When investing in art, certain basic facts need to be kept in mind. While acquiring art as an asset, one has to have a long term investment perspective. Remember, established artists have sustainable value. On the other hand, younger artists have higher risk/higher return.
Here is a brief explanation on the process of selecting the artist and piece of work you want to buy:
• Research regarding an artist, established or upcoming, gives definite clues to the intrinsic value of his or her work. It involves a thorough documentation of aspects such as the artist's age academic qualifications; awards, citations, scholarships received; participation in national international shows and workshops; subject matter of the work; ability to explain it and, of course, the thought processes, technique and style of work.
• Factors like buyers’ list, critics’ perception of the artist and association with prominent art galleries also need to be considered.
• There are several other critical aspects that need to be weighed before investing in art such as analyzing art market movements and trends and keeping a close eye on acquisitions made by distinguished art buyers and collectors.
• It makes sense to approach experienced art advisors to understand the intricacies of the art market. They obviously are better placed to carry out a detailed research and review of recent auction results. Expert inputs are indeed crucial from the point of view of understanding artistic significance and market potential of a particular piece.
• Of course, you may conduct your own study of the art market. This is not difficult since information about individual artists and broader art market trends is now easily available online.
Thursday, July 30, 2009
Bose Krishnamachari: Challenging the norms as a creator and curator
As a creator, curator and practitioner of art in various forms and domains, Bose Krishnamachari likes to challenge and defy conventional concepts of art practices.
‘Panorama: India’ curated by him offered a fascinating overview of contemporary Indian art at ARCO Madrid 2009. Elaborating on his thought process for ARCO project, he mentioned in an interview with art critic Uma Nair that he was primarily looking at a representation, which celebrated and offered insight into different viewpoints of approaching art.
‘Panorama: India’ proved to be the perfect platform for promoting the best of contemporary art from the country to international audiences. Another important exhibition curated by him ‘Everything 2008’ was hosted The Westerhuis, Amsterdam late last year.
As his curatorial note elaborated: “Photographer, sculptor, graphic designer, painter; in my concept ‘Every One is an Artist’. My concern is not with any style of practice but instead I see their concerns in how they run through art making. My motives are straightforward and simple: to unearth new talent, to promote existing young talent and to bring back forgotten, reclusive talent.”
Though he put up a show, entitled ‘Double Enders’ (2005), comprising artists from his home state Kerala, he believes that art cannot be bound by regions. He mentions, “An artist should be aware of global trends and should be sensitive to undercurrents in society, which will make his or her art stand the test of time. The new generation of artists has imbibed the global influence in their work, which is heartening.”
Memories that sift through the sieve of time and perspective become versions of potent reality in his own creations. He quips, “Everything, albeit impermanent, is connected to memory. The public memory may be short, especially in today’s fast-paced world. Yet, human memory as against computer memory is precious. Everything is ultimately an invention of one’s memory, and how much of it one recollects, retains and reprocesses.”
The multi-faceted artist has worked in a diverse range of media like painting (abstract as well as figurative) photography, cultural assemblages and installation. It’s important to try out new things, he emphasizes.
In one such installation experiment, ‘LaVA’ ((Laboratory of Visual Arts) in 2006 he provided a reference point for various visual art practices with a focus on the five decades in design, photography, art and architecture. It was a statement on the inadequacies of existing institutions, and was an artistic intervention for him.
Elaborating on his philosophy as an artist, he has once stated: “Consistency in art works is a premeditated, prescriptive approach and I do not believe in it. Liberation from consistency or styles is the direction of my art.” The process of discovery (coupled with the intention) remains more crucial and critical to him than the end output.
‘Panorama: India’ curated by him offered a fascinating overview of contemporary Indian art at ARCO Madrid 2009. Elaborating on his thought process for ARCO project, he mentioned in an interview with art critic Uma Nair that he was primarily looking at a representation, which celebrated and offered insight into different viewpoints of approaching art.
‘Panorama: India’ proved to be the perfect platform for promoting the best of contemporary art from the country to international audiences. Another important exhibition curated by him ‘Everything 2008’ was hosted The Westerhuis, Amsterdam late last year.
As his curatorial note elaborated: “Photographer, sculptor, graphic designer, painter; in my concept ‘Every One is an Artist’. My concern is not with any style of practice but instead I see their concerns in how they run through art making. My motives are straightforward and simple: to unearth new talent, to promote existing young talent and to bring back forgotten, reclusive talent.”
Though he put up a show, entitled ‘Double Enders’ (2005), comprising artists from his home state Kerala, he believes that art cannot be bound by regions. He mentions, “An artist should be aware of global trends and should be sensitive to undercurrents in society, which will make his or her art stand the test of time. The new generation of artists has imbibed the global influence in their work, which is heartening.”
Memories that sift through the sieve of time and perspective become versions of potent reality in his own creations. He quips, “Everything, albeit impermanent, is connected to memory. The public memory may be short, especially in today’s fast-paced world. Yet, human memory as against computer memory is precious. Everything is ultimately an invention of one’s memory, and how much of it one recollects, retains and reprocesses.”
The multi-faceted artist has worked in a diverse range of media like painting (abstract as well as figurative) photography, cultural assemblages and installation. It’s important to try out new things, he emphasizes.
In one such installation experiment, ‘LaVA’ ((Laboratory of Visual Arts) in 2006 he provided a reference point for various visual art practices with a focus on the five decades in design, photography, art and architecture. It was a statement on the inadequacies of existing institutions, and was an artistic intervention for him.
Elaborating on his philosophy as an artist, he has once stated: “Consistency in art works is a premeditated, prescriptive approach and I do not believe in it. Liberation from consistency or styles is the direction of my art.” The process of discovery (coupled with the intention) remains more crucial and critical to him than the end output.
T.V. Santhosh formulates a language capable of capturing distorted notions of reality
T.V. Santhosh's works bring into focus the growing influence of politics and the media on our understanding of global issues. He delves into the perplexing phenomenon of the media reshaping and constructing public opinion on current affairs.
He says, “Our understanding of current issues of a global and political nature is invariably shaped and altered by the media. It’s difficult to draw a line to distinguish between honest representation of facts and their distortion or manipulation. Even truth can be subjective. What is projected and seen may not be the complete truth. As an artist, I try to formulate a language that is capable of capturing notions of reality.”
The artist deals with complex contemporary issues like global unrest, conflict and violence. In particular, the network of terror powered by scientific intelligence and technological advances - a kind of unholy nexus between knowledge and terror - comes under his scanner.
He has steadfastly stuck to the subject of simmering current conflicts; the key themes of war and catastrophe. His spirit of inquiry and resistance, rooted in questions of history, tackles omnipresent unrest and injustice even as he juxtaposes contemporary issues with past events to establish a correlation between them.
His work is based either on photographic reference drawn from magazines, newspapers and television visuals, or a metaphorical one where the historical and the fictional source materials merge. When he picks images, and manipulates them, his objective is to ask a question, to go the root of the problem of violence and terrorism. It can be any form of violence – implicit or explicit; bodily or otherwise.
The artist tries to understand its ramifications, and approach it from various angles. The inventive, inquisitive artist strives to project the truth, lying somewhere amidst the barrage of images in the media by dissecting them to present alternative narratives. The idea is not to shock viewers but to shake them.
T.V. Santhosh says, “One tends to look at the world through the tinted spectacles of news reports on the massacre of innocents, spectacular highlights of explosions, flux of speakers spewing hatred and the kinds of propaganda campaigns that camouflage truth. It is a strange world exposed and manipulated; one’s extended vision that constructs and reshapes the perceptions of the ‘present’, riddled with endless, eternal questions and a couple of ready-made albeit elusive solutions.”
His artistic processes have also been inspired by the modern like Man Ray whose ‘Rayograms’ involved a simple process of exposing an everyday object against photographic paper to produce a negative image of the object.
He says, “Our understanding of current issues of a global and political nature is invariably shaped and altered by the media. It’s difficult to draw a line to distinguish between honest representation of facts and their distortion or manipulation. Even truth can be subjective. What is projected and seen may not be the complete truth. As an artist, I try to formulate a language that is capable of capturing notions of reality.”
The artist deals with complex contemporary issues like global unrest, conflict and violence. In particular, the network of terror powered by scientific intelligence and technological advances - a kind of unholy nexus between knowledge and terror - comes under his scanner.
He has steadfastly stuck to the subject of simmering current conflicts; the key themes of war and catastrophe. His spirit of inquiry and resistance, rooted in questions of history, tackles omnipresent unrest and injustice even as he juxtaposes contemporary issues with past events to establish a correlation between them.
His work is based either on photographic reference drawn from magazines, newspapers and television visuals, or a metaphorical one where the historical and the fictional source materials merge. When he picks images, and manipulates them, his objective is to ask a question, to go the root of the problem of violence and terrorism. It can be any form of violence – implicit or explicit; bodily or otherwise.
The artist tries to understand its ramifications, and approach it from various angles. The inventive, inquisitive artist strives to project the truth, lying somewhere amidst the barrage of images in the media by dissecting them to present alternative narratives. The idea is not to shock viewers but to shake them.
T.V. Santhosh says, “One tends to look at the world through the tinted spectacles of news reports on the massacre of innocents, spectacular highlights of explosions, flux of speakers spewing hatred and the kinds of propaganda campaigns that camouflage truth. It is a strange world exposed and manipulated; one’s extended vision that constructs and reshapes the perceptions of the ‘present’, riddled with endless, eternal questions and a couple of ready-made albeit elusive solutions.”
His artistic processes have also been inspired by the modern like Man Ray whose ‘Rayograms’ involved a simple process of exposing an everyday object against photographic paper to produce a negative image of the object.
Schedule for the second edition of Art Expo India 2009
25th September 2009
Inauguration by the venerable Mrs. Kay Saatchi, who was instrumental in building the Charles Saatchi collection which has now evolved into the Saatchi Art Gallery.
Open night reception for prominent art collectors, artists and critics
26th September 2009
Visiting hours: 11:00 am – 07:00 pm
Last entry at 06:30 pm
27th September 2009
Visiting hours: 11:00 am – 07:00 pm
Last entry at 06:30 pm
A complete list of events for the entire art fair, talks & seminars, films and other social events will be uploaded later.
Inauguration by the venerable Mrs. Kay Saatchi, who was instrumental in building the Charles Saatchi collection which has now evolved into the Saatchi Art Gallery.
Open night reception for prominent art collectors, artists and critics
26th September 2009
Visiting hours: 11:00 am – 07:00 pm
Last entry at 06:30 pm
27th September 2009
Visiting hours: 11:00 am – 07:00 pm
Last entry at 06:30 pm
A complete list of events for the entire art fair, talks & seminars, films and other social events will be uploaded later.
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