Void - Anish Kapoor's Installations

Maverick. Unorthodox. Nonconformist. Artistic genius.

Call him what you wish, but Anish Kapoor stands alone in the art world. Identified variously as an artist, sculptor, space thinker, Anish has evolved as a master of three-dimensional space. His imagination boggles one's notional milieu in that his conceptual sense of scale and colour gives new meaning to the phrase: thinking outside the box.

Sandhini Poddar, art historian and the first Assistant Curator of Asian Art at the Solomon R. Guggenheim Museum in New York describes Kapoor as a post minimalist, known for his seminal contributions that are contemporary and site-specific. Till recently on display in Berlin, Kapoor's Memory will be re-created in New York for the Fall season to commemorate Guggenheim's 50th anniversary. The minimalist era was when art and music were stripped down to their fundamental premise between 50's and 70'with post minimalist starting around the 80's.

Imagine 24 tons of Cor-Ten steel sculpted into154 seamless tiles with 10 bolts resembling a percussion instrument such as a mridangam or a tabla. Part of his signature Void series, Kapoor's Memory makes one wonder how the monumental installation was conceived and created. Clarifies Poddar, "A giant jigsaw that compels the viewer to physically move from one section of the museum wall to another in order to comprehend the art," this masterpiece makes one think. One is not a mere spectator -- one becomes a participant -- in an interesting and even intriguing search for where uncertainty begins and where the curvaceous seduction ends.

On permanent display at Millennium Park in Chicago since July 2004, Kapoor's stainless steel Cloud Gate that weighs over 110 tons, consists of 168 stainless steel plates (66 ft. long; 33 ft. high) is another example of the artist's visual prowess.

Mumbai-born, Kapoor, 55 attended Doon School in Dehradun, later moved to Britain to study art at Hornsey College of Art and Chelsea School of Art Design. In 1991 he won the Turner Prize for contemporary art and in 2003, the British government awarded him a CBE (Commander) for his giant Marsyas (satyr in Greek mythology) that was displayed at Tate Modern Gallery in 2002. This huge 3-steel ring structure held by a PVC membrane made one think about space in a different light.

(A New York based independent trend writer, Raj S. Rangarajan reports on the art market, reviews books and films for media based in New York, Toronto, Canada, Seoul and India.)
talktoretailplus@yahoo.com

RAJ S. RANGARAJAN

Younger Indian artists come into their own

While art writers tend to concentrate on the Husains, Gaitondes and Souzas of the contemporary art world, known for their originality and longevity, it’s time perhaps that we also talk of the younger breed of artist such as a Shaw or a Harsha…

These are Indian artists knocking on the doors of high value, and from an investing standpoint, these are “sure bets” for art galleries and collectors. Kolkata-born Raqib Shaw, 35, who grew up in Kashmir from the time he was six months old, but now settled in London, set the art world aglow in 2007 with his The Garden of Earthly Delights III painting that sold for US$5.49 million. This Raqib montage was a risque tapestry of splendid colour with humans, animals, birds and other creatures in plainly suggestive racy activity.

Raqib is outrageous in his underwater creatures as well that is seen in The Garden of Earthly Delights, X, with nipples and genetalia, and the artist makes no apologies for his art. Heir to a carpet fortune that also deals in jewellery and shawls, Raqib, who studied art at Central Saint Martins at University of Arts, London, gave up his shares in his family’s company and preferred to become an artist – a vocation he clearly revels in and loves.

Artist N.S. Harsha, 40, lives in Mysore and is involved in large scale installations and community projects. His Cosmic Orphans, completed in December 2005 for the Singapore Biennale was a painting-cum-installation at the Sri Krishnan Temple in Singapore dedicated to the ninth incarnation of Vishnu. Here. the artist created sleeping figures in the inner sanctum, on the terrace, and on the temple tower (gopuram). For the terrace exposed to the elements he used flat colours.

Harsha won the £40,000 Artes Mundi Prize in April 2008, UK’s highest award at the National Museum in Cardiff, Wales. Artes Mundi, an international contemporary arts initiative, encourages artists to participate on the world’s art stage. Known for his storytelling abilities, Harsha’s keen sense of detail on everyday Indian life, juxtaposed with contemporary world events and images has been a major plus. His winning painting Mass Marriage was a subtle, amusing narrative on Indian marriages, but also reflected in a realistic manner the complex nature of human relationships all over the world.

(A New York based independent trend writer, Raj S. Rangarajan reports on the art market, reviews books and films for media based in New York, Toronto, Canada, Seoul and India.)

talktoretailplus@yahoo.com

RAJ S. RANGARAJAN

Spring Sales Lukewarm at New York Auctioneers

Raj S. Rangarajan

The temperature in New York was cool, it was not yet spring, and the uncertain economy did nothing to lift the mood of collectors and art lovers. Gallery owners and aficionados with a feel for the art market were

enthusiastic about this year’s Asia Week auctions held by Christie’s and Sotheby’s between March 17 and 20.

Kitagawa Utamaro, Ehon Komachi-biki (Picture book: Pulling Komachi), New Year 1802.

Compared to last year’s total of US$126.4 million and US$129.3 million in 2007 for Asia-centric art-oriented lots, this year’s total of merely US$43.62 million was a sign of the times. On the bidding floors, while some items with impeccable provenances sold well investors and collectors were biding their time, perhaps waiting for the fall sale in September. (All figures indicated are with Buyer’s premiums.)

At Christie’s, An Important and Very Rare Blue and White Basin from the Yongle Period (1403-1425) that sold for US$2.32 million was among the highlights at the Fine Chinese Ceramics and Works of Art category that included Jades from the Fine Arts Museums of San Francisco. The 10-1/8 in. (25.6 cm.) diameter cloth box sold at three times the high estimate of US$600,000. It is well potted with deep, rounded sides, fluidly painted in the center with interior showing leafy scrolling stems bearing three lingzhi heads. Ninety-one percent of the lot that fetched US$18.32 million was sold by value. Also, A Very Rare and Important Doucai Petal-Lobed Vase, Zun, Yongzheng Period (1723-1735) sold at 12 times the high estimate of US$150,000. An Asian trade buyer picked it up for US$1.81 million. The globular body, trumpet-form neck and spreading pedestal foot which is raised on a circular foot ring molded with thirty-two lobes divided into eight vertical sections by narrow ribs (10-1/8 in. or 25.9 cm. high).

Tina Zonars, International Director of Chinese Works of Art and Joe-Hynn Yang, Head of Department, Chinese Works of Art said, “international participation was a testament to the prestige of the private collections offered including those from the Estate of Walter Hochstadter, a North American Chinese Family Collection and Harvard Art Museum.”

At Sotheby’s sale of Fine Chinese Ceramics and Works of Art, Specialist and Head of Sotheby’s Chinese Ceramics and Works of Art Sales, North America, Dr. Caroline Schulten, was “thrilled to see such strong competition for 18th century Imperial mark and period porcelain” as evidenced with the sale of “The Conquests of the Emperor Qianlong,” a set of sixteen engravings after Castiglione et al. and eighteen panels of Calligraphy, 1769-74 – that sold at $164,500 at four times the high estimate. Each engraving is approximately 20-3/4 x 35-1/2 in. (52.7 x 90.2 cm.). A Fine and Rare Pair of ‘Famille-Rose’ ‘Eight Daoist Immortal’ Jars and Covers, Qianlong Iron-red Seal Marks and Period (height 10-1/4 in., or 26 cm.) was sold at $632,500 at 1.5 times the high estimate.

The catalogue explains that the jars depict the Eight Daoist Immortals as they cross the rough sea after attending the Peach Festival of the Queen Mother of the West. Rather than traveling by their clouds, they combined their powers to sail pass the tempest. The proverb is a lesson on how individual strengths and gifts can be used to tackle a common obstacle.

With provenances always a key factor it was not surprising that at Christie’s sale of Fine Chinese Art from the Arthur M. Sackler Collections totaled US$10.87 million. Dr. Sackler, who died in 1987 was a psychiatrist and philanthropist. A Very Rare and Important Painted White Marble Buddhist Votive Stele, Northern Qi Dynasty (550-577) which is 66-7/8 in. (169.8 cm.) high sold at US$1.73 million, thrice the high estimate. A set of four hanging scrolls (ink on satin) of Birds and Ducks by artist Bada Shanren (Zhu Da: 1626-1705) was bought at $1.20 million. Each scroll is 81-7/8 x 21-5/8 in. (208 x 55 cm.) However, a Rare Yellow and Pale Russet Jade Archaistic Hinged Twin, Bi (Qing Dynasty: 1644-1911), 9½ in. (24.2 cm.) long sold for $422,500, a phenomenal 28 times the high estimate of US$15,000.

Theow H. Tow, Deputy Chairman, Christie’s Americas and Asia said: “The results have proved that rare and exceptional works with excellent provenance continue to generate huge interest and demand from collectors throughout the world. Clients responded confidently to the museum-quality pieces of rare bronzes, jades, and paintings with 99 percent sold by lot and value.” Occasionally, abstract art seems to sell better than figurative art though it is not fair to compare.

Rise of Indian Painting

At Christie’s sale on March 19, an Untitled, ’65 piece by Indian artist Vasudeo Gaitonde (1924-2001) sold for US$482,500. Abstractions always succeed in making one think. Gaitonde has always motivated one to stretch one’s imagination: is it a boat or the moon? Is it intrigue or uncertainty? Or is it plain confusion? Commenting on the “strong results,” Hugo Weihe, International Director and Head of Indian and Southeast Asian Art, said, “buyers continue to be selective and to focus on quality for mid-level price ranges.”

Considering that he is in his 90’s, artist M.F. Husain continues to be the endurance runner in contemporary Indian paintings with many of his oils yet selling at loftier prices than high estimates. This was noticed at Sotheby’s in the Indian & Southeast Asian Art category with Husain’s Untitled (Two Women) (painted in mid-70s) that was acquired for US$374,500. Also performing well was F.N. Souza’s oil-on-board, Untitled, 1954 selling for $302,500 and Akbar Padamsee’s Untitled (Nude), 1960 which was sold at $242,500.

Sales on the Indian and Southeast Asian Art series at Christie’s totaled $2.16 million and the top lot was A Gray Schist figure of a Bodhisattva, Gandhara, 2nd/3rd century that sold at $US122,500. This elegant figure is deeply carved, is wearing necklaces, his armlet concealed beneath the folds on his upper arm, his face with crisply outlined features and a benign expression (39 in. or 100.2 cm high). The sale of the Star Collection from India to Indonesia totaled US$883,250, and the top lot was a Gilt Copper Figure of Padmapani, Nepal, 14th century (10-1/2 in. or 26.5 cm high) that sold at US$182,500. It is a bronze from the Malla period (late 13th/early 14th century).

In the Japanese art category that totaled US$1.74 million, top lot was an album of twelve erotic illustrations by Japanese artist Kitagawa Utamaro (1754-1806) that was bought by an anonymous buyer for US$242,500. Title was Picture Book: Pulling Komachi (each sheet, 25.2 x 37.6 cm.), New Year 1802 that Christie’s catalogue explains as Komachi-biki – that derives from Komatsu-biki – a New Year ritual at the Heian court of Komachi’s time that involved “pulling up” (hiki) of young pines (komatsu). “Pulling Komachi” means to grab hold of a beauty, embrace her and make love to her.

Kanagawa oki nami ura (In the well of the great wave off Kanagawa) by artist Katsushika Hokusai (1760-1849) sold at US$68,500 at more than three times the high estimate of US$20,000. This was part of a series Fugaku sanjurokkei (The thirty-six views of Mount Fuji). The only Korean piece in the top ten was A White Porcelain Brush Rest from the Joseon Dynasty (19th century), which was purchased for US$88,900. It is modeled on the Diamond Mountains known in Korea as the Geumgang mountains that has a lustrous clear glaze with blue flecks.

Zara Porter Hill, Director, Head of Sotheby’s Indian & Southeast Asian department in New York said, “it was encouraging that 100 percent of the top ten lots were bought by, or for, established collectors, highlighting the strength at the top end of the market.” Case in point: at this Indian & Southeast Asian Art sale, Scenes from the life of Buddha Shakyamuni Stone, Eastern India, Pala Period, 12th century (height 7-1/2 in or 19 cm.) was bought by an American buyer for $98,500 at five times the high estimate of US$18,000.






(A New York based writer, Raj S. Rangarajan covers trend stories on art and reviews films, books for media based in New York, Toronto, Seoul and India.)