Abhishek Poddar at Tasveer |
DOES the Indian market recognise
photography as an art form? The opening of Tasveer ~ a four-city gallery
dedicated to photography ~ takes a wide-angle look at future prospects.
Launched in October 2006, Tasveer
links Mumbai, New Delhi, Kolkata and Bangalore through a
network of gallerists committed to showcasing the work of contemporary Indian
photographers. Its mission statement is clear: “To encourage the buying and
selling of photographs, of tasveers, as collector’s items, as art, as fragments
of ‘captive’ time, of memory. To be cherished. Shared with others. Revisited ~
both privately and publicly, again and again.”
This ambitious venture opens
against the backdrop of an Indian contemporary art market that often sweeps
media headlines. Such as when the Swarup Group bought 125 of M.F. Husain’s work
for Rs. 100 crore in 2004. Or when Tyeb Mehta’s ‘Gesture’ sold for Rs. 31
million at a December 2005 Osian’s auction in Mumbai.
In the international market, photography
has long been part of the art mainstream. For instance, French master Henri
Cartier-Bresson’s 11 x 14 in. prints sell for over $12,500. Prices for LIFE magazine
stalwart Alfred Eisenstaedt’s signed prints are sky-high, while Andreas
Feininger’s ‘Route 66’ prints have shot up from $10,000 to 35,000 within two
years. A Margaret Bourke-White print could touch $21,000. A rare Ansel Adams
‘Moonrise’ print sold for $609,600 in October 2006.
Where does Tasveer fit into this
overview? Its opening season from October 2006 to July 2007 has six
photographers in focus: Raghu Rai, Shahid Datawala, Ryan Paul Lobo, Fawzan
Husain, Saibal Das and Annu Mathew. While some of their work has been
celebrated as photojournalism, is the market ready for prints in limited
editions of between seven and 15, priced from Rs. 15,000 to 1 lakh, within a
form where replication is the norm?
Bangalore-based Abhishek Poddar,
art collector and co-initiator of the 1999-launched Cinnamon lifestyle store,
is one of the brains behind Tasveer. The store, challenging traditional
galleries, exhibited photography by Ketaki Sheth, Navroze Contractor, Dayanita Singh and Naveen
Kishore, though these expositions did not pan out commercially.
Cues to Poddar’s passion for
photography crop up throughout his stunning office space. His walls share
images by Dayanita, Ketaki, T.S. Nagarajan, and Pamela Singh. En route to his personal
workspace, you come across celebrated Canadian Yousuf Karsh’s unforgettable
portraits of Winston Churchill, Nehru, Ernest Hemingway, even cellist Pablo
Casals.
What do each of the gallerists
bring to Tasveer? Poddar took to collecting photography seriously about four
years ago when, entranced by Dayanita’s work, he sponsored a project she was
keen on. Later, when Poddar bought one of her prints, she exclaimed, “You’re
the first Indian who’s ever bought my work.”
He adds, “I actually became unpopular in art circles at that time
because I began taking down paintings in my house, putting up photographs
instead.”
While co-gallerists Vivek and
Shalini Gupta of New Delhi
are dedicated collectors, Kolkata-based Kishore of the Seagull Arts and Media
Resource Centre has been a brilliant photographer for over 35 years. In Mumbai,
Matthieu Foss and Ader Gandi will expand Tasveer’s reach through displays at
the National Centre for the Performing Arts.
Signals from abroad show that
Indian photography may be on a roll. Dayanita’s images have been exhibited in New York, Prabuddha Das Gupta’s in Italy, Bharat Sikka’s in Paris.
Poddar muses, “There’s some amazing
work happening in India.
So, I felt it’s time somebody started showing photography seriously.”
Kishore seconds that over email,
“We started Tasveer with the instinct, even the hope, that this is the time to
begin showing these images. The market will gradually respond. People will need
to see much more over a sustained period of time before deciding that this too
is ‘buyable.’ It will be a slow process, but one we are committed to. I’d say:
give it ten years.”
Can Tasveer be a viable commercial
proposition? Perhaps. Considering that the opening shows of Rai’s ‘Rocks, Clouds and Nudes’ at Bangalore
and New Delhi sold over 22 prints, while Datawala’s dramatic black-and-white
photographs of old cinema halls seething with cultural resonances have already
found 20-plus buyers in Mumbai.
More drama waits in the wings:
US-based Annu Mathew’s explorations of the Indian ‘other,’ Saibal Das’s ‘Circus
Life,’ Fawzan Husain’s tongue-in-cheek Bollywood, and Ryan Paul Lobo’s individualistic
wedding images.
What’s Tasveer’s USP? Impeccable
gallery presentations. Large-format catalogues, each with an in-depth artist
interview. Dialogues with the photographer. Intelligence on how to care for
vintage prints, investment potential, the import of an edition. Perhaps future
engagements with images from the Lala Deen Dayal era or the Lafayette studio, even extending to video works
or photographs with challenging interventions.
Poddar explains, “Traditional art
has become crazily unaffordable today. Perhaps people might shift their gaze to
photography, another form of art. The best of Indian photography is still very
affordable, compared to overseas prices. What we’re showing differs from the
usual street urchins or village India
or the Banaras ghats.”
He adds, “According to Forbes and Fortune, the photography market has recently gained more ground
than the traditional arts.”
What criteria should guide a
collector of this long-undervalued art? “You should buy it because you can’t
live without it. Aesthetic appreciation is the only criterion I’d advocate,”
Poddar says. “We’re looking at people coming for every show, buying an odd
picture every now and then. As a community, this needs to grow, instead of
having just five big buyers for photography.”
Within a larger framework, Tasveer
promises in-depth documention and a digital archive through its galleries and future
website. It also aims to help individuals, museums and corporate bodies to
invest in photography and build up collections.
Will Tasveer’s act of faith
redefine Indian photography by making it commercially viable for practitioners?
Will it lead to a collective opening of the Indian eye? Will this gentle zoom
lead to a market boom? No instamatic answers can possibly suffice.
(Tasveer can be reached at: Mumbai
- 93249-16509)/ New Delhi - 26830629/ Kolkata
24556942/ Bangalore
– 22128190)
(The Week, 2006)
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