‘Elite Collectors of Modern and Contemporary Indian Art’ opens a window onto a wonderful world of passionate collectors

Driven by their desire to chart a unique course, authors Purrshottam Bhaggeria and Pavan Malhotra have conceptualized and penned this captivating coffee table book. They take the readers along onto a fascinating journey into the exclusive world of discerning collectors and their eclectic collection. The book makes a honest attempt to highlight their definitive aesthetic vision, deep-rooted philanthropy, support and commitment to Indian art and artists.

As Indian contemporary art shines globally, ‘Elite Collectors of Modern and Contemporary Indian Art’ by authors (Publishers: Elite Media; Price: Rs 15,000 for a limited edition of 2,000 numbered copies) has turned the spotlight on renowned collectors such as Parmeshwar Godrej, Suresh Neotia, Tina Ambani, Harsh Goenka, Rajshree Pathy, Sangeeta Jindal, Abhishek Poddar among others), some are less well known Rakesh Agarwal, Mahesh Chandra, Mahinder Tak, Ashwani Kakkar, Malvinder Mohan Singh, Prashant Tuslyan, Sanjay Lalbhai, Rajiv Jehangir Chaudhuri and Dinesh Thacker.

Then there are some international collectors like Masanori Fukuoka and the late Chester Herwitz who find a mention in this first comprehensive tome on art collectors. Barring a few notable exceptions like Anupam Poddar, Lekha Poddar, Nitin Bhayana, Priya Paul, and the de Boers, this attractive coffee table book reflects the passion of avid art collectors.

The publication is a sincere and research based exercise to provide a glimpse into the rich collections of some of India’s top collectors, and their associations with the artists. ‘Elite Collectors of Modern and Contemporary Indian Art’ opens a window onto a wonderful world of passionate collectors. It introduces the readers to their eclectic and engaging collection.

‘Elite Collectors of Modern and Contemporary Indian Art’ is worth collecting for it showcases selected and favorite works of art of each collector, symbolizing their discerning eye and eclectic tastes.



The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world's most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists, became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India Mumbai and India Art Summit Delhi.The Best art place on this globe.

Dr. Manmohan Singh: Prime Minister of India @ United Nations climate change summit in Copenhagen

Before leaving, Dr. Manmohan Singh: Prime Minister of India said, I am leaving today to attend the 15th Conference of Parties of the United Nations Framework Conference on Climate Change in Copenhagen (UNFCCC).
The UNFCCC and its Kyoto Protocol embody the international agreed regime for addressing the global challenge of climate change. The UNFCCC is founded on the principle of equity and common but differentiated responsibilities and respective capabilities. At the 13th Conference of Parties in Bali, the Parties had agreed to launch an Action Plan to enhance the implementation of the UNFCCC. The Bali Action Plan seeks to ensure full, effective and sustained implementation of the UNFCCC through long term cooperative action of the Parties upto and beyond 2012.

It is India’s view that global warming is taking place and taking place here and now and its adverse consequences will impact most heavily on developing countries like India. As a responsible member of the international community, India is therefore fully committed to working with the rest of the world to preserve and protect our environment. This is our common heritage, and this is what we must bequeath to our succeeding generations.

At the same time, climate change cannot be addressed by perpetuating the poverty of the developing countries. Every citizen of the globe has equal entitlement of the global atmospheric space. It is in keeping with this principle that I had earlier announced in Heiligendamm in 2007 that we will maintain our per capita emissions at a level lower than the average per capita emissions of developed countries.

We have, as a responsible member of the international community, announced that we will reduce the emissions intensity of our growth by 20-25% in 2020 as compared to 2005. India has also launched a comprehensive Action Plan on Climate Change and the eight National Missions have been set up. We are willing to do more provided there are credible arrangements to provide both additional financial support as well as technological transfers from developed to developing countries.

I look forward to constructive deliberations in Copenhagen which meet the collective aspirations of all humankind and enable us to move forward in the global efforts to combat climate change.

December 18, 2009
Copenhagen
Ladies and Gentlemen,I would like to thank Prime Minister Rasmussen for his efforts in trying to build a global consensus on highly complex issues, involved in climate change, attempting to balance divergent and varied interests.
We have all worked hard to reconcile our different points of view. The outcome may well fall short of expectations. Nevertheless, it can become a significant milestone. I therefore support calls for subsequent negotiations towards building a truly global and genuinely collaborative response to climate change being concluded during 2010.
Ladies and Gentlemen, As we embark on future negotiations, we would do well to take stock of what we have learnt from our efforts over the past two years. I draw three lessons, which should guide us in the task ahead. Firstly, the vast majority of countries do not support any renegotiation or dilution of the principles and provisions of the UNFCCC, in particular the principle of equity and common but differentiated responsibilities and respective capabilities.Further, the need for action on our part is more and not less than what was envisaged at the time of the Rio Convention or the Kyoto Protocol. That is why the Bali Action Plan commits us to enhancing the implementation of the UNFCCC.To settle for something that would be seen as diminished expectations and diminished implementation would be the wrong message to emerge from this Conference. We should therefore reaffirm categorically that our negotiations will continue on the basis of the Bali mandate.Secondly, the Kyoto Protocol should continue to stand as a valid legal instrument.
Parties to the Protocol should deliver on their solemn commitments under the Protocol. It would go against international public opinion if we acquiesce in its replacement by a new and weaker set of commitments.Finally, it is clear that any agreement on climate change should respect the need for development and growth in developing countries. Equitable burden sharing should underlie any effective global climate change regime. Any new regime will have moral authority and credibility only if it acknowledges that every citizen of the globe has an equal entitlement to the global atmospheric space.India has a vital stake in the success of the negotiations as we are among the countries most likely to be severely impacted by climate change.We have therefore adopted and started to implement a major National Action Plan on Climate Change, relying upon our own resources.
Our targets include installation of 20,000 MW of solar energy capacity by 2022, improving energy efficiency by 20% by 2020 and adding an additional 6 million hectares of forests over the next several years.Excellencies, each one of us gathered here today acknowledges that those worst affected by climate change are the least responsible for it. Whatever emerges from our negotiations must address this glaring injustice, injustice to countries of Africa, injustice to the Least Developed Countries, and injustice to the Small Developing States whose very survival as viable nation states is in jeopardy.
We in India, too, are vulnerable, but nevertheless as responsible citizens of the globe, we have agreed to take on a voluntary target of reducing the emission intensity of our GDP growth by around 20% by 2020 in comparison to 2005. We will deliver on this goal regardless of the outcome of this Conference. We can do even more if a supportive global climate change regime is put in place.Excellencies, we have a difficult task ahead of us. I hope we will all play a positive and constructive role so that we can bridge differences and come up with a balanced and also an equitable outcome during the coming year. India will not be found wanting in this regard.Thank you.
Remarks by PM at the Informal Plenary of HOS/Gs at the 15th COP at Copenhagen

The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world's most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists, became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India Mumbai and India Art Summit Delhi.

Clearly, the Art market is on the threshold of an upswing in terms of investor confidence

Art analysis firm ArtTactic’s confidence indicator for the Indian art market has more than doubled, sending positive signals to investors.

In fact, recovery in the Indian art market could occur earlier than expected, according to the latest research report released by the London-based art market analysis firm. The report suggests there is renewed confidence evident in the market that incidentally had dipped to an all-time low only six months ago.

The report holds significance since ArtTactic, set up by Anders Petterson almost a decade ago, is an internationally reputed agency. It comes up with research and commentary by combining both quantitative and qualitative tools. Its studies are backed by an in-depth knowledge of the art market’s .

ArtTactic employs analytical frameworks and methodologies for the art market often employed by economists and the financial experts. Anders Petterson, ArtTactic managing director, elaborates, “The survey sample is a cross-section of key players in the Indian art market many of whom have a long-term interest in it, and hence their answers are not driven by short-term decisions.”

Its confidence indicator for the Indian art market is now pegged just under the 50 mark, at 49. The 50 mark importantly, suggests there are an equal number of negative and positive responses on the outlook for the art market in the near term. In May, the indicator was well in the negative territory, pegged at an abysmally low number of 20.

Clearly, the market is on the threshold of an upswing in terms of investor confidence. This really is a positive indicator coupled with the Indian economy that is showing early signs of revival.

The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world's most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists, we became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India Mumbai and India Art Summit New Delhi.

If this decade in human civilization has presented us with any resonant knowledge about our world, it is that energy is culturally precious.

From vertical farms to solar forests, neutralizing the carbon footprint of urban centers is one of the most popular trends in design.

Los Angeles firm Emergent Architecture has come up with a concept that combines public art with creating biofuel. Called a "photobioreactor," the aquarium-like structure would contain green algae colonies, also known as pond scum, which produce an oil that can be processed into a biodiesel fuel that can replace petroleum-based diesel fuel.

Even better, green algae consumes carbon dioxide, which is the leading driver of human-propelled global warming.

The system would use "tuned LED lights which vary in color and intensity to support algae growth at different stages of development, maximizing output," according to Emergent. (I'm not quite sure what this means, but suspect it has something to do with recent developments in using nano-materials to create LEDs that surpass their conventional cousins in the colors of light they can produce.)

A thin-film solar array strung into the branches of nearby street trees would collect energy during the day; stored in batteries, it would power the bioreactor's systems at night.

The firm has imagined a Los Angeles-based installation of bioreactors into the sides of buildings, as well as a public art piece for a Perth, Australia involving freestanding bioreactors built to evoke the shapes of cellular structures.

Rather than just stand and symbolize something, say the designers, the installation would also be doing something useful: using and creating clean energy. "Now, one could argue that artwork shouldn't actually do work," they acknowledge. But "if this decade in human civilization has presented us with any resonant knowledge about our world, it is that energy is culturally precious, that it is possibly the ultimate medium.

"Energy may indeed be one of the most timely mediums for art."
by Emily Gertz


The Ashok Art Gallery is internationally known for one of its most important holdings: more than 2000 major works by the world's most significant Artists.Over the past years, as Ashok Art Gallery has become a major centre for contemporary visual art, the Gallery has built a strong collection of contemporary work of different artists,we became a sponsor of the STANDUP-SPEAKOUT Artshow, Organized by Art Of Living Foundation and United Nations.Organized an International Contenmporary Art Exhibition including artists from USA, The Nederlands, Pakistan and India.We have also participated at Art Expo India Mumbai and India Art Summit New Delhi.

Indian art heritage , its rich tradition of Art and Culture

Indian art heritage is as rich as most of the established art based countries like Egypt, Greek, China, Japan, France, Italy and Spain etc. It has a specific manifestation in the field of Indian society, art, religion and human sentiments. It touches every sphere of human being and its adaptation is so wider even simple palm leaf and rock wall speaks its merits of beauty, aesthetics and pleasure. Each part of the whole nation express the spectromic echoes of art pleasure. It links urban to a rural, layman to a super human, poor to rich but not tired of to lubricate the long passed echoes of Indian artists spirituality, rather has become an integral part of our everyday lives.Indian Traditional Art was remained in the hands of the rural artisans. They used to deal with the indigenous materials, organic and inorganic materials readily available in their locality. Art activities were well linked with our religion, ritual and everyday lives. A group of people accepted art activities as their main profession who were well known as Kalakaras, they accepted the profession from father to the son, mother to the daughter without much variation in form, style, color, pattern, design and the subject matters. They were not only the painters, sculptors and architects but had good depth on literature, texts and allied grammatical resources.

Indian art is understood through its own grammar of Rasa theory, Sadanga(six principles of Indian art), attitude to Indian art principles of image making etc. It was based on India mythology, poetry of romantic love stories, raga-raginis on the value of Indian society, religion. beauty aesthetics and pleasure. Art education is completely based on ones attachment to the process and entirely not accomplished through an art institution said Sir Baladev Moharatha, Head of Deptt. Painting (Indian Style), He said, “ Broadly speaking, there are two kinds of LIVES-LIFE of values and life of valuables, values are left aside and when values are ignored the person concerned gets devalued. While the commodification of art is a slogan all-around, some people are still there experimenting with the values of art which is beyond commercialization”.

Smt. Sailabala Nayak, Instructor Deptt. Of Painting(Indian Style) said, “ The Tradition and culture are the real identity of a civilized status or of a family. Now in the process of globalization it is difficult to protect and preserve the tradition and culture. Likewise when the student of an art institution displays a picture or submits for exhibition or competition, interestingly enough, the beholders or jury members search for modernity, then in facing the remark that the pictorial language is not readable. Such contrast opinion compels a student, sometimes, to be confused and express him/her- self in a vaguely modern way. But this should not happen”.

It seems reasonable to assume that the Indian art has the potential in terms of both artists and buyers to rival the recent gains made in the Chinese art market and to present itself as a real global participant in the international art market. However, there are some key issues that concern the potential players. These issues have to do with India’s moribund art market infrastructure, which is simply not robust enough to support a major art market. India must develop structures and professionals who can bring order to what in many cases is seeming chaos. Its rich cultural heritage should be come out in form of art works. If this chaos is allowed to continue unchecked, the long term credibility of both India's art and its artists could be irrevocably undermined.
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