Krishna, in azure blue, as the commander with the timeless conch in one hand and the strength of horses and wheels in the background, summarised power. One among a series of paintings on Krishna by Baladev Moharatha, this one arrests attention at first glance. The theme, composition and concept have all the elements of a contemporary art piece that is rooted in tradition as much as in modernity. Dictated to by an inner voice, Moharatha put his creative genius into art and the piece speaks a thousand stories. Like Moharatha, there are many artists in Orissa and beyond who have given their creations their individual identity and are making that the contemporary trend. But the state has also been witness to a negative trend where many artists resort to imitation and follow the diktats of art galleries in their craze for overnight success. A state that traces its art history to traditional stone craft, temple murals, palmleaf manuscript paintings, Osakothi folk paintings and patta and palm leaf engravings and to date takes pride in it, had, at one point in time, seen the effects of the Bengal School of Art emerging as a major trend with the establishment of the Khallikote Art College in 1959.

It was in the 1960s that traces of modernism sprouted in some parts, largely due to the colonial influence. The trend continued until the 1990s after which the global contemporary style and the pan-Indian style took over most canvases. All these influences came together in diverse, eclectic, yet sustaining ways to shape the contemporary art scene of the state.While Mukunda Moharana, Raghunath Prusty, Shatrughna Karan and Dharinadhara shaped the traditional arts scene through their palm leaf engravings and patta paintings, it was Sarat Chandra Debo, Ananta Panda, Bipra Mohanty, D N Rao, Gopal Kanungo, Bipin Bihari Choudhury, Muralidhar Tali and Bimbadhar Varma who made the modern art scene extremely sprightly through paintings based on surrealism or impressionism. But it seems all is not well in the present day art scenario, with imitation finding its way into art more than originality; with the Internet proving an idea bank instead of personal experience and with financial considerations taking precedence over involvement and commitment.

Modern contemporary art brought with it a lot of scope for experimentation and provided tremendous liberty to artists. Some who did not find the state the right place to give vent to their creative urges left in search of greener pastures. But there were many veterans like Dinanath Pathy, Ramahari Jena, Baladev Moharatha and Siba Panigrahi and others who felt contemporaneity did not necessarily need an artist to sever ties with his own surroundings. “Moving out could give you a broader viewership since there are galleries galore in metros but it is the way you conceive of a subject and its analysis in detail that gives an artist’s creation its relevance. These days, Oriya artists are doing good jobs in New Delhi and their art is considered global now due to their reach but not many of them are thorough in the literary and artistic traditions of their state to give that traditional touch to their creations,” says Moharatha. To give a piece of art its Oriya identity it is imperative for an artist to know its history, art and culture and then translate it into art,” adds Moharatha.

For example, contemporary artist Jagannath Panda’s style of painting is in sync with the immediate surroundings of his home state Orissa and New Delhi, the city where he now lives. In fact, the artist whose paintings are mostly landscape-oriented, tends to draw energy from wherever he locates himself. In Panda’s work a routine event or any commonplace object is imprinted with a symbolic stature that is oriented to represent collective aspirations. He collates the best of both Western minimalist features, as well as Orissa’s folk art elements. “It’s very important for an artist to develop his or her individuality. For this, the artist needs to look inwards as much as he looks outwards and there is no point imitating someone. I would much rather be inspired by someone or some piece of creation,” says Panda. A piece of art can appeal if it is highly contemporary in style with strands of tradition ingrained in it, he adds.

Another Oriya artist, Anup Chand, also based in New Delhi, who normally paints on issues affecting society such as pollution, concrete jungles and tigers, feels the artists of Orissa are way ahead of their contemporaries in the country and abroad because of their typical Oriya touch in even the modern paintings. “Somewhere there will be a tinge which will identify an Oriya artist and his roots. And the best examples are Jagannath Panda, Alok Bal and Birendra Pani who are world renowned,” Chand adds. Chand’s pieces have glimpses of pattachitra in their decorative and simplified form and his motifs include birds, bees, animals and buildings.

Dinanath Pathy, an artist, writer and art historian explains the present trend: “These days, most paintings look alike. That is because saleability is the buzzword. Many artists settling outside follow what the galleries ask them to do as per the present demand. This stands for all artists irrespective of the fact that they belong to a particular state. So where is the scope for an artist’s own creativity? Art currently is more about going by what the stakeholders want,” says Pathy who is credited with painting innumerable masterpieces. “I call it the Bollywood syndrome,” he adds explaining that artists now want to be Page 3 celebrities. That keeps them away from painting based on their instinct backed by experience and knowledge.

However, most veterans, impervious to this state of affairs feel the present phase is transient. If Dutch post-Impressionist painter Vincent van Gogh (1853-90) survived because his heart was in art, even the present-day wavering Oriya artists will return to their roots in their paintings soon. And that will redefine the present-day art trend.
Kasturi Ray @ The New Indian Express


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 2008, 09 Mumbai and India Art Summit 2008 New Delhi.

We are a product of our environment. So choose the environment that will best develop you toward your objective. Analyze your life in terms of its environment. Are the things around you helping you toward success - or are they holding you back?We generate our own environment. We get exactly what we deserve. How can we resent a life we've created ourselves? Who's to blame, who's to credit but us? Who can change it, anytime we wish, but us?
Here is an opportunity for all to express our feelings towards a safer and cleaner environment..

‎'RAJIV GANDHI INTERNATIONAL PAINTING CONTEST ON ENVIRONMENT'.
Join Right now..!!!

‘Rajiv Gandhi International Painting Contest on Environment’ is an online painting competition for kids, school students and adults around the globe on environment to spread the message ‘Save the Earth’ . The contest was inaugurated by Smt. Sheila Dixit, Hon'ble Chief Minister of Delhi State, India on 5th June 2010, ‘THE WORLD ENVIRONMENT DAY’ and will be ended o...n 3rd August 2010 (60 days online contest).

Join Right now..!!!

TERMS & CONDITIONS:

01. Entry to the online contest is free for all candidates and is open for all Citizens around the world.

02. The contest will be conducted in different ‘Groups’ for kids, school students and adults as follows:

Group A: Children - 4 to 5 years old. (Coloring with Crayons only)
Group B: Class I : (Coloring with Crayons only);
Group C: Class II : (Coloring with Crayons only);
Group D: Class III : (Coloring with Crayons only);
Group E: Class IV : (Coloring with Water Colors only);
Group F: Class V : (Painting with Water Colors only);
Group G: Class VI : (Painting with Water Colors only);
Group H: Class VII : (Painting with Water Colors only);
Group I: Class VIII : (Painting with Water Colors only);
Group J: Class IX : (Painting with Water Colors only);
Group K: Class X : (Painting with Water Colors only);
Group L: Class XI : (Painting with Water Colors only);
Group M: Class XII : (Painting with Water Colors only);
Group N: Adults above 18 years old : (Painting with Water Colors only);

03. The online painting contest was started at 5.30 PM (GMT) on 5th June 2010 (World Environment Day) and will be ended at 5.30 PM (GMT) on 3rd August 2010 (60 days contest).

04. The online contest will be conducted through www.facebook.com only. All interested participants must have an account in Facebook and join the ‘Group’ of ‘Congress South Indian Forum (Delhi State Committee)’

05. All interested participants are requested to send your paintings before 3rd August 2010 by e-mail to: facebook.painting@gmail.com.

06. Along with paintings, attach your photograph (PP size) and please write the following details in the e-mail:

Name of Participant:
Father / Guardian’s Name:
Age & Date of Birth:
Gender:
Name & Postal Address of School (students):
Class & Division (students):
Residence Address:
Mobile & Land Phone No.:
E-mail Address:
(Photograph is compulsory for participation)

07. Please don’t write your name or any other details in the painting.

08. One participant can send up to 3 paintings (together or separate) within the contest period of 60 days time. All these 3 paintings will be considered for competition with different Registration Nos.

09. All participants must send their ‘Original Paintings’ along with photograph and registration details by registered post / courier to our Delhi office immediately. All the paintings will be displayed in the venue of ‘Award Giving Ceremony’ which will be conducted in Delhi. Send your paintings to: Mr. Rajeev Joseph, 19/502, N.R. Complex, Srinivaspuri, New Delhi-110065, Mob: +91-9873278090.

10. We will upload your paintings with Registration Nos. to the contest page as soon as we received your paintings and other details by e-mail.

11. All paintings will be uploaded in the group page of ‘Congress South Indian Forum (Delhi State Committee)’.

12. If there is any malpractices in the paintings and registration, those participants will be disqualified from the contest any time.

13. Copyright of all paintings sent to this online competition is to be assigned to the contest organizers (Congress South Indian Forum).

14. Painting that have already been shown elsewhere or accepted for another contest will not qualify for this competition.

15. Paintings that show a particular person, an organization or a brand name will not be accepted in the paintings.

16. The management of ‘Congress South Indian Forum’ has the right to reduce the duration of the contest or extend the contest period, if necessary.

17. The ‘10 Member Team of Judges’ will be declared the winners of ‘Each Group’ on 7th August 2010.

18. The winners will be awarded with ‘Merit Certificates and Trophies’ in the ‘Award Giving Ceremony’ which will be conducted at Delhi on 20th August 2010, the 66th Birth Anniversary of Late Shri. Rajiv Gandhi, Hon’ble Former Prime Minister of India.

19. All the participants will be awarded with ‘Participation Certificates’ in the Award Giving Ceremony’ or it can be posted to the participants who pay the postal charges.

20. The organizers has the right to change the ‘Terms & Conditions’ any time for the smooth running of this contest.

21. If there is any disputes regarding contest results, timings, groups etc. the decision of ‘Congress South Indian Forum’ will be final.

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 2008, 09 Mumbai and India Art Summit 2008 New Delhi.

It was 25th sept. 2009 , at around 11 am started a special Preview for invited people ART EXPO INDIA 2009, the much-awaited event on India’s art calendar, has been held at Nehru Centre, Mumbai last week. The who’s who of the art world including renowned artists, art experts, collectors, patrons and aspiring investors thronged the venue to celebrate the throbbing spirit of modern and contemporary Indian art.

Art Expo India aims to offer the wave of new Indian talent a perfect launch pad on the domestic and international market. An encouragement to young painters so that collectors notice them coupled with a boost to the culture of value-based investing in art is reflected in AEI’s program, which features a series of insightful talks on art related themes.

Acknowledged for her insight of contemporary art trends, Kay Saatchi discussed the nuances of the fine art of collecting art in conversation with in the inaugural session. She has co-curated several exhibitions for the Saatchi Collection. She vigorously promotes young artists in her role as the founding director of the Artists and Collectors Exchange.

Art expert Mallika Sagar Advani conversed with Kay Saatchi who elaborated on the intricate maze of relationships between an artist and a collector, between a dealer and an artist, and a dealer and a collector, hinting that the interlinking of interests has to be based on trust. She provided valuable tips on becoming a successful collector and also offered tips to aspiring curators and gallery owners

During her conversation with Mallika Sagar Advani at the inaugural talk session at Art Expo India 2009, art expert Kay Saatchi revealed at the outset that anticipation is the key when it comes to building your art collection.

She added: “The process involves immense amount of groundwork – visiting art schools, checking out shows at art galleries, spotting the new talent, and finding out who are the next art stars.” She narrated how she studied close to 600 artists’ works to pick her top 20 as part of a similar such exercise.

What are the attributes to watch out for in an emerging artist, she was asked, According to Kay Saatchi, coupled with a certain amount of skill, what she looks for is the artist’s commitment and passion to make art. Integrity and determination are necessary along with the natural talent, she emphasized.

Mallika Sagar Advani’s pertinent queries regarding the current complex dynamics of contemporary art and its evolving structure prompted responses from Kay Saatchi based on her deep understanding and practical experience. The conversation also touched upon various aspects like her role as a curator, her involvement in an artist’s career, the broader market mechanics, the transition to auction dominated art market from a gallery dominated one, the changed norms of collecting, maintaining and upgrading an art collection.

The moderator also tracked Kay Saatchi’s own evolution as an art collector-curator, seeking her opinion on things that create value in an artwork. It was an engrossing and entertaining discussion as Priyanka Sethi summed it up at the end, stating: “The conversation was stimulating, honest and extremely informative. The more, we think, we know about the art world, we find something new, something more interesting and something more exciting, and something even shocking every time. That’s the beauty and joy of art.” But then we need helping hand from experts like Mallika Sagar Advani and Kay Saatchi to discover it.


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 New Delhi.

Masters @ Ashok Art Gallery : Chandrasekhar Rao (1940-2004)
Chandrasekhar Rao was born in a small village of Polasara in Ganjam district of Orissa. As a Handicraft Designer, Chandrasekhar created 4000 creative designs from the existing patterns of the tradition. His association with the traditional craftsmen of different trades brought him near to their crafts as well as life. Chandrasekhar Rao was trained in the Indian Painting (Shantiniketan style) from Government Art College at Khallikote and possibly worked under the best of Gurus those were available in Orissa. While learning the art of painting, he was much into depicting the mythical subject matters to start with and later moved on into unexplored areas of human life, nature and their relationships.

Looking back at Chandrasekhar’s life, he seems to be comfortable with the immediate village environment and its habitants, and they are his chief protagonists through out, whether it is a rendering of Gita Govinda or Krishnalila; Village pond or a portrait or any subject matter for that matter. I am privileged to be with him, observing him closely, in life and on work. Every bit of experience is artistic; as he explains, ‘if you want to exaggerate a curve in a figure, just try it yourself to a maximum stretch and never beyond because bending, twisting, stretching or any thing of similar type should not affect the rhythm of the form, and it applies to a smile, yes’. One of the characters of his painting is line and one can see the beauty of an comprehensive line from one end of the tassar canvas to the other, breaking free- one rhythm, one stop respiration and the form emerges from it with tremendous force and energy - a real unique signature.

Colours and compositions were derived from Orissa and its several art forms. His introduction to the handicrafts, as being the Designer, helped him to acquire more knowledge and he transformed the cultural forms in contemporary art equally intelligently. Many artists, we have seen searching for the title after the composition and its validity, but Chandrasekhar always knew what he was doing. He never painted the elements or composed; he rather lived, enjoyed and interacted with the forms in the painting, making it a part of the entire scheme. Precisely, he was one of those painted characters who lived out of the canvas, with us and his family.

Many artists, toward the last phase of his life, started to criticise his work as a standard (as in ISI) falling short of understanding his ideas and creativity. Some have started to imitate him for livelihood and saleability even after knowing that his works cannot be replicated, but Chandrasekhar Rao was the one who lived above these petty state of affairs during his life, and will always remain out of reach of such traumatic human behaviour. He was with us all till 2004.

Chandrasekhar Rao’s achievements include, besides being the Handicraft Designer, an art teacher (for children too), the Chairmanship of Working Artists Association of Orissa. He has received Awards by State Lalit Kala for four times; Academy of Fine Arts, Calcutta; AIFACS, New Delhi; Bombay Art Society, Bombay; SCZCC, Nagpur; and many more. He has exhibited in Museum of Fine Arts, Chandigarh; Rashtriya Lalit Kala Kendra, Bhubaneswar; Bajaj Art Gallery and Jehangir Art Gallery Bombay; Crimson, Bangalore; Birla Academy of Art, Kolkata and many more.
This special collection has came directly from his son Sri Tarakeswar Rao, collected and available at Ashok Art Gallery.

Any work of art for that matter has certain ideas to deliver, but this seems to have engaged the viewer with more than one implication. Initially aimed at presenting the environmental issue, that is one of the phenomena, quite clearly depicted by many artists of the present day. It is uniformly received by the politicians, sociologists, scientists and artists as well. ‘The habitation in nature’ an exhibition showing Pradosh Swain’s recent works at Ashok Art Gallery.

VISIT SHOW ONLINE

Concrete Demon illustrates a typical and unusual scene, amazing and interesting too. The manuscript unfolds to release Lord Rama with his attributes, bow and arrow, to kill the concrete mixture that is commonly seen at the construction sites. It has several layers of implication: dwelling between tradition and modern, oppression and liberty, nature and environmental hazard, mobility and stillness and so on. It presents a feeling of awareness and concern.

Rama, the maryada purusha, as he is commonly known and we believe had a genuine understanding of nature as he lived his significant part of life within nature, interacting with various aspects and adopting several laws of natural world. He is seen liberating the self to take on the direct fight once again with the demonic form (concrete mixture = Ravana) to bring back peace to the mankind unaware of the fact that in this corrupt world, what wins is not the environment but the brokers of nature, while the sufferer is entire world.

In the present day, Rama has become the source of inspiration to many; politically, environmentally, culturally, as people have conveniently adopted him. Now he has been reduced to a manuscript as an abode, cultivating the nature within the parameters of palm leaf. A simple narration that recreates the Rama in Odissi Pata painting form and symbolically covering him with the foliage, to relate nature in him; palm leaf as a major and popular medium in Orissan traditional art is placed intelligently to show the manuscript and a horrifying background depicting the uncertainty of human life. The composition is poised with intellectual input and social awareness.

The world is changing and also the attitude of man. Travel is part of human being’s life. With every passing day more and more information regarding the destinations are reaching us motivating us to explore the new area of substance. Reasons of such moves are many, ranging form family holidays to corporate leisure. Many natural sites are revisited and new sites introduced to us. We move from place to place encroaching the nature’s domain and without even being careful. Often we ignorantly spoil the nature and sometimes become more adventurous in misusing the resources. This has resulted in the natural devastation and we can feel the heat of global warming all through the globe. We have started paying the price for someone else’s fault. Towards Wind seems to present before us the nature that is supposed to nurture us, our lives and motivate our minds, inspire us to face new challenges, has now started throwing new challenges to us pointing its protection and expecting a little compassion and love for itself. We have reached a pitiable condition, where no road leads ahead.

A time would arrive when we would need a fan painted with nature (allegorical) in a hill top (station) to satisfy us from heat. The extent, as the artist has pointed, might go up to reaching near to the fan blades to occupy the most of air the fan delivers. The message is clear and loud, save it (nature) to be a part of it or stay alone to die hard.

The cities are now developing fast and at a disagreeable pace. The requirement of man is getting wider day by day. To achieve these desires one makes compromises with the nature, its habitants and the balance. We have significantly converted the animal’s bay purposefully to suit our ideals. So every other day we hear news about tiger creeping in to village and start shouting about the facing new danger. Rationally we have threatened their habitation in nature. The spread of the cities never care about the essential ‘other’. Fisher in Metro is just about that. In the image showing the kingfisher (namesake) sitting on a basket ball net (replacing the tree branches) and concentrating on a swimming pool (replacing the village pond), which is temporarily set on a spatula (showing its position), while a young woman is diving into the pool. This visual narrates the reality; of how the cities are facing structural conversion everyday, the danger of scarcity facing us today and its horrifying future and similar struggle.

Pradosh Swain has attempted global issues in simplest and readable visual term. What interests me is his concern about nature and its protection in order to avoid the Global Warming. ‘The message is not new’, as he explains, ‘and it is not educating too. I just paint to define my understanding of the subject’. He adds, ‘much has been spoken and delivered visually by the NGOs and similar volunteer organisations to mass through electronic and print media. But artist has his own creative view point that sometimes visualises the imagined future’. Let us not make big promises that are difficult to keep but small acts that are easy to follow in order to upkeep our environment. Is someone practising! Pradosh Swain works and live in Delhi, India.

Dr. P. K. Mishra (Art Historian)
Presently Serving as Associate Professor, BHU


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.
Last year 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 2008 Mumbai and India Art Summit 2008 New Delhi.

After a significant fall in art prices last autumn, domestic as well as international galleries are optimistic about the contemporary art market. Experts predict a sooner than expected, however, a gradual recovery.

According to ArtTactic, a market research firm, the market sure has strengthened after a noticeable drop in average prices for contemporary Indian art at the recent auctions (roughly 76% during the period of September 2008 and March 2009). Average auction prices for Indian art are currently at around $24,536, up from the lows of $13,827 in March 2009.

In an effort to add momentum to the recovery, Art Expo India 2009 is bringing together the country's largest fine and popular art galleries, art dealers, artists, experts and art publishers. Apart from thousands of quality art works by Indian artists, it will include international galleries that will bring works from their top . Art Expo India 2009, in a way, provides art investors and collectors a cross section of Indian and world art.

Their spontaneous response suggests that most exhibitors are keen on showing their best works in the financial capital of India. They want to use the fair as an opportunity to develop a network, add to their contacts, enhance collaborations and gauge the mood of the domestic market.
From 25‐27th September 2009, the cosmopolitan financial capital of India, Mumbai will be hosting the celebrated Indian contemporary Art Expo. Leading Indian and nternational art galleries will be taking part in this event. The Art Expo promises to be a significant cultural and social event in the Indian Subcontinent. The discussions at the Art Expo feature prominent international art world personalities including Kay Saatchi, Judith Greer, Princess Tatjana zu Schaumburg‐Lippe, Kirsty Ogg and many other Museum curators, consultants and collectors. Now in its 2nd year, it is the largest art fair devoted to modern and contemporary Indian Art. Organised at the Nehru Centre in Mumbai, this year’s show exhibits a wide mix of cutting edge, eclectic and exciting art works. A series of interactive conversations with experts will demystify the language & knowledge of art to visitors.
The Art Expo India is a high profile meeting ground for art dealers, galleries, artists and collectors. This expo has popularised Indian contemporary art across cultural, social and economical boundaries in India and internationally and plays a catalytic role in building a market for contemporary Indian art both in India and globally. It is a high end shopping event presenting a wide array of works by famous and upcoming Indian artists. Publishers, dealers and gallery owners will showcase cutting edge work in different media ‐ from paintings and sculpture to prints and photography. The exhibition holds the largest gathering of art professionals in India and is the only place where one can meet thousands of new collectors and artists on a one‐to‐one basis.
Over 10,000 art lovers including collectors, buyers and corporate decision makers, high net worth individuals, leading Indian business families, CXOs from different multinationals and celebrities from Bollywood will be attending this prestigious social event in the Indian art calendar.
Featured Speakers at the EXPO Kay Saatchi will be delivering the keynote on spotting young talent and building up an art collection.

Some of the other renowned and featured speakers are:
1. Judith Greer ‐ International art collector and author
2. Kirsty Ogg ‐ Co‐Curator of The White chapel gallery
3. Ranjit Hoskote – Contemporary Indian poet, art critic, cultural theorist and
independent curator
4. Jitish Kallat – Dynamic and acclaimed worldwide, Indian Contemporary artist.
5. Sharan Apparao ‐ India’s leading contemporary art gallerists producing
exhibitions in Delhi, Mumbai and Chennai
6. Menaka Kumari Shah – Christies Representative for India
7. Dr. Alka Pande – Consultant Art Advisor, Curator of Visual Arts Gallery at the
India Habitat Centre in New Delhi and a prolific writer on Indology and art history
and author of several well‐acclaimed books.
8. Satish Manashinde ‐ Renowned lawyer
9. Anjolie Ela Menon – India’s leading contemporary female artist. Her paintings
are in several major collections
10. Bose Krishnamachari – Famous multi‐disciplinary artist who has exhibited in
numerous solo and group exhibitions internationally
11. Shantanu Poredi – Renowned architect. Designed many interesting international
and Indian projects
12. Rajshree Pathy – Eminent entrepreneur and businesswoman and Art
Connoisseur
Visitors will include art collectors, connassiours, architects and interior designers, buyers and corporate decision makers. These important visitors will be specially invited to attend the show. At least 20,000 quality visitors are expected.

Exhibitors of ART EXPO INDIA 2009

Apparao Galleries Madras, ICIA Mumbai, Sakshi Mumbai, Latitude 28 Delhi, Jolrong.com Singapore / Bangladesh, Indian Art Ideas Delhi , Dhoomimal Gallery Delhi, Art Musings Mumbai, Art Seefeld Switzerland, Gallery Beyond Mumbai, Ishka Cochin, Priyasri Art Gallery Mumbai, Sara Arakkal Banglore, Ashok Art Gallery Delhi, Gurgaon Art Centre Delhi, Art Inc Delhi, Wonderwall Delhi, Pink Ginger Arts, 1x1 Art Gallery Dubai, Marigold Fine Art Delhi
Despite the recession and the subsequent fall in prices, experts feel the market for fine art is still very strong, though not as hyped as it was a couple of years ago. Importantly, long term collectors want to use this phase to build on their portfolios. Especially, a host of investors-individual as well institutional- from European and American art circuit are looking to add Indian art to their collections. For many of them Indian art is still new. Art Expo India 2009 will act as a window for them to peep into Indian art

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.
Last year 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 2008 Mumbai and India Art Summit 2008 New Delhi.

Art aficionado Vickram Sethi talks about his forthcoming Art Expo India 2009, MF Husain and Indian art potential.Vickram believes that there is little left to doubt about the fact that NRIs are big art buyers and often drive up auction prices. Indians living abroad want to possess a part of their heritage which is why they buy Indian art. However, the 30 plus generation has changed many things. They are a highly educated group and control their own finances. They hold a different view of Indian culture. With art being available on the net, now NRIs all over the world have access to Indian art.

So, is art elitist? In India we love to talk about our art and cultural heritage, the truth is that very few Indians understand our art and culture. Unfortunately it’s not taught in school. In the west, a student would have to take art as a major subject in their A levels (equivalent to +2) – like drawing, painting, photography, sculpture, pottery, music, dance, drama, something that the student has to do with his own hands or participate in some creative activity.

So, if art was taught in schools, the masses would respect our artistic traditions, craftsmanship and be sensitive to our culture. Only education can bridge this gap. The art fair, however, will give visitors a chance to listen and interact with experts on a variety of topics and help visitors connect with contemporary art.
The Art Expo India 2009 will be held at Nehru Centre Worli in Mumbai from the 25 to 27 September
Source: Times Of India