‘The volume of contemporary art by established native Chinese artists is huge – it’s bigger than India,’ said Wallace, an authority on contemporary Chinese art.

‘The art market and aesthetic scenario in China – mainland China, Hong Kong and Macau – have gone through an incredible change in the last 30 years,’ he said.

Wallace, the editor in chief of ‘Yishu: Contemporary Journal of Chinese art’, was here to address a gathering of art writers as part of a lecture series hosted by the Foundation for Contemporary Arts (FICA) – an initiative of the Vadehra Gallery.

‘Places like Hong Kong and Taiwan experienced modernism between 1950s-1980s. Shanghai was in the shadow of Soviet socialism and had little access to contemporary art. Most of the art that flourished was realism propaganda art like posters and paintings till the late 1970s following which China began to open its door,’ Wallace told art writers.

In the 1980s, information about contemporary art began to trickle to China through books and exhibitions, Wallace said.

‘An exhibition by American artist Robert Rauschenberg in 1985 at the Beijing National Gallery was the first officially sponsored American art show in China in 50 years. It was a watershed,’ Wallace said.

Many of Rauschenberg’s installations and readymade objects were cited by Chinese practitioners of the 1985 new wave art, political pop and cynical realism movements as the inspiration, the art critic said.

‘Soon after the exhibition, people were devouring books because the information was not coming in a linear pattern. The works that were produced in China in the 1980s assimilated three major styles – surrealism, abstraction and expressionism,’ he said.

According to Wallace, the 1990s opened art from the largely insulated mainland China to the world.

‘Prior to the 1990s, very little work from mainland China was being shown outside – but in the 1990s, art from mainland China began to be exhibited outside. Moreover, the Tiananmen Square protests of 1989 triggered an exodus of Chinese artists from the country,’ Wallace.

The era also marked the beginning of art as an investment option in China.

‘The decade of 2000 saw the rise of collectors and collecting became all about investment,’ Wallace.

The Chinese are still collecting art as a investment despite the recession of 2009. ‘As a result, the price of contemporary Chinese is going up again,’ Wallace said.

Chinese art is dominated by painting and sculpture and far less new media such as ‘video and digital photography’, Wallace said.

‘Most contemporary artists are trying to develop styles that sell. While the younger generation of Chinese artists, who have not emerged through the cultural revolution, are experimenting, works of the older artists are still grounded in socialist realism. But contemporary art is moving very fast socially and economically,’ Wallace said.

Sify News

“The Mughal Empire was one of the richest of its time, and a magnet for craftsmen and artists. In my book, I wanted to bring out the spectacular range of art work they produced,” said Stronge, now a senior curator at VAM and a specialist in Hindustani court arts. The author is in Mumbai to attend a literary festival and promote her book.

The book is a compilation of photographs of Mughal paintings, architecture, jewels, weapons and other ornaments that Stronge sourced over the years from museums around the world. The focus, throughout, is on the minute intricacies in all the floral designs and inscriptions.

“We still don’t know how those artists crafted some miniature details which can only be seen through magnifying glasses, but you can see that tradition carried forward today with the local ‘Name on Rice’ art in India,” said Stronge, who believes that under the patronage of Akbar, Jehangir and Shah Jahan, art in northern India was completely transformed into an Iranian-Indian cultural blend.

Among her favorite items featured in the book is Shah Jahan’s ornate drinking cup chiselled from a jade rock and a tiny spinel (the most highly valued Moghul precious stone) from the Peacock Throne.

“Most people know the Moghuls for large monuments like the Taj Mahal, but I want to show readers that the Emperor’s drinking cup is just as amazing,” said Stronge.

Hindustan Times

“The Wish Dream” – a 16 panel mural sized 24 ft x 13 ft – executed by Singh in the year 2001 is set to go under the hammer in the two-day Saffronart modern and contemporary winter auction beginning December 8.

While the 73-year-old artist’s paintings portray a woman’s point of view about life in India, the featured work in the auction is said to have been inspired by a Tibetan play.

Previously in June contemporary Indian artist Bharti Kher’s fibreglass and bindi elephant sculpture fetched Rs 6.94 crore at the Sotheby’s auction.

Meanwhile the upcoming auction features a selection of 100 works by 45 Indian artists.

Highlights of this sale include modern masters such as SH Raza, FN Souza, Ram Kumar and Akbar Padamsee alongside some of the biggest names in contemporary Indian art like Surendran Nair, Subodh Gupta, Shibu Natesan and N S Harsha.

Economic Times

1.No. 5, 1948, Jackson Pollock, $151.2 million: Allegedly sold to David Martinez by David Geffen via a private Sotheby’s transaction in 2006, this gorgeous abstract expressionist work Jackson Pollock measures 8 feet by 4 feet. Geffen is quite the art collector, and works from his collection actually hold the top two spots on this list.

2.Woman III, Willem de Kooning, $148.5 million: One of a series of six paintings completed between 1951 and 1953, de Kooning’s Woman III was formerly housed at the Tehran Museum of Contemporary Art until the 1979 revolution ruled it unacceptable. (Yikes.) Geffen acquired it in 1994 before selling it in 2006 to billionaire hedge-fund manager Steven A. Cohen.

3.Portrait of Adele Bloch-Bauer I, Gustav Klimt, $144.8 million: Klimt’s most famous work (at least to college students) might be The Kiss, but it’s this one that brought the biggest cash prize. After bouncing around Austria and the U.S. for a while, the painting came into the possession of Maria Altmann, the niece of the woman in the painting. She sold it in June of 2006 to Ronald Lauder, and it now resides in New York’s Neue Galerie.

4.Portrait of Dr. Gachet, Vincent van Gogh, $139 million: Van Gogh’s painting of the doctor who cared for him in his final months traded sellers before it was brought to the United States during World War II, when it was often loaned to the Metropolitan Museum of Art. In 1990, it was sold at Christie’s to Ryoei Saito, a Japanese business magnate. The painting went for more than $82 million at the time, making it the biggest art sale to date; adjusted over time, the figure’s almost $140 million.

5.Bal du moulin de la Galette, Pierre-Auguste Renoir, $131.6 million: Yet another appearance by Ryoei Saito; the world of high-dollar art collecting is pretty small. Renoir’s impressionist masterpiece was owned by John Hay Whitney for years, but in May 1990, his widow sold the painting for $78 million (now $131 million). Ryoei Saito died in 1996, and the painting is now thought to be owned by a Swiss collector.

6.Garcon a la pipe, Pablo Picasso, $119.9 million: This arresting image of a boy with a pipe was created in 1905, and originally bought by John Whitney in 1950 for $30,000. In May 2004, Whitney’s family foundation sold it via Sotheby’s to an undisclosed buyer that some said was Guido Barilla, owner of the Barilla Group.

7.Nude, Green Leaves and Bust, Pablo Picasso, $106.5 million: Picasso’s 1932 work captures his mistress, Marie-Therese Walter, who also served as his muse. The large canvas — measuring 64 inches by 51 inches — belonged to Los Angeles art collectors Sidney and Frances Brody for 60 years, until Frances’ death in 2009. In May 2010, the painting was sold at Christie’s to an anonymous buyer over the telephone.

8.Portrait of Joseph Roulin, Vincent van Gogh, $101.3 million: Part of a group of paintings of the Roulin family, this rendering of patriarch Joseph was sold from a private collection in Zurich to the Museum of Modern Art New York in 1989 for $58 million plus some other paintings. The current value of the sale is more than $100 million.

9.Dora Maar au Chat, Pablo Picasso, $102.3 million: Picasso painted his lover, Dora Maar, many times over the course of their relationship, though this particular painting became the most revered and the most cherished by collectors. The sizable canvas (50.5 inches by 37.5 inches) was painted in 1941, when France was occupied by Nazis, and it then went to a pair of Chicago collectors. It changed hands and was eventually sold at Sotheby’s in 2006 to an anonymous Russian bidder who was likely Boris Ivanishvili. The $95 million sale is worth $102 million today.

10.Irises, Vincent van Gogh, $101.6 million: Painted the year before he died, when he was living at an asylum, van Gogh’s Irises is a beautiful but simple rendering of a field of flowers. Its 1987 sale set a record, going for $53.9 million (about $101 million today), and after a brief period of private ownership, it was sold to Los Angeles’ J. Paul Getty Museum.

Indian Art News

Her paintings are like blueprints of an urban experiential map, charted out of metaphors, myths, fantasy, reality, conscious stances and subconscious utterances. They are like personal journals, only that their pages are filled with visual anecdotes instead of words.

Arpita Singh has a unique style of rendering; her characters within the pictorial space are often propped against a collage-like background, ramified by events, time graphs, emotions and generic patterns of dislocation, struggle and existence. They are served in a palette of subtle shades of oils, watercolors or sometimes an amalgam of mediums, which simulate a dream-like atmosphere, or perhaps a situation which is experienced while hallucinating.

Her show @ Vedehra from Nov 18 – Dec 15 @ the gallery’s Defence Colony location in New Delhi.

Indian Art News

The gallery kicked off its celebrations with ROOTS, an exhibition in Chennai that featured some of the best works from the gallery collection, which represented the last two decades of art in India. The responses generated from the show were stupendous and resulted in the show travelling to Bangalore.

SCRATCH is an international exhibition that bears the essence of today’s global cultural phenomena by showcasing recent art from India and different parts of the world through a unique compilation that has been carefully chosen by Swapan Seth. Swapan’s penchant for collecting art and his specialized interest in new media and video art has been a defining factor for inviting him to curate this exhibition. Taking a cue from Ed Ruscha’s statement “If it makes you scratch your head, it is art”, Swapan conceptualized this show to encompass some of the most cutting-edge examples of contemporary art today. Centered around the immediate history of the decade that we’ve just lived through, SCRATCH is mainly comprised of a new generation of New Media artists from India, Taiwan, Japan, Thailand, Indonesia, USA, Nigeria and Cuba, making it a truly international exhibition of contemporary art in the heart of New Delhi. Artists in this exhibition include Priti Kahar, Anjum Singh, Kartik Sood, Siddhartha Kararwal, Mithu Sen, Hemali Bhuta, Neha Choksi, Rohini Devasher, Sarnath Banerjee, Anindita Dutta, Isa Ho, Jompet Kuswidananto, Navin Rawanchaikul, N. S. Harsha, Rashmi Kaleka, Saffa Erruas, Sunil Gawde, Uche Iroha, Chang Keng Hau, Chang Geng Hwa, Chen Shun Shu, Jorge Mayet, Nnenna Okore, Noriko Yamaguchi, Wang Fujui, Wu Chi-Tsung, Asim Waqif, Sarvanan, Akshay Rathore, Vijai Patchineelam, Priyanka Dasgupta and Suchitra Gahlot

Sakshi Gallery has over the last 25 years endeavored to develop a strong program, working closely with celebrated Indian and international artists as well as introducing many emerging ones. The gallery’s programme is dedicated to promoting art from across Asia and the rest of the world. Through its robust programmes in its flagship gallery in the heart of Mumbai’s art district and the branch in Taipei, Sakshi Gallery is committed to facilitate a continuous global interchange of fine arts.

Indian Art News

Fortunately, the display described as: `New Directions in Art from Pakistan 1990’ and curated by Naiza Khan, will be running for three months and one will need that time to absorb the profusion of work including installations, video art, paintings, ink jet prints, drawings and every kind of mixed media.

Introduced by the museum director Ms. Nasreen Askari as “an exhibition to portray and document the idiom of our time,” one must appreciate the hard work put in by the Mohatta Palace staff and curatorial assistants who worked with Naiza Khan for a period of 18 months to put it all together.

Among the Karachi artists included were Mansur Saleem and Abdul Jabbar Gul who, while finding much of interest in the show, were surprised they had not been directly approached for their work coming from private collections. “I would have chosen something else,” both remarked, though personally I felt Salim’s ‘Old Ilaco House’ which portrays the early architecture and hence the history of the city, contrived an interesting and illuminating contrast to other work sharing the gallery space with him.

There was Anwar Saeed’s epic: ‘Soul of a man diving,’ and Canada-based Samina Mansuri’s large triptych, ‘Darkest Light,’ a still-life of organic plant life and human innards. In the centre of the room was a mobile hanging from the ceiling, Roohi Ahmed’s ‘Mobius Karachi’ consisting of strips of cut-up maps. Her theme was supported by four-wall based compositions marking out her daily journey during Karachi’s troubled days, from her home in North Nazimabad to the Indus Valley School where she was a faculty member.

Aisha Khalid, who on the opening night was disturbed by a light bulb that suddenly went out, urged us to visit her installation by daylight, and what a fantastic experience it was! One was faced with infinity. The small, octagonal room had walls consisting of large mirrors and the viewer was confronted with endless views of his or her self with reflections that seemed endless. Small painted organic images that decorated the mirrors referred perhaps to Aisha’s involvement with patterned textiles.

Another remarkable installation, ‘Desperately Seeking Paradise,’ was the brilliant work of Rashid Rana. The monumental gridded cube consisting of stainless steel, glass wood, acrylic, C Print and DIASE C, focused on the old city of Lahore, showing the contrasts that exist in the urban areas of Pakistan today. Examining the inside spaces of the multiple cubes one discovers pixel images of a teeming city against a built-up background of diverse structures. This marvelous work had been shown at the Musee Guimet, Paris, and without the cooperation of the Mohatta Palace Museum it would have been impossible for us to have seen the work in Karachi. It’s great to know that art students will have the benefit of this artwork of our times.

Ayaz Jokio’s laudable work, ‘99 Self Portraits,’ attracted attention as did a ceiling-to-floor composition of digital images of Mohammad Ali Jinnah, the work of Imran Channa titled, ‘Find the Real Jinnah.’ Further on, Nusra Latif Qureshi’s work was extremely beautiful, combining and overlapping past and present with a long frieze of portraits, kings and commoners titled: ‘Did you come here to find history?’

Drones flew through the open gallery reflecting the mobile of Abdullah Sayeed and ending in the statuary where Jamil Baloch’s tail of a plane stands.

The theme of the violence around us was very evident in much of the work; Nausheen Saeed baked bread in an industrial oven using human moulds depicting the victims of suicide bombings. Adeela’s work straight from the Aicon Gallery, New York, consisted of a metal curtain hanging ceiling to floor and consisting of welded bird forms titled: A dead bird curtain, representative of innocent victims killed in inexplicable violence. Munawar Ali Syed’s carved sculpture blended the form of a rocket with human parts.

It was a respite to view Nour Yusuf’s delightful short video film titled, ‘While I was meditating.’ It consisted of a combination of drawings, photography and film symbolising the artist’s subconscious response to her environment. Nour explained: “It started out as an experimental project in which over months I put together drawing, and things captured in stop motion.” The film was shown at an Egyptian Film Festival, and then selected for the video programme at the Mohatta Palace display. The entire video section was extremely rewarding but what I found most touching was an item titled, ‘Terrariums,’ comprised of an assemblage of recycled plastic water bottles used as flowerpots with healthy green shoots appearing to act as a symbol of optimism and tenacity. Although there were many reactions violence expressed in the show, this work by Atteqa Malik appeared as a simple, sincere and rare message of hope.

Marjorie Husain is a Karachi-based art critic and author who has been actively engaged in the promotion of Pakistani art for three decades.

Indian Art News

Kapoor’s unique style and Indian heritage have combined to make him one of the most engaging and distinctive artists in the world and the exhibition will be the first ever showcase of his work in the country of his birth. The exhibition will be organised over two sites in New Delhi and Mumbai and is the largest and most ambitious exhibition project ever to be developed on Kapoor’s work.

It will feature a selection of sculptures and installations which span the breadth of the artist’s career, from his early pigment-based sculptures of the 1980s right through to his most recent wax installations.

The exhibitions will be displayed in two venues: the newly renovated NGMA, New Delhi (Anish Kapoor show will be the first major exhibition to be held in the gallery’s newly constructed Exhibition Hall); and the Mehboob film studios, Bandra, Mumbai.

Each exhibition will focus on a different strand of Kapoor’s practice, with each show complementing the other to form an overall picture of the diversity and energy within his oeuvre. Both exhibitions will feature works which were included in the recent, record-breaking exhibition of Kapoor’s work at the Royal Academy, London, which attracted over 275,000 visitors in less than three months.

Ruth Gee, Regional Director British Council says, “Art is food for the mind. Anish Kapoor’s work provides intellectual stimulation and visual delight. We are delighted to have played a part in creating this milestone exhibition in Delhi and Mumbai. It is a proud moment in our cultural relationship with India”.

“I am delighted that what we had been dreaming of since the past nine years has finally fructified. The Anish Kapoor exhibition is one of the largest projects we are doing since the Picasso exhibition in 2001, not just in its scale of the actual works, but also in terms of the international stature of the artist, including partnerships amongst various organisations, and its outreach,” Prof. Rajeev Lochan, Director of the NGMA says.

“It is indeed a proud moment to be able to celebrate the works of Anish Kaopor, world renowned artist, in the country of his origin. I am sure that large audiences will not only be greatly benefited by the visual treat, but the thought provoking forms and feelings will give a new relevance to what is contemporary in art. That is precisely what the NGMA stands for. We are very thankful to our partners- the Anish Kapoor studio, and the British Council, and to the Ministry of Culture to support us in making this a reality,” he adds.

Anish Kapoor has been based in London since 1973, when he left India to pursue his art education in London, firstly at the Hornsey College of Art (1973-77) and then at Chelsea School of Art (1977-78). Kapoor quickly gained recognition as an artist with a unique style and character, and his use of new and unusual materials (such as the brightly coloured pigments which he began using following a visit to India in 1979), coupled with a new, non-Western visual language helped to situate him as one of the most vibrant and unique sculptors working in the UK. By 1985, only seven years after graduating from Chelsea College of Art, Kapoor had produced solo shows for major galleries in Paris, London, Rotterdam, Liverpool, Lyon, New York and Basel and his notoriety on the world stage continued to expand. In 1990, Kapoor was awarded the prestigious Turner Prize and in 1991, he was selected to represent Britain at the Venice Biennale, where he was awarded the Premio Duemila prize for the best exhibition. His latest commission is to design the spectacular new public attraction in the Olympic Park.

The Anish Kapoor exhibitions will coincide with the India Art Summit, which runs from 20-23 January 2011, and attracts approximately 40,000 visitors annually.

Read more on Indian Art News

Indian Art News

There is Krittika Narula from Delhi who learnt painting at Delhi College of Art and works in installation, performance and mixed media using found materials of cultural significance. Interested in art practice and theory she is currently studying for a master’s in art history. Her work focuses on the city and life’s never ending search. The installation project exhibited in the show with a Tata Nano car, an icon of public imagination, covered to the brim with soft stuffed elephant toys, a trail of pollution masks and some typographical messages on its body (Proclaiming: Please Take Me Home), featured strapped shut as if to prevent a deluge, is a remark on the gap between consumerist craze and aspirations of the city bred as against the denial to many others. Her video is about the rapidly changing dynamics of our culture and India today, on a fast track to ‘progress’ unmindful of what it tramples over on the way. The congestion and packaging signifies movement and multi layering of the composition and the gaze; raising questions about the distinction between a product and work of art as the repetitive pattern turns hypnotic in a meditative mould in to get the message across. Using familiar and unfamiliar props from our collective memory that co-exist along with traditional techniques, she juxtaposes them against our new obsessions to signal the alert ‘mind the gap’. Inspired by Gandhi’s philosophy, Krittika also works with thread while Frida Kahlo has also been her muse.

Sanjeev Sonpimpare from Mumbai is a graduate in Painting from Sir J.J. School in the city. Also interested in Art theory besides practice, he received UNESCO-ASCHBERG residency at the Irish Museum of Modern Art in Dublin. His work in a semi realistic oeuvre has traversed from an abstract mode to representational art that underlines the struggles that govern our life in urban metros. There is much preparation and planning including scene setting, photography, drawing and digital intervention that precedes his work on the canvas with paint and brush to give his work its special theatrical appeal. The work in the show confronts the urban unmindful unplanned construct and greed that undermines normal life challenging the notion of co-existence and convergence. He focuses on unplanned building and re-building that goes on in the name of infrastructure development that makes farmers landless and common people homeless.

And Pampa Panwar studied for her Bachelor’s degree in painting from Visva-Bharati University Santiniketan and Master’s in Printmaking from Fine Arts Dept at M.S. University in Baroda followed by another Master’s from Slade School of Art in London and residency at Centre d’Art, Marnay-sur-Seine, France amongst others. Her work in mixed media meanders around nature and time in a fine assimilation of landscape, narrative and abstract. Her colorful paintings about the changing cycle of weather seasons and time use collage and text while she plays around with her frame to encase the imagery and question the gap between human perceptions of reality at one level and between her own vision and that of the viewer and his/her way of looking at what she creates.

The fourth artist Sanjay Sundram is a professionally trained architect who went on to specialize in visual communication with a Master’s from IIT Mumbai. And now as head R & D in new media for a multinational he continues to experiment with creative designing while also practicing and refining his art that has been show in New York besides here. The impact of his multifarious interests is reflected in his thought provoking installations and paintings that high light the widening gap all around in the cities. The various sized toy cars re-formed and re-created precariously hanging and blocking the skyline evoke fear of traffic with intrigue and dismay. A contrast of sorts appears in his paintings that recall the gift of nature which human greed seems all set to engulf due to short sightedness.

The artists play around with ideas in mixed media and varied forms and styles asking us to mind the gap created by consumerist culture in today’s metros. The issue is interpreted and re-shaped differently bringing into focus the gaping holes in our life. The myriad encounters are featured in four different sections of the exhibition within the gallery space, each with its distinct aesthetic, perspective and medium coxing one to rethink and mind the gap between perception and reality, between what is and what ought to be, while the reality of life, its joys and travails in a contemporary context are depicted with energy and gut.

India Art News

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.

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.

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.

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.

Indian Art News