightly ornate option can also be used. However, do ensure that it does not clash with the colours of the painting, nor overwhelms it. The colour of the mount can be derived from the colours in the painting itself, so that new colors are not introduced in the scheme of things. However, the frame can be natural wood, dark wood or black in colour. It is important to choose a frame that will not dominate the painting, for instance, if you add a heavy embellished frame to a brightly coloured work, it may give it a cluttered look.

Oil paintings, for instance, portraits look elegant with ornate frames, but again care must be taken that the center of attention does not shift from the painting to the frame. It is not advised that oil paintings be mounted with a glass front, but they can be varnished when completely dry.
A frame that is darker in colour than the wall shade helps to delineate the space and creates a greater impact. Wide frames, for instance 4” to 6” in width, can be used to make smaller artworks prominent. These will also make them larger and more suited for bigger wall space.

Finally, always go to a good framer, who has experience in dealing with expensive artworks – the gallery or the artist can point you to one. The quality of the hardware used in framing is equally important, and can, in fact, affect the life span of the painting.

(Updated: Published earlier in Bangalore Mirror)

Investing in art

24 JUL, 2011, 10.11AM IST, NALINI S MALAVIYA,ET BUREAU

Investing in art needs some research

With reports in the media focusing primarily on the merits of investing in art and making it appear as an attractive option for all investors, it raises a lot of questions for investors who are attracted to art as a financial investment instrument. Art can undoubtedly give huge returns in the long term, but there are many layers to it, which may not be immediately evident to nouveau buyers, but are nevertheless present and hence require a healthy understanding of the workings of the art market.

It is important to consider various aspects related to investing in art for instance, the risks associated with it, its liquidity and also how it fares against other investment assets. It is inadvisable to consider art from a purely financial investment angle; after all, it is one of the few (such as antiques and collectibles) options which has a ‘decorative’ side to it. It would therefore be rather inappropriate and superfluous to override the aesthetics and visual content of art.

One should consider investing in art only after allocating funds to conventional assets such as stocks, real estate and gold. Also, consider art as a long-term proposition and keep in mind that it may take some time to sell it off when necessary.

Most people who have made a lot of money through art are those who bought works at low prices by artists who would have then gone on to establish themselves in a big way later on. However, it is important to realize that not every artwork will appreciate considerably in the future - prices are likely to increase with time corresponding with the artist’s career but not all will show a significant change or a dramatic graph. This implies that the element of risk is probably high when buying artworks priced in the lower bracket range. Art which is priced higher and is done by established artists is a safer option in terms of investment, but requires a larger outlay from your part. It is also essential that as a buyer or investor you have some knowledge of art and understand the dynamics of the market to an extent.

Investing in art needs some research

24 JUL, 2011, 10.11AM IST, NALINI S MALAVIYA,ET BUREAU

With reports in the media focusing primarily on the merits of investing in art and making it

appear as an attractive option for all investors, it raises a lot of questions for investors who are

attracted to art as a financial investment instrument. Art can undoubtedly give huge returns in

the long term, but there are many layers to it, which may not be immediately evident to nouveau

buyers, but are nevertheless present and hence require a healthy understanding of the workings

of the art market.

It is important to consider various aspects related to investing in art for instance, the risks

associated with it, its liquidity and also how it fares against other investment assets. It is

inadvisable to consider art from a purely financial investment angle; after all, it is one of the few

(such as antiques and collectibles) options which has a ‘decorative’ side to it. It would therefore

be rather inappropriate and superfluous to override the aesthetics and visual content of art.

One should consider investing in art only after allocating funds to conventional assets such as

stocks, real estate and gold. Also, consider art as a long-term proposition and keep in mind that

it may take some time to sell it off when necessary.

Most people who have made a lot of money through art are those who bought works at low

prices by artists who would have then gone on to establish themselves in a big way later on.

However, it is important to realize that not every artwork will appreciate considerably in the

future - prices are likely to increase with time corresponding with the artist’s career but not

all will show a significant change or a dramatic graph. This implies that the element of risk

is probably high when buying artworks priced in the lower bracket range. Art which is priced

higher and is done by established artists is a safer option in terms of investment, but requires

a larger outlay from your part. It is also essential that as a buyer or investor you have some

knowledge of art and understand the dynamics of the market to an extent.

(Published in Financial Times)

Art in Home Decor

1 MAY, 2011, 06.03AM IST, NALINI S MALAVIYA,ET BUREAU

Buying art as an investment option

Now that the recession is considered to be behind us, people are once again looking at various investment options. Real estate, gold and the stock markets are taking precedence as investment avenues. Many are investing in their dream homes and are willing to spend anything between Rs 50 lakhs to Rs 1.5 crores, while others are buying their second or even third houses. There are people keen on doing up their homes to the best of their ability and are willing to spend substantial amounts on the interiors. As part of this process, homeowners are increasingly considering original artworks as an essential element of decor.

It is noticed that in such cases the prime focus is on purchasing a work of art which fits in well with the space and the interiors, rather than be driven by a purely investment motive. Although, this is a positive trend and must be encouraged, what would work better is if the buyers choose art with a right amount of emphasis on aesthetics , and at the same time consider a few points, which can contribute towards building up an art portfolio in the long run.

While buying art, you can consciously opt for original artworks (instead of reproductions or prints) by emerging artists, students or established names depending on the budget available. Drawings, limited edition prints such as etchings or serigraphs, watercolours and photographs are some of the options which are priced lower than oils and acrylics on canvas . Canvas works by students and young artists are also likely to be more affordable in comparison to paper works by senior artists.

Most people tend to buy art according to specific colour themes or motifs in an effort to coordinate with the existing decor, but this may not always be the right approach to adopt. When buying, the emphasis should always be on the quality of the artwork, while keeping other aspects in mind.

Essential to understand markets while investing in art

13 MAR, 2011, 05.27AM IST, NALINI S MALAVIYA,ET BUREAU

For those who are looking at buying art, it is important to tread cautiously at this point in time and do a thorough background check before investing large sums of money in it. One does not want to repeat the same mistakes which were made prior to or during the boom phase. What is positive is that there is a lot of interest in art, and there are many collectors and buyers who would like to invest in art. Yet, there is a slight hesitance due to past experience , which may not have been pleasant.

One of the best ways to go about it is to empower yourself to be able to make the right judgment about artworks, artists and prices. Therefore, it only makes sense to learn more about how the art market functions, the factors that influence and affect prices, how to choose the right gallery to buy from and most importantly , how to ensure that what you are buying is at the fair market price.

One of the things that were very common a few years ago was the trend that prospective buyers, essentially young professionals with disposable income, would approach art galleries with a specific amount of say, Rs 5-10 lakhs and request them to suggest artists or to even create a portfolio. The drawback with such an idea is that although a gallery of repute would ensure that your money is invested safely with appropriate buyback options, flyby-night operators would be bound to take advantage of such an offer.

Today, it would be wiser to either approach established, reputed galleries or professionals, or to research as much as possible before buying. This way, the responsibility of decision-making is in your hands, which is not only prudent but also enhances your involvement in the whole process.

(Published in Financial Times)

Buying art

There is no denying that there is a lot of interest in art these days. There are a number of new entrants in the form of galleries, dealers, curators and of course artists on the scene. Also, there are a number of people now who are buying art for the first time and find themselves at a loss when it comes to deciding about the artwork itself. They find themselves wondering what to buy, where to buy from, is the pricing fair, while facing a hundred other dilemmas.

One of the most important things when it comes to buying art is to make sure that you always buy from credible sources. It is imperative to set aside a budget and determine whether you are looking at buying art as a one time option or are you considering making art a part of your investment portfolio. In the latter case, you might be looking at buying several pieces spread out over a longer period of time. Very few people indulge in impulsive buys, unless the work is really affordable, but even then it helps to set aside an amount dedicated to art. In case, you are buying art to diversify your investment portfolio it might be advisable to consult a financial or investment advisor who is knowledgeable about art.

If you are visiting an art gallery either to buy or just to look at art, you need not be intimidated by the staff or the gallery ambience and make sure you ask all the right and relevant questions which can help you garner information regarding the artwork, the artist and his/her antecedents. Incidentally, people are a lot friendlier now than they were earlier, making it easier for the buyer. It is also perfectly normal to not make an on the spot judgment but to come back with an informed decision.

The track record of the artist for the last five years at the minimum can offer some insight into his/her price growth and overall demand. However, if you are in doubt then do not hesitate to take expert help, someone with the right credentials and who you can trust with your money is a good advisor.

(Published in Financial Times)

Changing profile of art buyer

In the olden days, which some would say were the 'good old days', people who bought art did so either because they had a passion for it or to help out a friend. The last thing on their mind during those days was to make money out of it. Then, in the late nineties, it was evident that art could be seen as a viable financial investment.

That insight played a huge role in altering the mindsets of buyers and collectors, and also in changing the dynamics of the art market significantly. Buyers realised they could make a quick buck by buying and selling in quick succession, which was amply aided by the booming economy. This trend lasted till the recent recessionary period, when it became clear that just as any other market which had grown too fast too soon there were huge gaps in infrastructure and systems.

In the meantime, it had become fashionable to collect art or to be seen as a patron of the fine arts, and again, the fast-growing economy acted as a catalyst in supporting luxurious lifestyles. Art was a conversation piece and adorned the homes of all those who could afford it.

Then there was a phase where there were a number of art funds in the market catering to a clientele that was not interested in art, but only in the dividends that it could offer. However, the recent economic downturn has been an eye-opener of sorts, in many ways.

There was abundant disappointment and disillusionment, especially for those who had entered the business of buying and selling art without understanding either the art or the dynamics of the market. But it may have contributed towards a more aware and knowledgeable collector and investor base, and overall, in the establishment of a more mature market. Today, loyal collectors are continuing to buy art with a renewed focus on quality. There are a few investors in the field.

They are treading cautiously and short-term investors are wary of making the same mistakes again. The young, upwardly mobile professional is still interested but not completely convinced or confident. For all practical purposes this continues to be a transition phase and the next few months where activities will increase may help in determining how the situation unfolds.

(Published in Financial Times)

Art exhibitions gather momentum in the art market

It is a delightful season for connoisseurs, as there are a number of art exhibitions happening all over the country, especially in the Capital. Most exhibitions are group efforts, either curated or gallery collections that are offering a wide range of contemporary art to the discerning buyer. However, it is interesting to note that there is plenty of overlap in the artists between the various shows.

Most galleries are now opting to play it safe. Their focus at the moment is on the middle bracket that is considered to be a safer option compared to new and upcoming artists. This is not surprising given the recent trend where art prices went through a major downfall during the economic recession. Incidentally, modern artists and other established artists are not as much in the spotlight for the simple reason that their prices are quite beyond the average buyer.

Spoilt for choice, the buyer or investor is not complaining. To look at it this way, it offers a wider choice to the buyer as the same artist's work is available at several venues in the same city or across cities, simultaneously or within a short period of time. On the flip side, most works from the same series tend to look similar, and there might be very little difference between the works that are available even at separate venues or cities.

The emphasis now is on salability and galleries are doing their best to ensure that the works are not only saleable but also the artists are reliable names from a long-term perspective. The loss in confidence that was seen earlier needs to be addressed. It has to be re-instilled in the buyer and investor, and most reputed galleries are doing their best to make art an attractive option once again.

However, there is a possibility that overexposure could have a negative impact and could lead to buyer fatigue as well. The onus lies not only on the gallery, but also with the artists and curators.

(Published in Financial Times)

Drawing essence of thought - The Power of Line

(By Nalini S Malaviya)

Noted artist Yusuf Arakkal presents an exhibition of drawings The Power of Line – a show curated by him that displays about 130 works. Reluctant to accept his role as a curator, Arakkal reveals that the show was conceptualized about a year ago, and although in the initial phases the plan was to include a few select artists, as time progressed the list grew from 50 artists to the present 75, who are now participating in it. The whole process was set in motion when he came across a few of his own drawings done many years ago. He then invited eminent and emerging artists from across the country to participate in this show dedicated exclusively to drawings.

The exhibition endeavors to encapsulate the flow and evolution of drawing over time, regions and generations. “Most artists don’t like to work with a suggested theme; therefore the only brief that I gave them was in terms of size. They were free to give me any drawing from any phase of their career,” he explains.

A strong believer in the power of drawing as an independent medium, and superior to any form of visual art, Arakkal believes that it is the essence of thought, which is instantly translated through a line drawing. He feels, “A painting is an elaborate process, where the essentials get lost along the way and unwanted elements may creep in.”

Arakkal religiously practices the discipline of drawing every single day without fail even when he is traveling. He elaborates, “It took me some time to realize that the most important aspect of almost all visual applications is drawing. The basic structure of painting, sculpture, architecture, engineering and all that connected to visual expressions; is drawing.” He fondly recalls the days, when as a child he used to draw with pieces of charcoal behind the kitchen wall - most of those pictures were inevitably of cars! And, of the driver looming large over his territory!

Interestingly, an etching by Laxma Goud has been included to display the connect between graphics and drawing, as the artist is a well known graphic printmaker. The show is dedicated to FN Souza and KK Hebbar, both great artists of our times.

In his curatorial note Arakkal expresses, “While many of these creations are done as a guide to the final work, more often it is these drawings that in itself reincarnates as the final work of art. It is the power of those lines created in an inspirational moment which becomes the basis for the emergence of a great work in its final identity.” The results are there to see - the exhibition presents a wide spectrum of minimalist drawings, a few made with paint and brushes, and some even mixed media works. A few images here and there may strike a discordant note, but overall there is a cohesiveness that reiterates the curatorial intent.

(The exhibition continues at Galerie Sara Arakkal till July 31)

(Published in Bangalore Mirror)

A cinematic experience

(By Nalini S Malaviya)

Shaheen Merali was in town last week for the preview of the art exhibition Cinema Verite Redux which he has curated for Gallery Sumukha. The show features works by seven national and international artists, including the Bangalore based Ravi Kumar Kashi. Merali is a curator and writer, currently based in London and Berlin, where, from 2003-8, he was the Head of Exhibitions, Film and New Media at the Haus der Kulturen der Welt, curating several exhibitions. This year he has curated The 11th Hour, an exhibition of contemporary art from India/diaspora in Beijing and The Stalking of absence (vis-à-vis Iran) in Tokyo.

For Cinema Verite Redux, Merali modified the exhibition space to present an innovative display which is not often seen in the city; here he explains the concept behind the exhibition and talks about how the perception of Indian art has evolved over the years.

Artist: Charly Nijensohn

NM: This is the first time that you

have curated a show for a Bangalore gallery, how has the experience been?

SM: The experience of working with professionals in Gallery Sumukha has been precise, wonderful and an asset for working within an international setting. Bangalore itself has a wonderful sense of itself, and its ambition that seems to be gaining greater velocity within the visual arts in terms of the provision of high quality exhibition making.

NM: What were your selection criteria in choosing the artists/artworks?

SM: My selection always remains the same in making exhibitions- if a work moves my spirit and creates a sensual affinity to the work, its presence, its processes and its place in the history of art- I tend to hold onto it - as an image, as an experience and a place of communication- when the right moment arrives, a platform that can work for the (art)work, then I select it oft that moment.

NM: What is ‘Cinema Verite’ and how has it been presented through the artworks?

SM: Cinema Verite is a way of locating and recording the world, a use which has specific qualities that differ from other methods of recoding or documenting the subject. It chooses to be in proximity to the subject and a sense of uncluttered and more direct relationship therefore mediated by a lack of technology, which itself can create a distance. It is some of these and its other qualities that I use metaphorically to create a curatorial intention for this exhibition.

NM: From your observation and experience, what are the main differences in the art scene in Bangalore/ India and Berlin or London?

SM: A vast amount of difference- Bangalore has less then twenty odd spaces for the visual arts- London in contrast well over five hundred. The sheer infrastructure difference produces a vast difference in the way culture is disseminated, beyond that there are too many obvious differences, in the differences in the production of under graduate and post graduate students, art fairs, museums and the provision of studio facilities that harbour and enhance artistic praxis.

NM: In your opinion how has the perception of Indian art changed in the last decade, amongst people abroad especially non-Indians?

SM: On the whole the perception of art practice on the Indian community as a whole has very limited impact lets say in comparison to the growing relationship to film and sports culture. Within this limitation there are a few individuals who have been vocal in attempting to champion its place within the contemporary way India should and could be seen. The flurry of activity on Indian contemporary arts has started to be less present now as there is a vast fragmentation of the artists’ works within the system and therefore less evident as Indian and more as individual artists.

(The exhibition continues till July 30 at Gallery Sumukha)

- published in Bangalore Mirror

Entitlement

Title of an Artwork

(By Nalini S Malaviya)

Have you stood before an untitled painting and wondered what it was? Most viewers find it difficult to relate to a painting when it does not have a title, especially when there is an absence of recognizable elements in it. For instance, if it is an abstract work predominantly based on the play of colors, it may become difficult to decipher the intent of the artist.

So what does a title do? It provides a contextual reference giving pointers to the meaning and purpose of the artwork. It gives a point of reference to the viewer to build his or her response and observations around it and helps in understanding the theme or the subject better. An interesting title adds substance to the painting and helps in recalling the work. It also makes the job of cataloging and documentation easier.

However, it is common to come across works that are untitled, especially when the artist does not wish to provide that reference point intentionally and would like the viewer to interpret it freely. But, yes, there are instances where the absence of title is a result of the artist not being able to arrive at a suitable one either due to the complexity of the work or lack of imagination. Incidentally, having a cryptic title or one that is completely unrelated to the art may defeat the purpose completely.

Usually titles are added once the work is complete and a crisp and clear title can make the viewer more comfortable and involved. La Gioconda by Leonardo Da Vinci is perhaps the most famous painting ever, but it is better known as Mona Lisa and the title brings instant recognition. Would you be able to relate to Michelangelo’s David, Rodin’s The Thinker or Claude Monet’s Water lilies (a series of paintings), if they were untitled! It is difficult to have the same recall value for unnamed works. Joan Miro said, “I start from something considered dead and arrive at a world. And when I put a title on it, it becomes even more alive.”

Yet, there are several paintings that were done, particularly during the abstract art movement that were deliberately left untitled, leaving it to the viewer to interpret it according to his or her own sensibilities and experiential framework. For instance, Jackson Pollack painted several canvases by dripping paint over them and these were left without a name consciously, but instead they were numbered.

(Published in Bangalore Mirror)