Experts’ and journalists on ‘state of the (Indian) art’

A quick compilation of observations, opinions and viewpoints by art experts, scholars, and analysts on eve of the India Art Fair that just took place in New Delhi:

• “Unfortunately, most new viewers were attracted mainly by the price of art and the prospect of profiting from a continuation of the positive trend. Those acquiring work purely as an investment through instruments like art funds constituted too high a percentage of buyers overall. This was apparent to all informed observers, but few had an interest in drawing the correct conclusion.
  
  Paradoxically, a stable market for art can only develop when the market ceases to be the primary preoccupation of buyers, and when most sales are made to collectors acquiring work they like, want to live with, and can afford.” (Art critic Girish Shahane; ‘The price of art’ in The Business Standard’)
  
  
• “The event, previously called the Art Summit, is unusual on the international art circuit because it aims to both educate the Indian public about the art world and provide sales and high-value contacts for some 90 exhibitors (selected from over 250 applicants). This leads to some tensions, as high-end foreign galleries and Indian collectors would prefer a more exclusive audience of potential buyers, rather than a large public showing.” (‘A change is gonna come’: The Economist)
  
  
• “The perfect picture, of happy selling, buying and free exchange between the cultures may not be a complete one. India's old worries, of too much red-tape, bureaucratic influence and appallingly high taxes continue to mar the profits of the international gallerists.” (Olina Banerji: India Today)
  
  
• “The Indian art market exploded into the international imagination a little over a decade ago. But it isn’t enough to have a commercially-thriving art market if it remains shallow — speculators can easily manipulate such markets. For greater sophistication and depth, the Indian art market needs a growing body of genuine art collectors, qualified conservators, curators, critics, restorers and other art professionals.
  
  It also needs enduring institutions of learning, galleries to display private and travelling collections, art and design labs, museums and storage infrastructure, in addition to an emphasis on early art education.” (Jyoti Pande Lavakare: A new frame for Indian art in The Business Standard’)