Master strokes

Dear Friends,

An older post written last year on an artist who impressed me a lot, Balaji Ponna ! I had forgotten to share it on my blog.

It has been a while since someone has impressed me on the Indian Contemporary Art scene. In July last year I curated a show of five young artists called “Collective Metamorphosis” for Bestcollegeart.com as all their works touched a chord in me. Besides that, last year, I also liked Paribartana Mohanty’s oil-on-canvas works and Deepjyoti Kalita with his kinetic installations.


This has been quite a downhill year overall for the Contemporary Art world in India, I look at auction catalogues and none of the established Contemporary artists are selling. I have also looked around for younger artists who’ve turned out exceptional work but have not seen too many on the horizon.


So this year, I’d come up empty-handed in my quest for an artist who would really make an impression on me. I had visited some of the younger galleries such as Latitude 28 and Project 88 that have over the years introduced me to some quite exceptional artists. But no-one caught my eye in a significant way.


I’ve been keeping an eye on the works of Balaji Ponna for over two years and was lucky to catch his solo show — Looking not is not seeing — at The Guild Art Gallery in Mumbai. Suddenly I had a feeling that I had found someone whose works I wanted to see more of.


Ponna’s art is witty, has a satirical edge and he uses the medium of painting to convey very profound messages.


His expert brush commands and the layers he painstakingly creates are amazing. He has a great hand and his use of colour is exquisite. His paintings are all finely finished and are accompanied by a line of text at the bottom — which adds to the work’s significance and the viewer’s experience.


I liked all of Ponna’s works in the show but one which stood out for me was Silence please... Smile please... Sincerity please...!!! depicting a photographer taking a group shot of a group of politicians. First he says: “Silence please,” and then “Smile”. Then comes the request “Sincerity please!!!” with three exclamation points asking the politicians not to merely to pose for the photograph for publicity but to also show some sincerity when doing so.

Silence Please...Smile please...Sincerity please..!!

Also, I was impressed with his work: “Birds express what people can’t!!! In this work, he depicts the statue of a political leader with bird droppings splattered all over it. It’s a satirical take on the feelings many people now harbour for politicians in the wake of the massive corruption cases that we hear about daily. Taking this forward, he also had a work of a politician on a sandalwood funeral pyre. The work is aptly titled “They are cremated on the bed of sandalwood...to avoid their stinking past”. Obviously, Balaji’s take here is that corrupt politicians and leaders have the money, so they can afford a sandalwood cremation.

Balaji Ponna's Birds express...What people can't!!!

The entire show is impressive with depth of thought and content on display. Ponna is able to infuse socio-economic commentary into all his paintings. A lot of artists want to convey one point but end up painting something that is quite different. Ponna succeeds where others have failed.


Then look at “We make a lot of ‘action painting’ daily..”. This is a comment of a different kind that compares art and less exalted workers like farmers in the fields. Jackson Pollock, one of the most influential artists of our time, threw tar on canvas and that became one of the important paintings of our time. This was called Action Painting and it refers to an artistic style in which the artist freely lets go and unleashes emotion — without too much thought or reflection. Ponna draws a comparison with farmers who spray seeds or manure like that every day on the fields without getting any financial rewards or being recognised for their work. Hence the title, “We make lot of ‘action painting’ daily..”.

Ponna's We make lot of 'action painting' daily is an oil-and-soot on canvas

Ponna captures the current mindset and mood of people well with his satirical works. This is a commentary on the times we live in.

To my mind, he could be a new star in the making. His treatment of colours, the shaded hues and the picturisation is better than most of the artists who are today seen as leading lights on the art scene. And the best part is that the pricing of his works is sensible with most of the works priced between Rs 1 lakh and Rs 3 lakh. For this quality and size, the prices are not exorbitant. Watch out for Ponna. He offers a take on the world that we live in — painted with heart and soul.

Kapil Chopra is Executive Vice President of Oberoi Hotels and Resorts.He writes a blog on collecting and investing in Indian Contemporary Art at www.indianartinvest.blogspot.com.He also writes for The Telegraph Newspaper in the Sunday magazine " Graphiti". In Delhi, he writes for "The Mail Today " Newspaper and the "First City" Magazine. He is also the mentor to India's leading online art magazine, The Wall at www.thewallartmag.com.

Dear Friends,

I have been not updating this blog for a long time.

The reason is that I have been busy doing my core job which is running hotels for The Oberoi Group and that left little time for me to indulge in my passion of writing about Indian art.

Also, the fact that just writing a blog about art news was not enough to contribute comprehensively to the art world, I needed to do much more.

Not much has changed over the last few months, except the fact that the Indian art market continues to grind lower with every passing day !

As the speculative buzz dies down in the Indian art space, we need to rebuild this space. The art collecting frenzy is now dead and actually it is a great time to start collecting art as values are still reasonable.

How do you build a culture of collecting and appreciating when Indian art does not even have basic news coverage. Most of the art magazines come out only once in 4 months, so the show in summer is being reviewed in the autumn !

With the private museums of Anupam Poddar and Kiran Nadar setting the tone for a larger non institutional support for the Arts, The Wall is a humble attempt to present art news without the jargon and bring in transparency for further growth of the Indian art space.

The Wall comes to you EVERY month on the 1st day of the month and also will always be FREE !

Enjoy being on The Wall or just download it and share with your friends. 50 pages of art news,lifestyle and some also good hotels to enjoy the art life.

The Ipad version of The Wall and even the blackberry version will be out soon and will enable to you read the magazine, anytime, anywhere !

As you read The Wall, do not forget to click the tab of "Back Issues " to read all the previous 5 issues.

Also, whenever there is a show that we like going to, watch it on The Wall Art TV, now you don't need to be in the city to watch all the at shows and openings, The Wall Art TV gets it closer to you within 24 hours of the show opening !

Missed being at Art Basel and Documenta in Kassel, no problem, read all about them with extra images only at www.thewallartmag.com, we are bringing the art world closer !


Cheers

Kapil


Kapil Chopra is Executive Vice President of Oberoi Hotels & Resorts.He writes a blog on collecting and investing in Indian Contemporary Art at www.indianartinvest.blogspot.com.He also writes for The Telegraph Newspaper  and in Delhi, he writes for "The Mail Today" Newspaper and the "First City" Magazine. He is also the Founder and Mentor of The Wall Art Magazine, India's leading art magazine available at www.thewallartmag.com.

India Art Collective - India's Online Art Fair - A perspective

Dear Friends,

I am posting on the blog after a long time !

Well here is my frank take on The Indian Contemporary Art scene and more importantly on India Art Collective, India's first online art fair which opened to the public recently.

I surfed the entire online fair and found it indeed a great initiative in the Indian art scene.We had the VIP online art fair in the US and although the VIP art fair had its share of technical glitches, it still has impressive galleries in its upcoming second edition.

Coming back to the India Art Collective, Sapna Kar who has done some key charity auctions around the country and Swapnil who I know from her earlier days at The Oberoi, are the two people who introduced me to the concept. I liked the idea a lot because I firmly believe that the future is online. Speak to any important gallery with top end programming and most of the business gets conducted online.

Dinesh and Minal changed the game of online art sales with maybe the only successful predominantly art auction website, Saffronart when others had failed internationally to sell art this way. The success of Saffronart inspired many and I have always used their auction archives to research price movements in the Indian art space.

What Sapna and her team have done is brave by any standards, they have not only convinced the galleries to join in an online art fair but also tried to introduce price transparency in a market which has no clue on pricing to say the least. I see so many same pieces by artists, same sizes, nearly the same quality and the galleries have differential pricing !

But that should not discourage you from surfing the art fair online.So, take out some time and travel through a journey of Indian Contemporary art as nowhere will you get a range as diverse as this in terms of genre or pricing points.

All, I can say is that there are some great deals available from the galleries who have got it right and then there are some galleries who have just no clue and the works are priced incorrectly.

I liked quite a lot of shows online, my favorites are Gallery Ske and Vadehra Art gallery, nice works and it made me go back again to have a look.

It is important that galleries and artists learn that if they sell 2 works in a year, then that is not the true value of their work and in a transparent medium like this they maybe tempted to price higher until unless you are an established artist or gallery and completely secure about your price.

So do no hesitate to ask for a discount, send an email or make a call !

Overall, very refreshing and a very nice initiative, so do log in NOW !


Cheers


Kapil


Kapil Chopra is Senior Vice President of Oberoi Hotels & Resorts.He writes a blog on collecting and investing in Indian Contemporary Art at www.indianartinvest.blogspot.com.He also writes for The Telegraph Newspaper in the Sunday magazine " Graphiti" every fortnight. In Delhi, he writes for "The Mail Today " Newspaper and the "First City" Magazine.

Collective Metamorphosis curated by Kapil Chopra at Nature Morte,New Delhi

Dear Friends,

Well, after a successful opening of The Oberoi, Gurgaon which opened in April and kept me busy for the last 6-8 months, I am back on the art scene with even more enthusiasm.

The hotel has already made into the the nominations for "Hotels to watch out for" for the World's best new hotel awards to be announced in Las Vegas in August.

In these 6 months absence from the art scene, bestcollegeart.com an art initiative supported by me has grown from strength to strength and now sold over 200 works in 10 months.

The aim for the initiative was to remove two key bottlenecks in collecting contemporary art which was price and access, so price was a key point and access was that you look at the work in high resolution from over 700 artists and have the work shipped to your home.

The idea was to have people collect art and even gift it to each other, anything that increases the collector base in this country!

So here we are, celebrating the first anniversary of Bestcollegeart.com with my first show as a curator and opening at one of India's most prominent art galleries "Nature Morte" called Collective Metamorphosis which opened on the 23rd of July at 7 PM.

Some details of the show and my opening notes for all the readers of this blog, please do visit the show as the show is on till 1st of August, everyday from 11 AM to 6 PM except Sundays.......

I am a collector but not a curator!

I start with this line as it reflects the philosophy behind this show. I am a collector, I love Indian Contemporary Art and believe it has enriched me in more ways than one. I am not a curator but deeply concerned with what is happening in the world of Indian Contemporary Art.

I believe we need to make art more accessible both in terms of price and ease of access. This will not only encourage artists but also attract many more individuals to engage and collect art.

This was one of the key reasons for establishing Bestcollegeart.com, an art initiative in which we gave an opportunity to every artist to load his best 5 works and sell to collectors. Today with over 700 works loaded and over 180 artists, Best collegeart.com is India's largest art initiative and has sold over 200 works in its 10 months since inception. All works expire in 6 months so the content is always fresh and you can buy online to have it delivered to your home.

Peter Nagy gave the initiative a head start last year when he curated the opening exhibition "The Present is Now" which opened to rave reviews.

"Collective Metamorphosis" was a title which took a long time for me to decide. Finally, I titled it so because I knew all the artists displaying in this show for over a year. We had spoken to each other, discussed the inspiration behind the works, their personal motivation, agreed and disagreed on many points in this journey. In this entire interaction, we contributed to each other's learning and enriched ourselves as artists and a collector. Collective Metamorphosis is our journey through the trials and tribulations of Indian Contemporary Art and our take on the art that you will see.

My only brief to all the artists was to do what they do best and not confine them with a theme, as a theme can sometimes restrict. I believe that when 5 distinct individuals with their own unique approach to art will present the works of passion that they have created, there will be a linkage which will then come through on its own.

Paribartana Mohanty was first seen in a major show at Bestcollegeart.com where his Oil on canvas works were picked up by collectors even before the show started. Paribartana picks up his characters from people around us and then presents his own interpretation of them. The characters come out from the canvas with hues of black and dark shades in the background. The oil on canvas works are powerful, well executed and haunting in their own way, never fading from your memory.

Deepjyoti Kalita epitomises the influence of Baroda school of art to me, challenging the boundaries and pushing the envelope with each work. He does wall mounted installations and kinetic works, so each work has significant movement and the effect on the viewer is much more than a static painting. His characters are generally caught up with a choice that they need to make in life. The works always create a disbelief when they are viewed by collectors as he tends to surprise with lighting and kinetics.

Kumar Kanti Sen quit a lucrative job heading the design function for a top company and followed his passion for art. He is one of the most passionate and committed artists I have seen and someone who experiments continuously with all the mediums. His paper works are vibrant, have a flaming intensity and draw you towards them. I have always felt a certain energy in his works and in parts I feel like the characters he draws so meticulously are on fire.

Gopal Samantray has a take on the rapid urbanisation where cities are now expanding beyond the boundaries and infringing on forests and living spaces of animals. In his works, the animals come into urban spaces as their natural habitats are eroded by urban spaces. He paints a satirical image of leopards and tigers coming out of the forests and into our homes for no fault of theirs.

Tauseef Khan has worked his way up, installing some of the best shows for some of the biggest names in the world of Indian Contemporary art and still not losing that fire within to paint a new landscape. He paints images of Delhi's monuments and gardens seen through a wine glass, a comment on how we view our culture and heritage. The approach to his works is refreshing and the paintings are distinctive.

I am just a collector and someone who appreciates the finer things in life which includes working for The Oberoi Group. I have learnt a lot in my journey through the world of Indian Contemporary Art and enjoyed putting this together.

I hope you enjoy viewing this show at Nature Morte till 1st August or online at bestcollegeart.com.

Cheers

Kapil

Kapil Chopra is Senior Vice President of Oberoi Hotels & Resorts.He writes a blog on collecting in Indian Contemporary Art at www.indianartinvest.blogspot.com.He also writes for The Telegraph Newspaper in the Sunday magazine " Graphiti" every fortnight. In Delhi, he writes for "The Mail Today " Newspaper and the "First City" Magazine.

Lasting Art Impressions of 2010 !

Dear Friends,

Here are the 3 artists who impressed me the most in 2010, they are unique and distinctive in their own way and at values which are reasonable. Do check them out as they make it to my top picks for 2010. This is a copy of the article published in The Telegraph newspaper's Sunday magazine "Graphiti" and reaching close to a million readers.Comments are welcome !

As another year draws to a close, I sit back and reflect on the artists who impressed me the most in the last 12 months.

They all come from different backgrounds and different cities but they have one thing in common; the intensity and drive to do something different. They’re all unique and distinctive in their approach.

The first time I saw the works of Deepjyoti Kalita was at Latitude 28 run by Bhavna Kakar, who still holds the record for showing at least one artist every year who impresses me with his work and style. Kalita obtained his Bachelor’s in 2008 from the Faculty of Fine Arts, Baroda, and followed it with a Master’s in Sculpture from the institution two years later and won several awards when in college.

Kalita, who was part of First Look 2010, does what I call wall mounted installations — the works hang on a wall like a normal painting but have moving images. And he works with an electronic engineer to complete them.

I was most impressed with the image of a man on a bench moving between a gas mask and a man with a typewriter in a glass jar. At the click of a button, the man moves as does the light behind him. The work is stunning in its visual appeal and yet its message of being caught in a situation and unable to decide is haunting. I also like his other works, the key being his use of technology to convey a message and at the same time working with traditional watercolours and outlines. I was most impressed by the amalgamation. Large scale works from him, sized at a minimum of 3ft by 5ft with all the circuitry, were priced between Rs 1.5 lakh to Rs 1.8 lakh.

The Incompetence Of Being Complete by Deepjyoti Kalita

Another artist who caught my eye was Paribartana Mohanty. I was told about his works by Peter Nagy from Nature Morte who was curating a show for Bestcollegeart.com and scouting for some great fresh talent. He ended up with seven top picks and they all made it to his record-selling show The Present is Now on Bestcollegeart.com, an online initiative for great art at reasonable prices.

When I first saw the works I was impressed by the fact that they were all very intense and oil on canvas which is rare nowadays as you’ve to paint layer by layer and wait for the paint to dry. All six works in the show sold before the show opened, taking me back to the 2007 days when works would sell before the exhibition formally opened. The difference here was it was happening for someone who was virtually unknown and only due to the brilliance of his work which was spotted by a top curator.

Mohanty was then featured as an artist to watch out for by art critic Johny ML in his Sandarbh residency. While he was there, he was declared the artist of the year by FICA and won India’s top art prize. That award gave him a three-month residency to hone up his skills in Switzerland and a solo show at Vadehra Art gallery. Watch out for him — he’s one of the most impressive artists that I have seen in recent times.

Paribartana Mohanty’s work Bandwala, Then And Disco

Another artist to look out for is Saad Qureshi, based in London. He finished from The Slade School of Fine Art with a Master’s in painting. Qureshi shot to fame as he was among the six finalists for the reality TV show by Charles Saatchi, chosen from thousands of applicants. London’s Aicon Art Gallery, managed by the very experienced Jag Mehta, spotted Qureshi’s talent before he became well known and he had a solo again with Aicon post his reality TV success in London called Disappearing in Yesterday.

Saad is exceptional in his treatment but the painting which impressed me the most from his solo show was Via Dolorosa which shows railway tracks set in a barren landscape that disappear into the distance. They fade away and the imagery used with Urdu inscriptions between the railway tracks gives quite a contrasting feel — soft dialect in a hard landscape. He also uses texture to great effect and the subtlety of his work is breathtaking. Again a body of work which makes you ponder as there are no answers — but you see what you perceive.

Via Dolorosa by artist Saad Qureshi

So these are the three artists to keep in mind all working in different mediums — from wall mounted kinetics to deep oil on canvas — all ending with subtle touches and taking you on a journey which promises more but can’t be seen!

Kapil Chopra is Senior Vice President of Oberoi Hotels & Resorts.He writes a blog on collecting and investing in Indian Contemporary Art at www.indianartinvest.blogspot.com.He also writes for The Telegraph Newspaper in the Sunday magazine " Graphiti" every fortnight. In Delhi, he writes for "The Mail Today " Newspaper and the "First City" Magazine.

NDTV Interview on " The Indian Art Scene "

Dear Friends,

This is the link of a discussion on The Indian Art Scene on NDTV. It was a great discussing the intricacies of the Indian art scene with Pankaj Pachauri- Anhor for Money Matters on NDTV, Amit Sarup - President- Religare Art, Swapan Seth-Collector,Roshni Vadehra- Vadehra Art Gallery.

This discussion happened a couple of months back and is a 45 minutes show, so do have time on your side when you are viewing this !

Cheers

Kapil Chopra is Senior Vice President of Oberoi Hotels & Resorts.He writes a blog on collecting and investing in Indian Contemporary Art at www.indianartinvest.blogspot.com.He also writes for The Telegraph Newspaper in the Sunday magazine " Graphiti". In Delhi, he writes for "The Mail Today " Newspaper and the "First City" Magazine.

Greed Factor !

Dear Friends,

Well, my day job of running hotels is keeping me busy from posting more often on the blog, but here is my latest article in The Telegraph newspaper reaching over a million readers. It is critical to be careful lest you make a wrong decision in buying contemporary art at ridiculous valuations.

Also, it is quite disappointing to see this attitude from leading artists where works are being churned out like a factory, reminds me of real estate companies launching a new apartment complex every month. Such short term approaches are not healthy for the overall state of an already fragile market. So enjoy your art but be careful !

As autumn comes and brings cooler temperatures with it the activity in the art world picks up and it’s now time to take stock. We’ve just had the September autumn auctions by all three major auction houses — Christie’s, Sotheby’s and Saffronart.

With all asset classes, including real estate and stock markets, being close to all time highs, a lot was expected in the art market considering the excess liquidity sloshing around and the renewed interest in the modern masters like Raza, Souza and Husain seen in the past six months. However, the results were tepid for both the Modern and the Contemporary Art market categories.

For me, that was not surprising at all. In fact I was amazed that the party in the Modern Art market lasted as long as it did. If one was to combine all the Souza works in the three auctions, over 23 per cent did not sell and 28 per cent just managed to sell at the lower end of the estimates. So 51 per cent of all Souza works were not really attracting attention, signalling that the large supply in the last few months had finally taken a toll.

Last Howl from the Cross by F.N. Souza (1963)

The speculators in the Modern Art market are exiting and the private art museums bought what they had to buy so the market slowed due to buyer fatigue. You will still get an auction record when an exceptional work by a modern master hits the market but for more mediocre works, it will be a tough climb from here.

The common thread visible in all the auctions was the fact that most of the works were selling at the lower end of the price band given by the auction houses, so either the estimates were too aggressive or the buyers were just not keen on picking up mediocre works.

The contemporary art market was up 32 per cent in volume as compared to June 2010 but that was helped by the fact that six Subodh Gupta lots were up for auction and they contributed 50 per cent of the entire value of all auction lots. In terms of total value, the sale value was still lower by a whopping 73 per cent compared to the record values of autumn 2008.

an untitled work by Subodh Gupta (2005)

Frankly, I don’t see any recovery in the auction market for the top ten Indian Contemporary artists looking ahead. The reasons are simple. Most of the top Indian Contemporary artists that feature in the auctions with exception of one or two artists have no clue about art valuations and are pricing on the higher side driven by that old enemy of value — greed.

Also the contemporary art market for the so-called top artists is functioning like the real estate market that I see in the Delhi suburbs of Gurgaon and Noida. There is a new launch every week by the same developer who wants to milk the cow before it gets too late and the tide turns.

Why I make this comparison is simple. If you are a passionate artist, driven by quality, how can you possibly churn out three solo shows in three months in different countries, flood the market with supply, keep your prices high and still expect to sell? What you’re creating is just a factory which with the help of studio assistants is churning out art without any soul and trying to rake in the bucks. Most of our top artists are now doing exactly this, so there is a solo show every month and a couple of group shows in the middle.

The artist may benefit by selling more in the short term and so does the gallery owner who is happy with his commission on selling the work. Both of them have forgotten the collector who has everything to lose even if he buys one work from the exhibition as the prices coupled with so much supply will ensure that he loses money on every purchase.

Only T.V. Santhosh and N.S. Harsha in my top ten artists list have current values that are still below auction prices which means that if you buy a T.V. Santhosh work at Rs 40 lakh for a 6ft by 4ft canvas you are assured of a better price in the auction. In the other cases, except for these two artists, you would most likely end up a financial loser if you ever have to sell the work and that too by a good 30 per cent to 40 per cent.

T.V. Santhosh’s Scars of an Ancient Error-I (2006)

Someone needs to correct this and knock some sense into artists’ pricing. Otherwise my advice is to just save your money for some cutting-edge art by some very talented young artists instead of buying factory-made art with just a name and a fancy signature.

So in the coming months, go around some galleries or browse the net for some great quality art. You want art that is reasonably priced and will give you aesthetic pleasure besides appreciating over time.

Kapil Chopra is Senior Vice President of Oberoi Hotels & Resorts.He writes a blog on collecting and investing in Indian Contemporary Art at www.indianartinvest.blogspot.com.He also writes for The Telegraph Newspaper in the Sunday magazine " Graphiti" every fortnight. In Delhi, he writes for "The Mail Today " Newspaper and the "First City" Magazine.

Paradise Lost

Dear Readers,

My latest article in The Telegraph, Sunday edition reaching over a million readers, comments as always are welcome. Do log on to www.bestcollegeart.com, an initiative supported by me among others. We believe it gives the power to every artist to reach out to an aspiring collector and it is not for profit ! More on that in the next post ! I love Veer Munshi's latest show on Kashmir, maybe a bit too apt for the current developments in Kashmir !

When it comes to the creativity, I believe no place in India is as synonymous with art as Calcutta — the history, heritage and culture of the city are all redolent of art. Some of the most important galleries which started supporting Indian art long before people really began buying it, like CIMA, have been based here. But for the last few years, a lot of Contemporary Art events and also some of the most important shows have not been happening in the city. However, that looks set to change — especially with significant art initiatives like the Kolkata Museum of Modern Art (KMOMA) coming up in the city.

Shrapnel-Detail from Chamber, an acrylic on hand made paper pasted on board, by Veer Munshi

Other harbingers of a pick-up in activity are that India’s only gallery selected for the prestigious Frieze Art Fair in London, Experimenter, is from Calcutta. And I take heart about the art scene in the city from looking at the programming of key galleries like CIMA, Akar Prakar, Aakriti and see how everything is changing.

Also, what intrigues me is that a senior artist who has spent nearly all his painting career in Delhi and is originally from Kashmir, should go to Calcutta for his monumental solo show. But then, that’s the intrigue and mysticism of Calcutta in the art world. Veer Munshi, opens his show on August 3 at the Birla Academy of Art and Culture, curated by Ranjit Hoskote.

I had the opportunity to preview Veer’s show and you can see that the slightly older school in the Contemporary Art space follows the rules in what goes into making great art. The works are a reflection of the current times in Kashmir and Veer’s journey over the years in a place that he loves so much, where he grew up and that are all about breathtaking scenic beauty and “paradise on earth”.

His photographic series on “Pandit Houses” is reminiscent of the Hindu Brahmin architecture, but the desolate and dilapidated houses also point to the stark reality of the migration of Kashmiri Pandits who had to leave these magnificent homes behind due to terror threats. Veer travels around Kashmir to capture these haunting images of majestic houses just left as ruins in the beautiful landscape.

Pandit House, a photograph on archival paper, by Veer Munshi

Veer also draws your attention to works like Shrapnel that reflect the pain and angst of a generation caught between terrorist organisations and the government. That’s a sad reflection on what is happening in Kashmir today from someone who has lived half his life there. The works will strike a chord as it is art that reflects on the political and social equation and emotional trauma in Kashmir — all captured in Veer’s works and through his lens.

Turning away for a moment from Calcutta, another interesting initiative which has just been launched online is Bestcollegeart.com. Every year over 1,200 artists graduate from art colleges and only a handful of them make it to top galleries. Most abandon their dreams and due to financial constraints their talent comes to naught.

But now they are getting a new platform. Bestcollegeart.com is a collective initiative by some of India’s top art collectors, curators and gallerists to give everyone an equal opportunity platform to display and sell their art. (I must state a vested interest here as I am involved in supporting this initiative).

It’s not for profit and it allows any artist while in college or even someone who has graduated as long as a decade ago to load up to five works at prices decided by the artists. The quality of the art and the prices are reviewed by a curatorial board which urges the artists to price the works right so that collectors can buy.

We see excellent quality work uploaded by artists like Ashis Mondal, who paints a shirt which has been spoilt by ink leakage. This is actually a satire on the fact that a careless leakage without protection can also lead to AIDS.

A Little Negligence by Ashis Mondal

I always hear ‘we love art but can’t afford the prices’ and ‘how do we know that what we buy is authentic’. Well, the average prices on this site are below Rs 20,000 and no work can be priced over Rs 99,000. There are even works for as low as Rs 1,800.

The key is for all of us to support art in our country — either by visiting events or by acquiring art which is within our individual budgets. So whether it’s attending a heart-stopping show by Veer Munshi or supporting an online art initiative that could give you something very affordable to brighten your walls, this monsoon season is all about living with art!

Kapil Chopra is Senior Vice President of Oberoi Hotels & Resorts.He writes a blog on collecting and investing in Indian Contemporary Art at www.indianartinvest.blogspot.com.He also writes for The Telegraph Newspaper in the Sunday magazine " Graphiti" every fortnight. In Delhi, he writes for "The Mail Today " Newspaper and the "First City" Magazine.

Hype and Reality !

Dear Friends,

My latest article in "The Telegraph" Newspaper reaching over a million readers for your reading pleasure, comments are welcome !

If you have picked up any newspaper in the past month, no doubt you’ve read stories announcing new record values for works of some Indian masters. But as they say, the devil lies in the detail and that is where a sensational headline can give people the wrong idea about the art market being on a new roll.

Let me make this easy for you so that you get a clear understanding of what’s going on in the art market. Take a look at the summer auctions at the major auction houses.

Starting with the modern art market, yes prices and volumes for some of the works by key artists — Hussain, Raza, Gaitonde, Souza and Tyeb Mehta — are back up at the peak levels witnessed in June 2008. This marks a significant recovery if you recollect that volumes in the modern art market had tumbled 63 per cent and prices fell 46 per cent between September 2008 and March 2009.

The key highlight in the summer sales was the auction of 152 works from the Souza estate through Christie’s which went at double their high price estimate. There were some very good works and it was an opportunity for people who had missed acquiring Souza works to buy them.

But is the excitement triggered by news reports of the record price of Rs 16 crore fetched by Raza’s Saurashtra justified? Well yes and no. Yes, because it was an exceptional work and no because what has sold in the auctions at higher prices are works which have been exceptional in terms of high quality, rarity and provenance, so it deserved the price but not the hype.

Artist S.H. Raza

Works which do not meet these criteria are still not selling or selling at much discounted valuations.

So be careful in this new market. I have started getting a lot of calls from my friends who say they would now like to acquire a work by one of the modern masters as the prices are expected to go even higher and their budget range of Rs 20 lakh to Rs 30 lakh will get them nothing that is even close to outstanding.

Jumping into the market now — unless you are very certain about the quality of what you are buying will only make the make a gallery richer and the collector or buyer poorer — saddled with a work that is tough to sell. I already know of someone who has bought a very ordinary Raza work at a valuation which should have been 50 per cent below what he has paid. Remember the “golden rule of significance” whenever you collect art — namely buy significant and defining works.

Now to the Contemporary Art market or younger artists as we know them. They had a 93 per cent correction in volume, as per Art Tactic, an independent art research firm, which means auction houses had very few people consigning Contemporary Art and the prices slid a massive 85 per cent between September 2008 and March 2009. Well, they are still down by 35 per cent from their peak. Volumes are better but not even close to what you saw in the boom times.

But you may have noticed that Bharti Kher set a new record of close to Rs 7 crore for her work "The Skin speaks a Language not its own" at Sotheby’s evening sale. The work was sold in 2007 at Art Basel and is her most defining work till date. The work according to international sources was sold again in 2008 at the peak of the art market at close to this current valuation. This means that the person who consigned this work having bought it when prices were at their peak in 2008 really has not gained much. Lesson: it never does pay to buy into the hype.

Bharti Kher’s work titled The Skin speaks a Language not its own

Interestingly Subodh Gupta has slowly been creeping up the charts again. I always get surprised when his paintings sell well because, according to me, Subodh is one of the most brilliant installation artists of our times, but when his paintings sell at higher prices it’s always a sign that people are again not buying significant works from his stable.

An untitled work by Subodh Gupta

His famous installation The Hungry God is a case in point and when it comes on the auction market it will set a new record for contemporary art in India. Again, though as some collectors get smarter, Bharti’s significant work sold at Sotheby’s and Subodh’s work — which was estimated to fetch Rs 2.5 crore to Rs 3.5 crore — did not sell.

The lessons from the summer auction are very clear, whether it is in the modern space or the Contemporary space, buy exceptional works, buy works that are significant of their times and have a good provenance. Do not be carried away and end up collecting or investing in high value art without research.

Also remember to analyse price patterns if you’re investing rather than collecting. One of the reasons for new records being established is also the fact that private museums being set up in India are buying. This is further adding fuel to the fire and prices for exceptional works from the modern masters are touching lifetime highs. Also I fear that market speculative forces are again back at work and it pays to be cautious. There is definitely some level of insider trading again visible in the auctions.

And of course, the final message to collectors, the most important golden rule —buy only what you love!

Kapil Chopra is Senior Vice President of Oberoi Hotels & Resorts.He writes a blog on collecting and investing in Indian Contemporary Art at www.indianartinvest.blogspot.com.He also writes for The Telegraph Newspaper in the Sunday magazine " Graphiti" every fortnight. In Delhi, he writes for "The Mail Today " Newspaper and the "First City" Magazine.

San Francisco Musings !

Dear Friends,

This is my latest article published in "Graphiti" magazine in The Telegraph newspaper reaching over a million readers. Enjoy !

The escape from scorching temperatures in New Delhi took me to San Francisco this summer for a holiday and my trip was perfectly timed. It was impossible to miss the hoardings everywhere for the 75th Anniversary celebration of the renowned San Francisco Museum of Modern Art, or SFMOMA as it’s widely known.

San Francisco can be quite chilly with cold winds in the summer and I set off to the museum in nice cool weather. The great thing about museums in the US is the way they make it interesting with architecture, sense of arrival and also the ambience created. The museum shops are so attractive that you want to browse through them for ages. At SFMOMA the shop was well stocked and really huge and it was, in fact, one of the largest and best collections that I have ever seen in a museum shop.

Finally, on the second floor what awaited me was a visual treat and an art lover’s dream come true. Celebrating SFMOMA’s impact on modern and Contemporary art, the exhibition “The Anniversary Show” traces the individuals and the art that have made SFMOMA the institution it is today. Throughout the year, they will continue this effort of presenting a series of exhibitions illustrating the story of artists, collectors, cultural mavericks and San Francisco leaders who founded, built and have animated the museum.

The show was co-organised by Janet Bishop, SFMOMA curator of painting and sculpture, Corey Keller, SFMOMA associate curator of photography and Sarah Roberts, SFMOMA associate curator of collections and research who put together this collection of 400 works of art.

The show began with an introductory selection titled “San Francisco Views,1935 to Now”. It had images of San Francisco from 1935 to a poster by famous artist Martin Venezky titled San Francisco Prize Poster: Harvey Milk Plaza 2000. These works revealed the many ways the city has inspired artists over the last 75 years.

The other thing I admired was how top collectors and industrialists had donated their priceless personal collections to the SFMOMA. Industrialist and art collector Albert Bender’s gifts to the museums were in the next room and these included works by both Diego Rivera who has painted the magnificent murals at the National Palace in Mexico and also the work of his wife Frida Kahlo.

The next room was even more stunning with works by Salvador Dali, Pablo Picasso, Paul Klee, Henri Matisse and Marc Chagall. I have never seen such works by such exceptional artists under one roof and barely metres away from each other. Also, there were bronze works by Alberto Giacometti whose sculpture held the $105 million record as the most expensive piece of art ever sold till it was beaten by a Pablo Picasso work which sold for $106 million recently.

Going through the exhibition I was once again struck by the fact that art is reflection of the times we live in. The period from 1935 to 1945 also was a commentary on World War II with some haunting works.

Apart from the masters, I was most impressed by artists who deliberately disregarded traditional boundaries between media like Robert Rauschenberg who died in 2008. As early as 1954 he did an untitled stunning work which in which he used oil, newsprint, fabric and 3D wooden and metal objects on canvas!

An untitled mixed media work by Robert Rauschenberg

Such creative use of mixed media took place more than 50 years back — and it’s still not very prevalent in the Indian contemporary space and that for me is the mark of a genius. The section was very aptly called “Pushing Boundaries”. Rauschenberg and the others featured in this section dared to engage in a new medium and move in their own direction when it was not conceivable. I was also attracted to an artist who redefined the contemporary art space with his works. On show by Andy Warhol was a unique work that was very different from his usual celebrity portraits. This was Self Portrait done in 1967 and was an acrylic and silkscreen enamel on canvas.

Andy Warhol’s Self Portrait

The most photographed piece in the entire exhibition because of its stunning visual appeal was a sculpture of Michael Jackson with his monkey Bubbles and it looked amazing in the centre of the hall. It was a ceramic work in life-size dimensions and with glaze and paint which made it shine, giving it a very nice finish. In the background of this work, was an untitled piece by Christopher Wool with just the words ‘adversary’ written in three lines. The combination effect of viewing these two works together really made you think about the life and times of Michael Jackson.

Michael Jackson & Bubbles by Jeff Koons

Overall, as I walked out after viewing the best in modern masters and the best of International Contemporary art, I was humbled by how everyone in society had come together to do their bit to share their collections and create such a magnificent institution in a great city.

I wait with a lot of anticipation to welcome something as magnificent in India so that we can pass on great art in our country to the next generation !

Kapil Chopra is Senior Vice President of Oberoi Hotels & Resorts.He writes a blog on collecting and investing in Indian Contemporary Art at www.indianartinvest.blogspot.com.He also writes for The Telegraph Newspaper in the Sunday magazine " Graphiti" every fortnight. In Delhi, he writes for "The Mail Today " Newspaper and the "First City" Magazine.

Art from the Heart !

Dear Readers,

My latest article in The Telegraph newspaper reaching over a million readers, for your reading pleasure. Now get instant updates every time a new blog post is written by either becoming a follower of this blog or putting in your email address on the top right hand side of this blog.

I love watching children drawing what they see around them. The doodles and pencil lines come from the heart and have a lot of passion in every stroke.

The opposite is often true in the Contemporary Art space nowadays. The joy of drawing and painting seem to have almost vanished. So the artist comes up with a concept and then using a computer — and perhaps Photoshop — produces an image which is then painted and churned out. What you get is art that looks nice but is without heart and soul. Some of the top Indian contemporary artists have fallen into this trap and this is a fact that often worries me.

So the moment an artist starts to sell for over Rs 3 lakh or so, you hear that he or she has hired a couple of studio assistants to help prepare the base of the canvas. In scores of cases these assistants actually paint the computer-generated image. This style of working, I believe, is one of the reasons for similar looking work being churned out all the time. Also, don’t forget that studio assistants come cheap in this country. Many of them finish from art colleges and then survive living someone else’s dream.

Let me turn to an interesting show I went to recently by an artist who paints from her heart. Ranjeeta Kant, who trained under the eminent artist Rameshwar Broota, has painted for years for the love of art and not for money. Her latest exhibition at Delhi’s Gallerie Alternatives called The Dance of the Rainbow was inspired by a trip to Bali.

The Kachak Dancers and The Abode (above) by Ranjeeta Kant

She was deeply affected by the lush green tropical island — everything from the green paddy fields and the exquisite lotus ponds and lovely flowers to the deep blue ocean and the tranquil images of Buddha everywhere. The myriad hues of nature and this entire experience have been captured in rich greens, magical blues and the striking hints of red that together result in stunning canvas works.

One is immediately drawn to the works as it’s clear that Ranjeeta has worked on the canvas and the resulting art is a work of passion. In spite of the detailed canvas work, the prices are reasonable and most of the works are under Rs 2 lakh for a 3ft by 4ft canvas. Smaller works sell for close to a lakh. It was one of those shows where you’d feel inspired to instantly reach for your chequebook.

Another show which impressed me recently was On the Darkest Night I Can See the Light at Delhi’s Gallery Seven Art run by Aparajita Jain. This was the first of six exhibitions being planned by Aparajita under the collective name First Showings. Helping her to put this clutch of exhibitions together is curator Deeksha Nath. Together, they’ll attempt to spot talent fresh out from the art colleges.

On display at the first show were three Chennai-based artists, Kumaresan Selvaraj, Aneesh Kalode Rajan and Sarvanan Parasuraman. Selvaraj works with surfaces and textures. So you had works with a number of layers on every surface — some were plain but stunning and you could feel the textures.

What we see conceals a lot behind it by Kumaresan Selvaraj

Rajan had interesting works called Perspectives. In these he imagines what he, his cousins and Michelangelo see in a group of clouds and how these images are dependent on their present preoccupations.

I was also impressed by Parasuraman who uses a variety of mediums like vinyl stickers, ball bearings, sand, silicon and fibreglass. He had done a rope sculpture using sand and silica and from a distance it looked exactly like a rope. Also, he had done a work made by ball bearings forming a pattern.

The good thing about the show was the freshness of the ideas behind all the works which was very stimulating. Also, there was the crucial fact that the costliest work was for Rs 95,000 and most works were in the Rs 40,000 to Rs 60,000 range.

It was art that I enjoyed!

Kapil Chopra is Senior Vice President of Oberoi Hotels & Resorts. He writes for the "The Telegraph" newspaper and specifically for the Sunday magazine "Graphiti" which has a readership of over a million readers. In Delhi, he writes a column on the art market in "The Mail Today" newspaper and also has written for the "First City" magazine.

The Berlin Canvas !

Dear Readers,

Here is my latest article published in The Telegraph newspaper in the Sunday edition reaching over 1 million readers......

Europe has been really cold this winter with a lot of freak storms and a chilly winter. In Berlin, though the art scene has been hot and vibrant. Due to the lovely confluence of cultures, Berlin attracts the best artists and with rental spaces still reasonable as compared to the rest of Europe, it has some of the most stunning gallery spaces.

Both Bodhi and Nature Morte, India’s top contemporary art galleries were present in Berlin at one time (Nature Morte is still around here) and there are also galleries like Christian Hosp which have been showing a lot of Indian and Pakistan contemporary art. Then came the recession and running a gallery with declining sales became a losing proposition and Bodhi had to shut shop.

I was fortunate that there was an important show at the architecturally inspirational “Haus Der Kulturen Der Welt”, the house of world cultures. The building looks like a flying saucer and is brilliantly conceptualised. The curators called the show “Why all the rage?”.

We had three important curators — Valerie Smith, Sussane Stemmler and Cordula Hamschmidt. They explored instances of rage and how it plays a role in people’s life — how rage gets manifested in communities and the effect that it has on people’s minds and bodies. The idea of rage as transformative energy is a key concept to the development of “On Rage” a vehicle from the negative to the positive, from status quo to revolution, from hopelessness to control.

Two artists who really stood out for me in the entire show were Shoja Ajari, an Iranian artist who now lives in New York. He was the co-winner of a Silver Lion award at Venice Film festival and he does photographs and video installations. Final Judgment, his work, was a video projection on canvas and projects the moral tales of Shiite Islam concerning the judgment day. Then inside this intricate work there was recent news footage of Muslim global political activity. It was stunning to see a canvas with flitting moving images — a very strong representation.

Shoja Azari‘s Final Judgement

Seher Shah was at her best with large scale drawings from her solo show “Paper to Monument 2”. These drawings dwelled on the complexities of urban excavation through public memory. Her three works were in the centre of the display and the black-and-white contrast of her drawings again reinforced my belief that she is one of the most important young artists of our times.

Paper to Monument II by Seher Shah

I also went to Probir Gupta’s show at Nature Morte Berlin. Probir’s work touches upon issues of war, religion, development, globalisation and genocide. He uses shrapnel in his work that he sources from abandoned military waste. Using this debris as his “clay,” he models mutant and macabre bodies and landscapes. The resulting paintings, fascinatingly complex with unexpected shots of colour, are chaotic to look at. Technically, he employs a thick, almost violent, use of impasto and brush strokes.

Assembled Identities by Probir Gupta

I liked the works which are not new but are the works that did not sell in the Philips de Pury auction house exhibition in January 2009. The works were beautiful but you could see that the pricing could have been better and hence even when I went, only one had sold. Large canvas works were priced at Rs 25 lakh. Now with the top names in Indian contemporary art down by 80 per cent from the peaks, Probir has still not understood the reality on pricing.

Artists need to understand that just because they sold a few works some years back at the height of the Indian contemporary art boom that does not become a pricing platform for years to come. I would have ideally liked the works to be priced drastically lower.

But in the art world, egos are bigger than usual and logic dies a slow death. That also shrinks the small collector base as people don’t like being taken for a ride. It’s high time that artists understood that collectors will not buy without logic and the fact that only one work has virtually sold in the last 15-18 months is a testimony to the new and informed collector !

Well, the journey was not complete in the art city of the world without staying in the art’otel at Berlin City Centre West. What attracted me to the hotel was the collection of Andy Warhol works they had. I enjoyed staying a in a hotel surrounded by the pop art works of Warhol and the rooms in bright orange, purple and green. Let us see when we get our first art hotel in the country!

Kapil Chopra is Senior Vice President of Oberoi Hotels & Resorts.He writes a blog on collecting and investing in Indian Contemporary Art at www.indianartinvest.blogspot.com.He also writes for The Telegraph Newspaper in the Sunday magazine " Graphiti" every fortnight. In Delhi, he writes for "The Mail Today " Newspaper and the "First City" Magazine.

Painting with Passion !

Dear Readers,

Here is the electronic version of the latest article published in the Sunday magazine of The Telegraph Newspaper reaching over a million readers !

I meet a lot of people who look askance at the new wave of Contemporary Art and would rather have pretty paintings which resonate in their living spaces. My take on this has been that art is not about only paintings but the entire gamut of expression from sculpture, installations and photograph to video art. This week I want to focus on an artist who is more in the original genre of painting and creates stunning pieces with a background and experience that actually makes you calmer when you view his work.

It’s interesting to meet Sidharth, who was born in a Sikh family and later in life, moved away from the worldly pleasures of life to join a monastery and become a monk. In the monastery he was named Sidharth — the name he still bears today. But after some time in the monastery he left and using all his accumulated learning started painting.

Sidharth is an artist with a difference in the Contemporary Art landscape of artists in the country. I have always been amazed by his connect with nature and the meticulous research that goes into every work. In the era of computer- generated art and studio assistants, Sidharth stands out as he does not even use commercially available colours. The other thing that he uses a lot is thin gold foil. That gold work is clearly visible on the canvas. In each of the canvases he usually narrates a story using the images.

The skills that he learnt at the Namgyal Monastery help him derive his colours and shades from Mother Nature. He uses natural pigments, vegetable dyes and his intrinsic knowledge of the topography to make his own colours in various hues. Always, very curious to learn and imbibe more, I have in my association of many years with him seen him use and implement the best techniques from Chinese, Japanese and now Russian schools of art.

He also makes his own handmade paper and thanks to his use of natural colours, you find a rarely seen luminosity in his works. The other thing which is very noticeable in his works is that most of the background colours are very bright, which is a result of the natural pigments and dyes that he uses. Crucially, the people shown in his work have faces without a predominant nose. That’s because Sidharth believes that the nose represents ego in our world. He tries to paint people when they are devoid of ego or rather to depict them in a utopian world where there is no ego!

Laughing Cow

His link with Mother Nature was an influence at his latest solo show at Religare Art Gallery in New Delhi. The connect is clearly visible in his series of paintings on the “Cow” — worshipped as a mother figure in India. He focuses on the worshipped Kamadhenu to the cow in the industrialised urban environment today, eating all the garbage and then producing milk which has pollutants causing disease.

Kartar Pur

The Poster Cow

His canvases tell a complete story that focuses on the worshipped Kamadhenu and a satirical comparison to a woman who is running her house with all products derived from milk. The ritual dismembering of the sacrifice is evoked in the dehumanisation of the perception of the cow reduced to its parts as against the various deities residing in Kamadhenu. He calls this work Laughing Cow, and it is his satirical take on the evolution and journey of a cow from ancient times to the urbanised modern world.

Sidharth is an expensive artist and although he did sell at Sotheby’s once, he generally doesn’t feature on auction circuits and the recession actually did not hit him much. He has a stream of steady collectors and fans — actress Dimple Kapadia being one of his biggest admirers.

The smaller canvas works are around Rs 2.4 lakh and larger sizes which are 4ft by 5ft can fetch up to Rs 10 lakh to Rs 12 lakh, although there are smaller works starting from Rs 70,000.The prices are steep. But the originality of his paintings and the sheer radiance emanating from what are clearly works of love painted with passion makes him an artist well worth considering for one’s collection.

Kapil Chopra is Senior Vice President of Oberoi Hotels & Resorts.He writes a blog on collecting and investing in Indian Contemporary Art at www.indianartinvest.blogspot.com.He also writes for The Telegraph Newspaper in the Sunday magazine " Graphiti" every fortnight. In Delhi, he writes for "The Mail Today " Newspaper and the "First City" Magazine.

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The Art Market - Games People Play !

Here is my latest article published in "Mail Today" newspaper in New Delhi for your reading pleasure. The Article was published on 26th March.

I see a lot of contemporary art shows opening every week, but there’s one that caught my eye recently, that too at a new space — Rasika Kajaria’s Exhibit 320 at Lado Sarai. What struck me was the cutting- edge work on display, especially that of Kundo Yumnam and Sandip Pisalkar, who made a scooter with a gas pipe that is also good for killing mosquitoes! Pisalkar first tried it out in a slum before putting it up at the show — well, the artists are getting bolder by the day.

On the art market, meanwhile, first sale of the spring season by Saffronart was being watched closely for pointers to the shape of things to come. The sale went by smoothly.

In the contemporary art space, there were no surprises and it was pretty much on predictable lines, except a work by Subodh Gupta that went for Rs 1.7 crore — it was a happy departure from the rates commanded by the artist in last year’s recession- hit market. Auctions in 2009 had seen his work go for Rs 80 lakh to Rs 1.1 crore.

A lot of galleries, collectors and investors ( including art funds) treat auction results as gospel truths and that is why data gets manipulated. The Indian contemporary art market does not have depth and is susceptible to manipulations. Already, Osian’s Art Fund has not been able to pay its investors. And I keep hearing complaints from people who are stuck with wrong valuations by the Copal Art Fund.

Let me give you some real- life examples of how easy it is to manipulate prices if an investor is keen on making a quick buck.

There is a prominent artist from Orissa who has also been shown in the country by the best Indian art galleries. When he started out around five years back, a group of art investors with a manipulative mindset picked him up at a standard rate of Rs 5,000 per square foot and bound him to a contract that required him to give all his work to his paymasters.

The investors then slowly started raising the prices in auctions.

The quality of the work was good and the investors had ample stock. The work was put up in an auction house, the bidding was taken to unrealistic heights by the investors’ friends, who bought a canvas each at every auction, and then these were sold through other auction houses at inflated prices. Their cost of buying their own possessions back was the 15 per cent buyer premium charged by the auction house and their entire stock got re- valued at a level that was seven times higher than the original.

Now this artist, because he was really good, got solo shows at prominent galleries and this further swelled the profits of the first batch of investors. The people who suffered were the later investors who followed auction prices and bought at ridiculous values, and collectors who genuinely liked the artist’s work and paid a price which he does not deserve till date. I saw his works even at the Saffronart auction and some people bought them at stretched valuations. That is how the art market works.

THIS happens all the time. I call some of these artists, auction artists — that is, they owe some part of their growth to friendly auction houses, which sometimes shut their faculties conveniently and sometimes also have a stake in the growing valuations of an artist. So the next time you read that screaming headline, ‘Indian art sets a new high’, don’t buy the hype: scratch the surface and probe deeper. Also, to get closer to the real value of the work of an artist, subtract the 15- 25 per cent buyer premium from the final value shown, for that is added on the final bid after the auction is closed.

Don’t get swayed by the valuation game. Check the background of an artist, be diligent about the research and probe the pricing logic. Also, whenever you intend to buy a canvas for over Rs 2 lakh, just buy from the best and well respected art galleries. In the particular case I have used as an illustration, you’d have still got taken for a ride, but in most cases you’d be protected, for even galleries have learnt from the past.

Auction houses Sotheby’s and Christie’s would have completed their sales by the time this article goes into print and although they have wonderful lots from the modern space, I wasn’t impressed with the contemporary works. All this price manipulation should not stop you from collecting, but don’t get taken for a ride! Buy what you like and only at the right price !

Kapil Chopra is Senior Vice President of Oberoi Hotels & Resorts.He writes a blog on collecting and investing in Indian Contemporary Art at www.indianartinvest.blogspot.com.He also writes for The Telegraph newspaper in the Sunday magazine " Graphiti" every fortnight. In Delhi, he writes for "The Mail Today " newspaper and "First City" magazine.

Eye-catchers with Mithu Sen & Latitude 28 !

Dear Friends,

Here is the latest article in The Telegraph newspaper Sunday magazine " Graphiti" reaching close to a million readers, for your reading pleasure. If you wish to receive instant updates the moment the blog is updated, please enter your email address on the upper right hand side of the blog, no questions, just your email address for the latest views on Indian Contemporary Art !

The art season is roaring back to life with everyone keen to show after a year of being in the economic doldrums and the calendar for art lovers is growing more hectic. Two shows that have opened in Mumbai and New Delhi grabbed my eye for being distinctive and unique.

Mithu Sen, arguably, one of India’s most talented artists, is having a solo show at Gallery Chemould in Mumbai. She has always been more active in key exhibits internationally including the last one in Vienna but now gallery-goers have a chance to see her at home. I have always regretted the fact that the Indian public have missed out on what Mithu has to offer as her best shows and works are always out of India but now that’s about to change.

In fact, Mithu has presented her most dramatic show ever — called ‘Black Candy’ — which opened a few days ago. The unique thing about the show is that most of the works have three dimensions to them. There’s the drawing which has text on it. That’s accompanied by sound which lends an exceptionally different feel to viewing the art. Also one thing to note about Mithu’s art — it is straight from the heart and controversial.

In this series she is trying to understand the vulnerability that men have and she peers into the desires, pain, sorrow and agony they go through. So the works are sexually very explicit and she engages the viewer in a dialogue with the work. She doesn’t impose any views on you — you relate to the work according to your own responses. Her style is one that I’ve never seen before — the art is powerful and will always stir reaction as it’s created with a lot of passion.

Wrestler by Mithu Sen

Now on also is a show entitled ‘Size matters or.....Does it?’ staged by Bhavna Kakar at her newly opened gallery Latitude 28 ( Latitude 28 is the latitude Delhi is located on!). Kakar is a well-known personality in the art world as the Editor of Art & Deal and has also launched her new Art magazine called Take on Art. As she trained to be an artist, she has a keen curatorial eye and her show is quite interesting. She has had every participating artist work in a large work format and a small work format. This tests the execution skills of the artist and appeals to collector as it allows much more choices.

Now in discussing the theme ‘Size’, we’ve all been taught that bigger is usually better. But for those of us who are on the fence about whether one should work on a small-scale or take that giant leap forward towards a bigger canvas and digging deeper into one’s pocket, here’s some thoughts about whether size matters.

In the speculation-led art market, everything boils down to commerce. Sadly art today has a tendency to be valued not by its quality or subject matter but in square inches and square feet! Kakar seeks to dispel with that notion in her own way with creative works in both formats. So she has a 5-ft x 4-ft canvas by Manjunath Kamath and also a set of twelve 4.5-in x 3.5-in works called True Lies. It’s quite refreshing to see large and small works by all artists in the show. I was also impressed by the visual appeal of a 17-ft work depicting Qawali singers by G.R. Iranna.

Manjunath Kamath’s Lie in Between Question & Answer; (above) Ointment by Baiju Parthan

Baiju Parthan has two works called Ointment in both formats and I was impressed with both works that are about the ideas people have about the world and the lengths to which we go to protect, defend, and propagate them. The very fact there are many views explaining the universe differently suggest that these are all products of engagement. The visual representation of both the works is just stunning.

So here are my picks so if you’re in Delhi or in Mumbai, you have some interesting art shows to visit and engage with both visually and intellectually!

Kapil Chopra is Senior Vice President of Oberoi Hotels & Resorts.He writes a blog on collecting and investing in Indian Contemporary Art at www.indianartinvest.blogspot.com.He also writes for The Telegraph newspaper in the Sunday magazine " Graphiti" every fortnight. In Delhi, he writes for "The Mail Today " newspaper and "First City" magazine. Comments and views are welcome at indianartreview@gmail.com.