Global Migration and Material Culture. How do we consume Art today?
In conversation with Ashish Anand, CEO of Delhi Art Gallery and Yamini Mehta, Deputy Chairman Indian and South Asian Art, Sotheby’s
It is the age of migration. In many ways, the world hasn’t quite changed since the time of our ancestors who set out from one place to another on foot -- in search of food, settlement, better climate. Today, we witness an era of migration fuelled by war, displacement, climate change, livelihood and occupation, and the market system. Indians are moving abroad to work and settle, while people from other countries and ethnicities are coming to India, increasingly, and collaborating with artisans and other skilled labourers. It’s an interesting trend to witness, no doubt accelerated by the presence of digital media and the influence it has had in shaping communications, awareness and consumption of art across boundaries. In this era of digital nomadism, we are all curators and consumers in turn.
DAG: “The digital and social media platforms are doing a great job in providing access to art for most people on their phones, for instance. Or take the example of museums that can now be viewed virtually. This has helped to democratise art, which we at DAG firmly believe in, and delivered it to the doorstep of their consumer – thereby promoting the cause of art. Instagram has become an incredible tool. Access plays a big role here, as does the quality of content – what Instagram is doing is raising the bar constantly, providing real-time information that is aesthetically on point and this has changed the way people consume art. You don’t need to be in Venice to know how the India Pavilion looked, what quality of artworks were on display or who attended the opening, and be able to compare that with the quality of art being showcased at Art Basel for instance. Over time, due to this constant exposure - the consumer of art becomes more confident and, indeed, discerning.”
Sotheby’s: “Instagram has certainly allowed people to develop their tastes for art, and may expose them to artists they may never have heard of. Whether through hashtags or Instagram’s new search categories, you can scroll through thousands of art posts to see what you like, like walking through thousands of galleries, but at your fingertips. There are even accounts which run ‘Instagram auctions’, which is a fun concept. A recent Hiscox report recorded that 79% of art buyers under 35 use Instagram to find new artists.”
The power of visual platforms like Instagram is, hence, undeniable when it comes to creating as well as influencing trends of art, the global market and individual consumption. Art today functions on accessibility and hierarchy finds no place in the world of digital media. Yet, what we as Indians consume to stay within the boundaries of ‘tradition’ –
DAG: “India, and Indians, are fonder of paintings than any other medium of art practice. While conceptual contemporary art is experimental with its choice of materials, collectors prefer paintings, and contemporary installations are preferred largely by institutions.”
Sotheby’s: “I think collectors are being open-minded and certainly the museums, artists and galleries try their best to push boundaries to go beyond painting and sculpture. But flat art and traditional sculpture still remain predominant for many private collectors who are living with their art.”
The free form of the digital space, because it is allowing art (both creation and consumption) out of the clutches of the ‘system’, is also encouraging the younger generation of private collectors and art connoisseurs to trace back the history of subcontinental art with a spirit of revivalism. There is an interest in revisiting lost forms, reviving the contributions and repertoires of lost names, especially of women artists, who did not quite become a part of the canon.
DAG: “DAG operates in the secondary space, and over the years we have seen a lot of interest in works by artists of the past. Though important, they had been forgotten. Reviving interest in their work, and finding them a place in India’s art history, is our contribution to the country’s art scene.”
Sotheby’s: “One of the biggest trends globally that are reflected within the Indian sphere is to address ethnic and gender diversity in the exhibition and promotion of artists in museums, commercial galleries and auctions. In the Indian art space, it is not as much up and coming as it is rediscovering artists who have always been part of the fabric but have not received their due. There is a push to contextualise female artists who were at their peak in the 1970s and 80s with shows devoted to Mrinalini Mukherjee, Lala Rukh, Zarina Hashmi, and Nadeem Mohammedi in the last few years.”
It will not be wrong to say that we live through exciting times that sees Indians thrive across continents by the power of communication, connectivity and networking – an innately Indian thing to do!
DAG: “Global migration has always provided content for artists – either as an influence, as in the moderns, or as the subject, as in the contemporaries. Several Indian artists have also lived abroad, and this has impacted their work.”
Sotheby’s: “The Indian diaspora comprises one of the largest and geographically diverse populations. It is highly networked and through technology, allowing for developments to arise and move quickly across continents. I think that because of this geographical spread, there is an inherent stability in the Indian market which metaphorically we liken to a four-legged stool with one leg in India and others in North America, Europe and Asia. It means that the market is not beholden to the economics or politics of one particular region in order to thrive.”
Words by Prerana Choudhury
Image: Zarina Hashmi