Demand for Contemporary Art Cools at Christie's Hong Kong Sales

     Vol. XXXIV, No. 8                                                                                         Raj S. Rangarajan

NEW YORK—Modern and contemporary Asian art yielded uneven results at Christie'sseries of sales in Hong Kong in late November. While more traditional collecting categories, such as Chinese modern paintings and Southeast Asian modern and contemporary art,fared relatively well, yielding sold-by-lot and sold-by-value rates above 70 percent,contemporary Asian art in particular saw a sharp decline in demand. Christie's sale of Asian contemporary art on Nov. 30 realized HK$65.9million ($8.5million), less than half its projected value. Of 32 lots on offer, just 18, or 56 percent, found buyers.

The results were hardly surprising given the current global economic turmoil and the rapid escalation in prices for Chinese contemporary art in recent seasons. On the other hand, the top lot of the sale, Zhang Xiaogang's Bloodline: Big Family No. 2, 1995, sold for HK$26.4million ($3.4million), indicating that there is still solid demand for an artist whose prices have skyrocketed into seven figures in a short period of time.

The second-highest lot was Liu Ye's painting Composition in Red, Yellow and Blue, 1997, which sold to an Asian collector for HK$7.2million ($931,380) on an estimate of HK$6.5mil­lion/9.5million.

Liu Wei's 1994 painting Swimmers '94 sold for HK$4.6million ($590,820) against an estimate of HK$4.6million/5.4million, also to an Asian collector. Cai Guo-Qiang's Project No. 143–The Mark of 921, 2000, an installation of gunpowder on paper on wood panels (estimate: HK$3.5million/5.5million), sold for HK$4.2million ($544,380).

A U.S. dealer acquired an untitled 2005 painting of pots and pans by Subodh Gupta for HK$3.6million ($466,980), just clearing the low estimate of HK$3.5million with premium. An unidentified European institution bought an untitled 2001 painting by Tetsuya Ishida, which sold for HK$2.9million ($374,100) on an estimate of HK$2million/3million).

Christie's evening sale of 20th-century Chinese art, also held on Nov. 30, realized HK$74.7million ($9.6 million) with 22 lots offered. Only ten of the lots found buyers, but by value the sale was 64 percent sold. The top lot of the sale, Zao Wou-Ki's painting Hommage à Tou-Fou, 1956, accounted for more than half the total, bringing HK$45.5million ($5.9million), a new record for the artist. Another painting by Zao, 23-1-60, 1960, realized HK$1.9million ($250,260) on an estimate of HK$1.2million/2million).

The second-highest price of the sale was the HK$8.4million ($1.1million) paid by an Asian collector for Sanyu's Potted Chrysanthemums, circa 1940s–50s, a dark-toned floral still life (estimate: HK$3million/5million).

Artist records were also set for Yun Gee, whose Old Broadway in Winter, circa 1930–40, sold for HK$5.8million ($745,620), and for Yu Chengyao, whose Magnificent Landscape, 1984, sold for HK$5.8million ($745,620).

Christie's sale of Southeast Asian modern and contemporary art realized HK$28.5million ($3.7million). Of 114 lots offered, 84, or 75 percent, were sold. By value, the auction was 88 percent sold. The top lot was Las Damas Romanas (Roman Maidens), by Filipino painter Juan Luna (1857–1899), which sold for HK$4.7million ($606,300), far below the low estimate of HK$8million. Works by Indonesian artist I.Nyoman Masriadi (b. 1973) figured prominently in the high end of the sale, with four works landing in the top ten. Marathon, a large mixed media on canvas estimated at HK$800,000/1.6million, sold for HK$2.1million ($265,740). Works by Indonesian artists Han­diwirman Sahputra (b. 1975) and Budi Kustarto (b. 1972) also sold above estimate.

Ruoh-Ling Keong, vice president and head of the Southeast Asian and contemporary art department, said that "private collectors continue to be the primary force on the market, collecting masterworks against a backdrop of a difficult economic climate." In total, the five-day Hong Kong series, which included sales of jewels, classical paintings, calligraphy and watches, realized HK$1.13 billion ($146 million).

Demand for Contemporary Art Cools at Christie's Hong Kong Sales

Demand for Contemporary Art Cools at Christie's Hong Kong Sales

by Raj S. Rangarajan

NEW YORK—Modern and contemporary Asian art yielded uneven results at Christie's series of sales in Hong Kong in late November. While more traditional collecting categories, such as Chinese modern paintings and Southeast Asian modern and contemporary art, fared relatively well, yielding sold-by-lot and sold-by-value rates above 70 percent, contemporary Asian art in particular saw a sharp decline in demand. Christie's sale of Asian contemporary art on Nov. 30 realized HK$65.9million ($8.5million), less than half its projected value. Of 32 lots on offer, just 18, or 56 percent, found buyers.

The results were hardly surprising given the current global economic turmoil and the rapid escalation in prices for Chinese contemporary art in recent seasons. On the other hand, the top lot of the sale, Zhang Xiaogang's Bloodline: Big Family No. 2, 1995, sold for HK$26.4million ($3.4million), indicating that there is still solid demand for an artist whose prices have skyrocketed into seven figures in a short period of time.

The second-highest lot was Liu Ye's painting Composition in Red, Yellow and Blue, 1997, which sold to an Asian collector for HK$7.2million ($931,380) on an estimate of HK$6.5mil­lion/9.5million.

Liu Wei's 1994 painting Swimmers '94 sold for HK$4.6million ($590,820) against an estimate of HK$4.6million/5.4million, also to an Asian collector. Cai Guo-Qiang's Project No. 143–The Mark of 921, 2000, an installation of gunpowder on paper on wood panels (estimate: HK$3.5million/5.5million), sold for HK$4.2million ($544,380).

A U.S. dealer acquired an untitled 2005 painting of pots and pans by Subodh Gupta for HK$3.6million ($466,980), just clearing the low estimate of HK$3.5million with premium. An unidentified European institution bought an untitled 2001 painting by Tetsuya Ishida, which sold for HK$2.9million ($374,100) on an estimate of HK$2million/3million).

Christie's evening sale of 20th-century Chinese art, also held on Nov. 30, realized HK$74.7million ($9.6 million) with 22 lots offered. Only ten of the lots found buyers, but by value the sale was 64 percent sold. The top lot of the sale, Zao Wou-Ki's painting Hommage à Tou-Fou, 1956, accounted for more than half the total, bringing HK$45.5million ($5.9million), a new record for the artist. Another painting by Zao, 23-1-60, 1960, realized HK$1.9million ($250,260) on an estimate of HK$1.2million/2million).

The second-highest price of the sale was the HK$8.4million ($1.1million) paid by an Asian collector for Sanyu's Potted Chrysanthemums, circa 1940s–50s, a dark-toned floral still life (estimate: HK$3million/5million).

Artist records were also set for Yun Gee, whose Old Broadway in Winter, circa 1930–40, sold for HK$5.8million ($745,620), and for Yu Chengyao, whose Magnificent Landscape, 1984, sold for HK$5.8million ($745,620).

Christie's sale of Southeast Asian modern and contemporary art realized HK$28.5million ($3.7million). Of 114 lots offered, 84, or 75 percent, were sold. By value, the auction was 88 percent sold. The top lot was Las Damas Romanas (Roman Maidens), by Filipino painter Juan Luna (1857–1899), which sold for HK$4.7million ($606,300), far below the low estimate of HK$8million. Works by Indonesian artist I.Nyoman Masriadi (b. 1973) figured prominently in the high end of the sale, with four works landing in the top ten. Marathon, a large mixed media on canvas estimated at HK$800,000/1.6million, sold for HK$2.1million ($265,740). Works by Indonesian artists Han­diwirman Sahputra (b. 1975) and Budi Kustarto (b. 1972) also sold above estimate.

Ruoh-Ling Keong, vice president and head of the Southeast Asian and contemporary art department, said that "private collectors continue to be the primary force on the market, collecting masterworks against a backdrop of a difficult economic climate." In total, the five-day Hong Kong series, which included sales of jewels, classical paintings, calligraphy and watches, realized HK$1.13billion ($146million).

Asian Art Auctions Upbeat Despite Financial Crisis

by Raj S. Rangarajan -- Sept. 30, 2008

NEW YORK—Sales of Asian art at Christie’s and Sotheby’s in New York Sept. 15–19 were healthy, despite a drop in overall volume to $77 million from over $100 million last fall (ANL, 10/16/07). Contemporary Asian art—particularly by artists from South Asia—continues to show strength.

Christie’s realized $51.14 million for eight sales, up from $44.43 million for four sales last year. The top-grossing sales at Christie’s were of Chinese ceramics and works of art, which took $13.2 million, and of South Asian modern and contemporary art, which followed closely with a total of $12.6 million.

Sotheby’s realized $26 million in four sales, the lion’s share of which was for contemporary art. Two sales—contemporary Asian art on Sept. 17 and modern and contemporary South Asian art on Sept. 18—took a combined $16.4 million, accounting for well over half of the total. However, Sotheby’s overall Asia week total was less than half the $61.9 million it took in last fall. Last summer, Sotheby’s announced that, starting in 2009, it would hold all of its contemporary Asian art auctions in Hong Kong, noting that that is where the house has achieved the highest prices for the category.

At Christie’s South Asian sale, 84 of the 126 lots on offer, or 67 percent, found buyers. By value the auction was 78 percent sold. The top lot was Subodh Gupta’s Steal 2, which sold just above its $1 million high estimate for $1.2 million to an American collector, despite its having been executed just last year. Two other works by Gupta figured among the top lots: Miter, also dated 2007, an installation featuring the artist’s signature stainless steel pots, cleared its $600,000/800,000 estimate to sell for $1 million, and an untitled 2005 oil on canvas (estimate: $600,000/800,000) sold to an Indian dealer for $962,500.

Also breaking the $1 million mark was Maqbool Fida Husain’s painting Ritual, 1968, which surpassed its $600,000/800,000 estimate. An oil painting by Tyeb Mehta, Untitled (Yellow Heads), 1979, sold for $902,500. Three years ago, Mehta’s painting Mahisasura, 1997, was the first Indian painting to sell at over a million dollars when it fetched $1.6 million at Christie’s (ANL, 9/27/05).

Two works by Rameshwar Broota (b. 1941) sold well, with the oil painting Man, 1991, bringing $506,500 (estimate: $250,000/350,000) and The Same Old Story II, 1979, a painting depicting two large monkeys conversing arm-in-arm, taking in $662,500, more than triple the estimate of $150,000/200,000.

Six auction records were set for works by artists representing India, Pakistan and Bangladesh, including Jyothi Basu, Riyas Komu, Chitra Ganesh, Mohammad Zeeshan and Zainul Abedin. Indian artist Manjit Bawa’s oil on canvas Untitled, 1992, fetched a record $362,500 (estimate: $200,000/300,000).

Asian Demand Fuels Sales

At Christie’s sale of Chinese ceramics and works of art and masterworks of ancient and Imperial China, the top lot was an early Ming dynasty tianbai-glazed anhua-decorated meiping (a vase inspired by the shape of a female body), Yongle period (1403–1425), which sold to Hong Kong dealer Chak’s Company Ltd. for a record $2.8 million, more than three times the high estimate of $800,000.

Tina Zonars, Christie’s international director, Chinese works of art, said the sales “illustrate the continuing strength of the market.” Zonars noted that “among the stronger collecting fields were snuff bottles, white jade carvings, imperial ceramics—all Chinese-taste categories.”

The second-highest lot was a rare Qing dynasty yellow-ground “Dragon” vase decorated with green enamel, Qianlong period (1736–1795), which was won by London dealer Eskenazi Ltd. for $1.76 million (estimate: $600,000/800,000).

Theow Tow, deputy chairman, Christie’s Americas and Asia, noted “Asians in particular participated strongly in all collecting categories, both classical and contemporary,” in the sales.

Asian Contemporary Art Tops Sotheby’s Sales

At Sotheby’s “Contemporary Art Asia: China Korea Japan” session, Zeng Fanzhi’s Mask Series, 1997, was bought by a Japanese private collector for $1.1 million (estimate: $900,000/1.2 million). The second-highest lot was Kim Whanki’s Les Oiseaux Volants (Flying Birds), 1957, which an Asian dealer acquired for $434,500 (estimate: $200,000/300,000).

In all, the sale realized $8.5 million, with 137, or 65 percent, of the 211 works on offer finding buyers. The sold-by-value rate was also relatively modest, at just 64 percent.

Among the other top prices, Cai Guo-Qiang’s gunpowder-on-paper Two Eagles, 2005, sold within estimate for $422,500 (estimate: $380,000/550,000) and Zhang Huan’s Family Tree, 2000, sold for $386,500 (estimate: $120,000/180,000) to an American buyer.

Sotheby’s modern and contemporary South Asian art sale realized $7.8 million for 126 lots, of which 82, or 65 percent, found buyers. By value, the auction was 80 percent sold.

Work by many of the same artists, including Gupta, Mehta and Husain, dominated the top ten at Sotheby’s and Christie’s in this category. Mehta’s acrylic-on-canvas Falling Figure with Bird, 2003, sold for a high-estimate $1.5 million. Gupta’s oil painting One Cow, 2003, depicting a bicycle slung with containers of milk, sold for $866,500 (estimate: $600,000/800,000).

Works by Francis Newton Souza also figured prominently at Sotheby’s sale, including the painting Orange Head, 1963, which sold for $482,500 (estimate: $400,000/600,000); Christ on Palm Sunday, a 1956 oil on board, which sold for $266,500 (estimate: $220,000/320,000); and Death and the Maiden, 1966, which brought $182,500 (estimate: $100,000/150,000).

In the Chinese ceramics and works of art sale, which included Chinese and Japanese art from a private collection, a polychrome wood and gesso sculpture of the boddhisattva Guhyasadhana Avalokitesvara, Ming dynasty, Xuande period, sold for $1.2 million (estimate: $1.4 million/1.6 million).

Indonesian Art Rises, Chinese Art Cools at Hong Kong Auctions

Indonesian Art Rises, Chinese Art Cools at Hong Kong Auctions
by Raj S. Rangarajan -- Oct. 28, 2008

NEW YORK—Overall volume was down at Sotheby’s series of fall sales held Oct. 4–8 in Hong Kong, to $140.74 million from $200 million last year (ANL, 10/30/08). Asian contemporary art has been one of the fastest-rising areas of the market in recent years, but demand was decidedly more selective this season, with higher numbers of unsold lots. In all, fine art, including modern and contemporary Southeast Asian art and contemporary Chinese art, Chinese paintings and 20th-century Chinese art accounted for about $56 million of the total.

The modern and contemporary Asian art evening sale on Oct. 4 fetched a total of HK$117 million ($15.1 million). Of 47 lots on offer, 28, or 60 percent, found buyers. By value the auction realized less than half of its presale estimate. Sotheby’s specialist Evelyn Lin said “the market for Chinese contemporary art has experienced unprecedented growth over the past five years . . . and it is not surprising that there will be some leveling off, which is also what we experienced this evening, in addition to some estimates which were overly optimistic.”

Records for Masriadi, Suwage

On the other hand, Lin noted strong prices and several records for Indonesian artists, including Affandi (1907–1990), I. Nyoman Masriadi (b. 1973) and Agus Suwage (b. 1959).

Works by top-selling Chinese artists nonetheless dominated the high end of the sale, albeit at prices that were more in line with estimates, especially when compared with other recent auction results. The top lot was Zhang Xiaogang’s Bloodline: Big Family No. 1, a work from the artist’s signature series, which sold to a European collector for HK$23.1 million ($2.96 million) on an estimate of HK$20 million/25 million. That was followed by Cai Guo-Qiang’s Eagle and Eye in the Sky: People, gunpowder and ink on an eight-panel paper screen, which sold for HK$17.5 million ($2.2 million) on an estimate of HK$12 million/16 million.

A record was set for Liu Ye (b. 1964) when an untitled 1997–98 oil painting by the artist fetched HK$12.98 million ($1.7 million) against an estimate of HK$9 million/14 million. A record for Masriadi (which would be broken the following day) was set with the HK$4.8 million ($620,382) paid by an Asian collector for a cartoonish depiction of superheroes Batman and Superman, Sorry Hero, Saya Lupa (Sorry Hero, I Forgot), 2008, far surpassing the estimate of HK$380,000/580,000. And Affandi’s oil painting Times Square, New York, 1962, brought a record HK$3.4 million ($435,040) on an estimate of HK$1.6 million/2.2 million.

Yoshitomo Nara’s acrylic on paper, Northern Light, 2000, also surpassed expectations, selling for HK$3.86 million ($496,821) against an estimate of HK$1.9 million/2.7 million. I Like My Man Covered Too, by Indian artists Thukral & Tagra (Jiten Thukral, b. 1976, and Sumir Tagra, b. 1979), sold for HK$1.8 million ($234,252) against a HK$800,000/1.2 million estimate. Zara Porter Hill, Sotheby’s head of modern and contemporary South Asian art, noted a “high level of bidding in the room from a completely new group of buyers.”

The contemporary Chinese art day sale on Oct. 5, which featured lower-priced material, took in HK$90.5 million ($11.65 million) and achieved considerably stronger sold-by-lot and sold-by-value rates than the modern and contemporary Asian sale the night before. Of 187 works on offer, 150, or 80 percent, were sold. By value, the auction was 74 percent sold.

Yue Minjun’s untitled 1990–91 oil painting of figures doubled over with laughter in Tiananmen Square topped the sale, bringing HK$6.6 million ($852,060) on an estimate of HK$6 million/8 million, followed by an untitled 2005 oil painting by Zeng Fanzhi, which sold for HK$5.06 million ($651,273), also within its estimate of HK$4.8 million/5.5 million. Lin noted “a very high percentage of lots that sold within or above their high estimates,” with “spirited bidding before the packed saleroom throughout the ­session.”

On Oct. 6, an auction of modern and contemporary Southeast Asian paintings also yielded solid results. The sale achieved a total of HK$71.6 million ($9.2 million) for 163 lots on offer; of these, 139, or 85 percent, were sold. On a value basis, the auction was 92 percent sold. The previous day’s record for a work by Masriadi was broken when The Man From Bantul (The Final Round), 2000, sold for HK$7.8 million ($1.2 million), several times its HK$1 million/1.5 million estimate.

Specialist Mok Kim Chuan said “new buyers crossing over from other collecting categories had a significant presence” in the sale, notably at the top end. The top price was HK$9.4 million ($1.2 million) for the painting Heimkehrende Javaner (Javanese Returning Home), circa 1924 (estimate: HK$5.5 million/7.5 million), by German artist Walter Spies (1895–1942).

The sale of Chinese paintings on Oct. 6 took $15 million and was 76 percent sold by lot, 82 percent by value. The top price was HK$15.8 million ($2 million), paid for an ink- and pigment-on-paper handscroll, Along The Yangtze River, 1990, by Wu Guanzhong (b. 1919), which sold against an estimate “in excess of HK$8 million” ($1 million). The work was consigned by the artist, with the proceeds earmarked for a scholarship in his name at Tsinghua University, Beijing. Three works by Zhang Daqian (1899–1983) were among the top ten, with each exceeding its estimate. The highest-selling of these, a hanging scroll titled The Leaping Ape, 1959, sold for HK$6.3 million ($805,600) against an estimate of HK$4 million/6 million.

Other sales in the series included Chinese ceramics and works of art, which took in a total of HK$75 million ($8.1 million); Chinese Imperial works of art, which took in HK$383 million ($49.1 million); jewels and jadeite, which made HK$155 million ($19.96 million); and watches, which made HK$47.6 million ($6.08 million).

Invest in Art

RAJ S. RANGARAJAN
Despite the lull and uncertain market conditions, the art market is seeing action, albeit muted.

Healthy trends

While there is a reported lull in art buying - a kind of coasting effect - following uncertain economic conditions in India and abroad, certain artists' works continue to sell specially if their provenance is sound. Gallery highfliers and art dealers who professionally invest for their businesses are watching the market with cautious optimism.

On the world scene, last month while Arab and Iranian art sold in London at decent prices, similar Middle Eastern art in Dubai had a lesser number of takers. Auctioneers Sotheby's and Christie's reported a sharp drop in dollar volumes compared to previous year's figures. Also, at Chinese contemporary art auctions in Hong Kong four Chinese and Indonesian artists had million-dollar successes with their work, thanks to dominant provenances.

When it comes to art provenance refers to the history of ownership of a valued painting or antique or literature. Kent Charagundla, owner of Tamarind Art Gallery in New York echoes the sentiment that "provenances matter and good art will always attract buyers whatever the state of the economy."

Indian artist Subodh Gupta's work dominated headlines at contemporary Indian art auctions held by Sotheby's, London in October. Also creating a buzz was the news that Gupta has now secured representation from the prestigious art gallery, Hauser & Wirth with offices in London and Zurich. In New York, Gupta is represented by Jack Shainman gallery.

Having made a name with seemingly plain but pricey "stainless steel" art installations, Gupta's art is much sought after by non-Indians as well. Three of his creations sold at more-than-estimated prices. His nondescript bicycle installation - titled "Cow" with milk cans - sold for GBP313,250. One wonders if this piece is a photograph or an actual painting. Two other creations of his sold for GBP385,250 and GBP241,250.

Not to be outdone, another Indian artist, Anish Kapoor's "Untitled" piece sold at GBP385,250 against an estimate of GBP250,000-GBP350,000. Kapoor - artist and sculptor - born in 1954, has won the Turner Prize (named after painter J.M.W. Turner), an annual prize presented to a British visual artist under 50.

Earlier in October as well, at Sotheby's Hong Kong, Zara Porter Hill, head of their Indian and Southeast Asian Art department "was encouraged by the level of bidding from a completely new group of buyers" specially since younger artists of Indian origin achieved record prices for their work. An acrylic-on-canvas with cloth applique titled, "I Like My Man Covered Too" by Jiten Thukral (born 1976) and Sumir Tagra (born 1979) was bought for US$234,252 (excluding buyer's premium) while the estimate was merely US$155,000.

Also, 1972-born Chintan Upadhyay's oil-on-acrylic, "Together With Life Whether We Like It or Not" achieved a high price, selling at US$141,581 when the estimate was merely US$100,000.

Some observers of the art scene suggest a cooling effect in the art market after many years of phenomenal growth with many artists - young and old - showing more than promise: they also achieved record-breaking results. Others however suggest that despite greater selectivity and cerebral decision making by art collectors, demand and competition for contemporary art is still healthy.

(A New York-based trend writer, Raj Rangarajan reports on the art market and has contributed to publications in the United States, Canada, Australia and India.)

talktoretailplus@yahoo.com

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Invest in art, II

RAJ S. RANGARAJAN

Uncertain economy does not deter contemporary Indian art sales

NEW YORK: If it’s September it’s art season in the western hemisphere and world leaders congregate in New York to attend United Nations sessions. It is also the time when auctioneers kick off cheese-wine receptions and sell expensive art.

This season folks had more than art on their minds: many – whether interested in art or in bread-and-butter issues or the forthcoming elections issues in the U.S. – were worried about uncertainty on the economic front. Interestingly, though there was unease in the financial markets sales of contemporary Indian art at auctioneers – Sotheby’s and Christie’s were upbeat.

Art dealers, gallery owners and investors in art were happy that Indian artists have come into their own with three of them surpassing the one million dollar milestone effortlessly. Interestingly, most of the art by Indian artists is being picked up by American private bidders who are eager to pay top dollar for quality creations. New York gallery owner Deepak Talwar says, “These are informed acquisitions by seasoned collectors and museums who know quality.” Institutions of Indian origin in the U.S. have yet to invest in huge sums on art.

At recent art auctions, Bihar-born 44-year-old Subodh Gupta had four paintings in the top twenty at Sotheby’s and Christie’s. His Steal 2 (oil-on-canvas) that he painted just last year sold for $1.16 million. His unusual installation, Miter, also created in 2007, comprising stainless steel utensils was a major sensation and was sold for $1.02 million.

Gupta’s ‘Untitled’ oil-on-canvas that he painted in 2005 sold for $962,500 when the high estimate for the piece was only $800,000. It is part of a series titled Saat Samundar Paar (Across the Seven Seas) which portrays migration as a theme and the return home particularly of migrants who return with huge “ghatris” and gifts for all back home. His One Cow, 2003 sold for $866,500 against an estimated price of $800,000.

Falling Figure with Bird by Tyeb Mehta (born in 1925 in Kapadvanj, Gujarat) sold for 1.53 million. His Mahisasura created in 1997 was the first painting that beat the $1.6 million mark few years ago. Enduring artist M.F. Husain, at 93, continues to be popular. His oil-on-canvas, Ritual sold for $1.02 million.

To a question if he would defer buying expensive art in an uncertain economy such as now, Talwar said, “You could be uncertain about the economy, which is cyclical, but what is definitely continuing is a wider awareness of art from India. This will lead to larger interest and demand for works not just from within India but from outside too. I see that happening at our gallery.” Also noticed is a trend of non-Indians buying works by Indian artists in view of their investment value. Art collector Umesh Gaur says, “Art buying has become more selective and buyers are looking for great works with strong provenance and published exhibition history.”

Yamini Mehta, Director of Modern & Contemporary Indian Art of Christie’s, based in London agrees, “Our clients are becoming more discerning which is a good sign of a maturing market. While there has been an ascent in value for works by younger contemporary artists such as Riyas Komu (born ’72), Rashid Rana (born ’68), N.S. Harsha (born ’69) who won the £40,000 Artes Mundi Prize in Cardiff, Wales in April and Chitra Ganesh (born ’75), our clients are well informed to buy the quality works.”

(A New York-based trend writer, Raj Rangarajan reports on the art market and has contributed to publications in the United States, Canada, Australia and India.)

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Bridging cultures through movies--Interview

Ultimate Bollywood » Bollywood Features » 2008
Interview: Ashok Amritraj

Our very own Raj Rangarajan speaks with the producer of the hip and timely flick The Other End of the Line.

RR: How has your foray from tennis to film making been?
AA: I continue to enjoy playing tennis but now I have fun playing Saturday evenings in my home as a sport with friends and other film industry colleagues.


RR: What triggered the switch from tennis to movies?
AA: In 1975 when I was playing in California the movie bug hit me and in 1981-82, I decided to switch. I had grown up with English movies and Hollywood films. Initially, it was a tough in the movie business but slowly things have worked out.


RR: You have made so many films now. In what way was The Line significant for you?
AA: We have had action movies, comedies, limited budget movies, but what I wanted was a cross-cultural film where we could sort of create a bridge between Asia and the West, and this film has done that. It is multi-cultural and humorous and with movies being a major medium we can create a new awareness for India. When Tracey Jackson came up with the idea 4-5 years ago, we discussed the idea with MGM and soon it was reality.


RR: Now that you have dealt with Indian and foreign actors regularly is there a way to compare their performances from an acting standpoint? Are their work ethics different?
AA: Both film industries – Indian cinema (I wouldn't like to call it Bollywood) and Hollywood – have their plus points: we cannot compare their work ethics, since its like comparing apples and oranges. Both industries are good and run on parallel tracks. From an audience standpoint to writing of scripts to production to even setting up shots, everything is executed differently.


RR: With cross-national trends now in movie making and with some Indian actors being cast in Hollywood or in TV serials, sitcoms and reality shows, from a business standpoint, is a merger of Hollywood and Bollywood a good thing for the film industry?
AA: Within five years I do foresee an investment merger between Hollywood and Indian cinema and it is bound to improve further. There is so much talent on both sides that it will be a natural fit though each set of people has different norms, work ethics and formalities to follow. I hope this will launch a sound platform for Indian talent as well.

RR: What's next on the horizon for you in a cinematic sense?
AA: Street fighters based on a popular video game is being released in February 2009; Dead of Night based on a comic book and a remake of Ten [where Bo Derek debuted in 1979] is on the cards. Commenting on the experience of filming in Mumbai, Director James Dodson says, "I've filmed in Bulgaria, Slovakia, Czech Republic, but nothing prepared me for the hustle and bustle of Mumbai... imagine 22 million people all alive and celebrating life at their loudest…now imagine trying to get them all to stay quiet for 2 minutes so we can shoot an intimate scene." Amritraj adds, "We couldn't have done this film anywhere else... I was so touched at how India opened up her heart to us... and it shows on the screen."

Catch The Other End of the Line, in theaters now.

Raj S. Rangarajan is a New York-based trend writer, reports on the art market, reviews movies, books and plays and has written for publications in the U.S., Canada, Australia and India. He can be reached at raj.rangarajan@gmail.com.

The Other End of the Line: Movie Review

Ultimate Bollywood » Movie Reviews » 2008

The Other End of the Line
Director: James Dodson
Starring: Shriya Saran, Jesse Metcalfe, Anupam Kher, Tara Sharma
Released: October 31, 2008

by Raj S. Rangarajan

Whoever would have thought the ubiquitous call center which we now take for granted would be the theme for a movie? And, what better places to situate the story than India and America? With improved telephone services globally, it was perhaps obvious that cost-conscious multinational companies would make overhead costs and relatively cheap labor productive resources to tap.

And, it was left to film producer and former tennis star Ashok Amritraj to use the call center concept to make a movie. Ashok credits screenwriter Tracey Jackson (Guru) for the idea, and his company Hyde Park Entertainment and India's Reliance ADA Group ran with it. The film is co-produced by Ashok Amritraj and Patrick Aiello and is the first in a 5-year co-production deal between Amritraj's U.S.- based Hyde Park Entertainment and Reliance ADA Group.

Ashok's foray from tennis to movies has an advantage. The set on which he plays here is pleasantly funny and his interesting cast of characters do justice to a novel idea made famous just a few years ago: outsourcing, the call center and the BPO. For this comedy – The Other End of the Line Ashok Amritraj has assembled Shriya Saran (who played opposite Rajnikanth in Sivaji) and is paired with American Jesse Metcalfe, known for his role in "Desperate Housewives," a sitcom on ABC's Sunday evening TV lineup.

Ashok says, the film comes alive thanks to superb writing and is happy that one could draw on the redoubtable talent of actors such as Anupam Kher (Bend it Like Beckham), Larry Miller (Boston Legal, Pretty Woman) who plays Kit Hawksin, a hotel magnate and Granger Woodruff, an ad executive who wants to land Hawksin as a client.

Call center employee Priya Sethi (Saran) assumes the name – Jennifer David – to speak like an American, based in San Francisco, and to resolve queries from customers of Citi One Bank card. While speaking to Granger Woodruff (Jesse Metcalfe) over several calls on his "fraudulent" card charges, Priya starts fantasizing about meeting him in San Francisco, and based on a casual suggestion by Granger to meet her, Priya takes off for America, on a whim as it were. Thanks to an instant connection (pun intended), Priya is unable to suppress her desire to agree to meet Granger in his home town. Shot in Mumbai and San Francisco, the film will warm the cockles of Mumbaikars' and San Franciscans' hearts.

Granger's girl friend, Emory Banks (played by Sara Foster – The Big Bounce) appears in what one could term mandatory scenes to keep the story going. At times, the film travels fast like a sitcom with anticipatory twists. Priya's confidante, Zia (Tara Sharma –in Khosla ka Ghosla) plays a level-headed counselor.

While Priya (read also, Jennifer) is on cloud nine, Priya's father, Rajeev (Anupam Kher) has been attempting to arrange a marriage with Vikram who is portrayed as dull compared to the sprightly Priya. Granger is taken up with this tourist from India and struggles with the thought of giving up his girl friend Emory. He continues to believe that the Citi One Bank Card person is Jennifer David and it never crosses his mind that Jennifer could be Priya. They spend quality time taking in the sights and sounds of S.F. and spicy curry.

When confronted, Priya's excuse to visit America, according to her parents, was to meet her forward-looking 80-year-old aunt, who advises her that life is too short to live while trying to make others happy. While Priya mulls the thought of going steady with Granger, her parents land up in America in search of their daughter who had flown the coop. And, why were they concerned? Priya's marriage of course.

Just as Priya realizes that she is falling in love with Granger she decides to visit him in the hotel. As one would expect even if you are an ardent movie buff, a switch is called for. Priya sees Emory in his room, and throws a fit. Around the same time, Priya's ploy as Jennifer also falls apart and now its Granger's turn to be miffed: why couldn't Priya be honest up front?

At his friend Charlie's wedding (played by Austin Basis – American Zombie), when he is almost down and out – emotionally – it suddenly dawns on Granger that he is actually in love with Priya and not with the efficient, but sometimes cold Emory. Thus the sudden flight to Mumbai to meet his love interest (wonder how he managed a visa to India just like that!). It is a feel-good movie that lasts 106 minutes where "everyone lives happily ever after."

We also see the customary intrigue and word interplay with opulent homes to signify well-to-do, successful Indians. Perhaps because of the common element of Anupam Kher being in this movie, one is reminded of Gurinder Chadha's Bride & Prejudice, starring Aishwarya Rai (2004). In this film Kher is almost lifeless though on one occasion he takes a whack at Jesse when he learns that Priya and Granger met without his knowledge.

Asian Art Auctions Upbeat Despite Financial Crisis

Vol. XXXIV, No. 3                                                                                                      Raj S. Rangarajan 

NEW YORK—Sales of Asian art at Christie’s and Sotheby’s in New York Sept. 15–19 were healthy, despite a drop in overall volume to $77 million from over $100 million last fall (ANL, 10/16/07). Contemporary Asian art—particularly by artists from South Asia—continues to show strength.

Christie’s realized $51.14 million for eight sales, up from $44.43 million for four sales last year. The top-grossing sales at Christie’s were of Chinese ceramics and works of art, which took $13.2 million, and of South Asian modern and contemporary art, which followed closely with a total of $12.6 million.

Sotheby’s realized $26 million in four sales, the lion’s share of which was for contemporary art. Two sales—contemporary Asian art on Sept. 17 and modern and contemporary South Asian art on Sept. 18—took a combined $16.4 million, accounting for well over half of the total. However, Sotheby’s overall Asia week total was less than half the $61.9 million it took in last fall. Last summer, Sotheby’s announced that, starting in 2009, it would hold all of its contemporary Asian art auctions in Hong Kong, noting that that is where the house has achieved the highest prices for the category.

At Christie’s South Asian sale, 84 of the 126 lots on offer, or 67 percent, found buyers. By value the auction was 78 percent sold. The top lot was Subodh Gupta’s Steal 2, which sold just above its $1 million high estimate for $1.2 million to an American collector, despite its having been executed just last year. Two other works by Gupta figured among the top lots: Miter, also dated 2007, an installation featuring the artist’s signature stainless steel pots, cleared its $600,000/800,000 estimate to sell for $1 million, and an untitled 2005 oil on canvas (estimate: $600,000/800,000) sold to an Indian dealer for $962,500.

Also breaking the $1 million mark was Maqbool Fida Husain’s painting Ritual, 1968, which surpassed its $600,000/800,000 estimate. An oil painting by Tyeb Mehta, Untitled (Yellow Heads), 1979, sold for $902,500. Three years ago, Mehta’s painting Mahisasura, 1997, was the first Indian painting to sell at over a million dollars when it fetched $1.6 million at Christie’s (ANL, 9/27/05).

Two works by Rameshwar Broota (b. 1941) sold well, with the oil painting Man, 1991, bringing $506,500 (estimate: $250,000/350,000) and The Same Old Story II, 1979, a painting depicting two large monkeys conversing arm-in-arm, taking in $662,500, more than triple the estimate of $150,000/200,000.

Six auction records were set for works by artists representing India, Pakistan and Bangladesh, including Jyothi Basu, Riyas Komu, Chitra Ganesh, Mohammad Zeeshan and Zainul Abedin. Indian artist Manjit Bawa’s oil on canvas Untitled, 1992, fetched a record $362,500 (estimate: $200,000/300,000).

Asian Demand Fuels Sales

At Christie’s sale of Chinese ceramics and works of art and masterworks of ancient and Imperial China, the top lot was an early Ming dynasty tianbai-glazed anhua-decoratedmeiping (a vase inspired by the shape of a female body), Yongle period (1403–1425), which sold to Hong Kong dealer Chak’s Company Ltd. for a record $2.8 million, more than three times the high estimate of $800,000.

Tina Zonars, Christie’s international director, Chinese works of art, said the sales “illustrate the continuing strength of the market.” Zonars noted that “among the stronger collecting fields were snuff bottles, white jade carvings, imperial ceramics—all Chinese-taste categories.”

The second-highest lot was a rare Qing dynasty yellow-ground “Dragon” vase decorated with green enamel, Qianlong period (1736–1795), which was won by London dealer Eskenazi Ltd. for $1.76 million (estimate: $600,000/800,000).

Theow Tow, deputy chairman, Christie’s Americas and Asia, noted “Asians in particular participated strongly in all collecting categories, both classical and contemporary,” in the sales.

Asian Contemporary Art Tops Sotheby’s Sales

At Sotheby’s “Contemporary Art Asia: China Korea Japan” session, Zeng Fanzhi’s Mask Series, 1997, was bought by a Japanese private collector for $1.1 million (estimate: $900,000/1.2 million). The second-highest lot was Kim Whanki’s Les Oiseaux Volants (Flying Birds), 1957, which an Asian dealer acquired for $434,500 (estimate: $200,000/300,000).

In all, the sale realized $8.5 million, with 137, or 65 percent, of the 211 works on offer finding buyers. The sold-by-value rate was also relatively modest, at just 64 percent.

Among the other top prices, Cai Guo-Qiang’s gunpowder-on-paper Two Eagles, 2005, sold within estimate for $422,500 (estimate: $380,000/550,000) and Zhang Huan’s Family Tree, 2000, sold for $386,500 (estimate: $120,000/180,000) to an American buyer.

Sotheby’s modern and contemporary South Asian art sale realized $7.8 million for 126 lots, of which 82, or 65 percent, found buyers. By value, the auction was 80 percent sold.

Work by many of the same artists, including Gupta, Mehta and Husain, dominated the top ten at Sotheby’s and Christie’s in this category. Mehta’s acrylic-on-canvas Falling Figure with Bird, 2003, sold for a high-estimate $1.5 million. Gupta’s oil painting One Cow, 2003, depicting a bicycle slung with containers of milk, sold for $866,500 (estimate: $600,000/800,000).

Works by Francis Newton Souza also figured prominently at Sotheby’s sale, including the painting Orange Head, 1963, which sold for $482,500 (estimate: $400,000/600,000); Christ on Palm Sunday, a 1956 oil on board, which sold for $266,500 (estimate: $220,000/320,000); andDeath and the Maiden, 1966, which brought $182,500 (estimate: $100,000/150,000).

In the Chinese ceramics and works of art sale, which included Chinese and Japanese art from a private collection, a polychrome wood and gesso sculpture of the boddhisattva Guhyasadhana Avalokitesvara, Ming dynasty, Xuande period, sold for $1.2 million (estimate: $1.4 million/1.6 million).

Loins of Punjab -- English movie spoof, Sept. 12, 2008

DESICLUB.com

Loins of Punjab Presents...
Director: Manish Acharya
Starring: Shabana Azmi, Ajay Naidu, Ayesha Dharker
Released: September 12, 2008

In India we have all heard of shows such as Zee TVs Sa Re Ga Ma Pa, Sony TVs Indian Idol and Sansui Boogie Woogie, and Doordarshans Music Masti Aur Dhoom. But, have you heard of a Desi Idol contest being promoted in a small New Jersey town by a pork millionaire for a $25,000 prize? Perhaps you haven't because the competition is arriving soon to the big screen in America. The English feature film titled Loins of Punjab Presents lasts 88 minutes and is a laugh riot if you are in a mood to let your hair down.

What do you think the following have in common: A businessman, Vikram Tejwani, American yogi, Joshua Cohen (Michael Raimondi) who has invented joga or jogging-yoga, a Bhangra rapper, Turbanotorious BDG (Ajay Naidu), a philanthropist, Rrita Kapoor (Shabana Azmi), an over-protected female singer, Preeti Patel (Ishitta Sharma), and an aspiring actress, Sania Rahman played by Seema Rahmani?

Give up?

These are contestants at the 3-day Bollywood style musical event, and the narrative is filled with humor, Bhangra-style dances, devious machinations by a contestant (you'll never guess who), a dedicated publicity campaign with T-shirts from the Patel family to promote their candidate, and suspense regarding the ultimate winner. The inevitable Bollywood format and pop music find their way into the film as also predilections of Indian-American stereotypes that make for predictable laughs (snacks for instance in accented lingo becomes snakes you know what I mean.).

A certain level of levity runs through the fabric of the film right from the first scene when Sudarsh Bokade played by Jameel Khan is being interviewed by a journalist. Bokade, a wily event manager with a weakness for Gipsy Kings music is often confused as to which side his bread his buttered.

Ajay Naidu, who has acting credits over the past 11 years (Shakespeare's Measure for Measure, The Accidental Husband) is also a break dancer and his prowess for the dance form is evident. Ajay trained at the Institute for Advanced Theatre Training run by the American Repertory Theatre (ART) at Harvard. Michael Raimondi who plays Josh and sings India's national anthem, has done film, opera and off-Broadway theater. His girl friend in the film, Opama Menon (Ayesha Dharker) is known to New York audiences for her predominant role in Andrew Lloyd Webber's musical Bombay Dreams.

Seema Rahmani (TV shows Roswell and Alias and films Hum Kaun Hein, Karamchand), belts out a fine duet with rival Vikram Tejwani (played by Manish Acharya) who directed, co-wrote and produced the film. A multiple award winner from the NYU Tisch School of the Arts Graduate Film program, Manish also has degrees in Physics and Industrial Relations.

Darshan Jariwala (Gandhi My Father) who plays Sanjeev Patel, top contestant, Preeti?s father comes up with a compulsive performance and has worked earlier with director Mani Ratnam. Ishitta Sharma?s debut was in Dil Dosti Etc. Obviously Shabana Azmi needs no introduction.

Impressive musical score

The Dhol Beat composed and produced by actor Samrat Chakrabarti was upbeat in keeping with today?s funky trend where everything from hip hop to rock to metal goes. The script was crafty and music rendered with passion. Samrat has television and theater credits (Law and Order, The Sopranos) and appeared in She Hate Me, directed by Spike Lee.

A phenomenal success from several accounts when the film opened last September in India, Loins is a must-see specially if you like desi humor and can laugh at the foibles we Indians are heir to in North America. The Indian and Jewish characters are shown in unaltered formats, and mercifully not particularly pristine which makes for unbiased, candid portrayals in these days of political correctness.

In short, the movie is about having a good time and the pressures that accompany dreams of aspiring stars. It is perhaps coincidental that Sony's Entertainment division has just announced the fourth season of Indian Idol that debuts in a few days.

Raj S. Rangarajan is a New York-based trend writer, reports on the art market and has contributed to publications in the U.S., U.K., Canada, Australia and India. He can be reached at raj.rangarajan@gmail.com.

Loins of Punjab: Movie Review

Ultimate Bollywood » Movie Reviews » 2008



Loins of Punjab Presents...
Director: Manish Acharya
Starring: Shabana Azmi, Ajay Naidu, Ayesha Dharker
Released: September 12, 2008

by Raj S. Rangarajan

In India we have all heard of shows such as Zee TVs Sa Re Ga Ma Pa, Sony TVs Indian Idol and Sansui Boogie Woogie, and Doordarshans Music Masti Aur Dhoom. But, have you heard of a Desi Idol contest being promoted in a small New Jersey town by a pork millionaire for a $25,000 prize? Perhaps you haven't because the competition is arriving soon to the big screen in America. The English feature film titled Loins of Punjab Presents lasts 88 minutes and is a laugh riot if you are in a mood to let your hair down.

What do you think the following have in common: A businessman, Vikram Tejwani, American yogi, Joshua Cohen (Michael Raimondi) who has invented joga or jogging-yoga, a Bhangra rapper, Turbanotorious BDG (Ajay Naidu), a philanthropist, Rrita Kapoor (Shabana Azmi), an over-protected female singer, Preeti Patel (Ishitta Sharma), and an aspiring actress, Sania Rahman played by Seema Rahmani?

Give up?

These are contestants at the 3-day Bollywood style musical event, and the narrative is filled with humor, Bhangra-style dances, devious machinations by a contestant (you'll never guess who), a dedicated publicity campaign with T-shirts from the Patel family to promote their candidate, and suspense regarding the ultimate winner. The inevitable Bollywood format and pop music find their way into the film as also predilections of Indian-American stereotypes that make for predictable laughs (snacks for instance in accented lingo becomes snakes you know what I mean.).

A certain level of levity runs through the fabric of the film right from the first scene when Sudarsh Bokade played by Jameel Khan is being interviewed by a journalist. Bokade, a wily event manager with a weakness for Gipsy Kings music is often confused as to which side his bread his buttered.

Ajay Naidu, who has acting credits over the past 11 years (Shakespeare's Measure for Measure, The Accidental Husband) is also a break dancer and his prowess for the dance form is evident. Ajay trained at the Institute for Advanced Theatre Training run by the American Repertory Theatre (ART) at Harvard. Michael Raimondi who plays Josh and sings India's national anthem, has done film, opera and off-Broadway theater. His girl friend in the film, Opama Menon (Ayesha Dharker) is known to New York audiences for her predominant role in Andrew Lloyd Webber's musical Bombay Dreams.

Seema Rahmani (TV shows Roswell and Alias and films Hum Kaun Hein, Karamchand), belts out a fine duet with rival Vikram Tejwani (played by Manish Acharya) who directed, co-wrote and produced the film. A multiple award winner from the NYU Tisch School of the Arts Graduate Film program, Manish also has degrees in Physics and Industrial Relations.

Darshan Jariwala (Gandhi My Father) who plays Sanjeev Patel, top contestant, Preeti?s father comes up with a compulsive performance and has worked earlier with director Mani Ratnam. Ishitta Sharma?s debut was in Dil Dosti Etc. Obviously Shabana Azmi needs no introduction.

Impressive musical score

The Dhol Beat composed and produced by actor Samrat Chakrabarti was upbeat in keeping with today?s funky trend where everything from hip hop to rock to metal goes. The script was crafty and music rendered with passion. Samrat has television and theater credits (Law and Order, The Sopranos) and appeared in She Hate Me, directed by Spike Lee.

A phenomenal success from several accounts when the film opened last September in India, Loins is a must-see specially if you like desi humor and can laugh at the foibles we Indians are heir to in North America. The Indian and Jewish characters are shown in unaltered formats, and mercifully not particularly pristine which makes for unbiased, candid portrayals in these days of political correctness.

In short, the movie is about having a good time and the pressures that accompany dreams of aspiring stars. It is perhaps coincidental that Sony's Entertainment division has just announced the fourth season of Indian Idol that debuts in a few days.

Raj S. Rangarajan is a New York-based trend writer, reports on the art market and has contributed to publications in the U.S., U.K., Canada, Australia and India. He can be reached at raj.rangarajan@gmail.com.

The Love Guru – A Delightful Spoof

BY RAJ S. RANGARAJAN *

Mike Myers and Jessica Alba

The Love Guru is primarily a spoof – not to be taken seriously. Once you accept that you may enjoy the movie. Some followers of Hinduism and others who are touchy about the Hindu faith and beliefs may not approve of the film.

After his success as a “foreign agent” Austin Powers (Mike Myers) has taken up a new avatar: Guru Maurice Pitka. The guru’s words of wisdom are expected to help a high profile couple in Canada get back together after marital troubles. Myers plays the role of healer and is charged with the responsibility of getting back reputed ice hockey player Darren Roanoke (Romany Malco) of the Toronto Maple Leafs team with his estranged partner, Prudence, played by Meagan Good (Eye’s Bayou with Samuel L. Jackson), who is now dating the L.A. Kings’ goalie from Quebec, Jacques “Le Coq” Grande, played by Justin Timberlake (Alpha Dog, multiple Grammy winner with platinum albums).

Guru Pitka creates a new-found philosophy which he encapsulates into DRAMA – D-istraction, R-egression, A-djustment, M-aturity, A-ction to get his message across. Darren has lost his enthusiasm to win hockey games for the team, and that concerns the team’s owner, Jane Bullard played by actress, Jessica Alba (Dark Angel, Sin City) and the 32-inch actor coach Cherkov, played by Verne Troyer. There are plenty of jokes about midgets, smallness and body parts. Jane is anxious to win the Stanley Cup for her father, the former owner of the team.

On another front, Guru Pitka’s aide (John Olivers) is looking for a payback in the form of an appearance on the Oprah show so that he could prove that he is bigger than Deepak Chopra, the new age guru who also makes a cameo appearance.

The real-life Mariska Hargitay, a fixture in NBC’s “Law and Order” makes an appearance and Guru Pitka does not stop chanting her name after meeting her since she is gorgeous and the name is supposed to resemble a Hindu mantra. His mode of transportation – a carpet on wheels – is original and he deserves a plus for creativity.

While the film’s publicity department talks of an all-star cast that includes Alba, Timberlake, Ben Kingsley who played Gandhi, Malco (The 40-year-old Origin) there is no mention, in the credits, of a relative newcomer Manu Narayan, the Bombay Dreams Broadway star, who has a major role in the film.

As Rajneesh, Manu has several significant lines and while the movie could turn out to be a flop Manu’s role may well catapult him into a meaningful career. His talent as a singer comes in handy. Kingsley, as cross-eyed Guru Tugginmypuddha teaches a young Maurice Pitka and a young Deepak Chopra the ABCs of “guruhood” but the fact remains that this foray into comedy may not sully his famous Academy Award winning Gandhi role.

While some of the dance scenes (read Bollywood) were off the wall, the viewer is always conscious that the movie is just a light comedy, and one ought to look at it through that prism. With Bollywood being such a vital part of entertainment in India, its not surprising that India’s Reliance ADA group owned by Anil Ambani is in talks with Steven Spielberg and David Geffen at Dreamworks SKG to form a new movie enterprise.

Marco Schnabel, who graduated from the USC’s School of Cinema/Television, makes his directorial debut for this feature film that was co-written and co-produced by Mike Myers who was born and raised in Scarborough, Ontario (Toronto). His original comedy sketches, work on “Saturday Night Live”, his Emmy in 1989 and the Austin Powers role are almost legendary.

Its perhaps incidental that the storyline demanded crude language and a scene where two elephants are seen in a seemingly sexual act in a stadium filled with cheering fans. Knowing Mike Myers’ past antics, one can always expect the unexpected. All of the above must have contributed for a PG-13 rating.

Deepak Chopra, who has a considerable following in Hollywood and outside comes in for envy and praise by wannabee Guru Pitka. Chopra talks favorably of the film and has in fact criticized the Hindu zealots who have called for a boycott of the film. The average English-speaking filmgoer is perhaps not affected by such protests.

In 88 minutes the movie manages to mock Hindus and offer humor – a kind of slapstick, but not mature enough for the average viewer’s comfort. With Hindu groups protesting the film’s content in some countries it may end up garnering free publicity, for, such controversies tend to help the box office.

[Raj S. Rangarajan, a New York-based trends writer, covers art and lifestyles and reviews books, films and plays for publications in the United States, Canada, Australia and India. He can be reached at raj.rangarajan@gmail.com.]

Global Bidding Drives Asian Contemporary Sales in Hong Kong

by Raj S. Rangarajan

NEW YORK—Dozens of new records were set for artists from China, India, Japan, Korea and Taiwan at Christie’s in Hong Kong during the house’s inaugural evening sale of Asian contemporary art (which totaled $40.7 million) and Chinese 20th-century art ($21.7 million) on May 24. Including day sales on May 25, the overall total was $104.6 million.

The evening sale of contemporary art was 94 percent sold by lot and value. The top-selling lot was Zeng Fanzhi’s Mask Series 1996 No. 6, 1996, which sold for $9.7 million, more than three times the high estimate of $3.2 million. It was followed by Yue Minjun’s Gweong-Gweong, 1993, which brought $6.93 million. Also in the top ten were Yue Minjun’s Big Swans, 2003, bought by an Asian private bidder for $2.48 million, and The Sun, 2000, picked up by a European buyer for $1.41 million.

Eric Chang, Christie’s international director of Asian contemporary art and Chinese 20th-century art, noted “growing global interest in Chinese, Indian, Pakistani, Korean and Japanese contemporary art.” Chang says he looks forward to “seeing further cross-cultural interest in Asian art from collectors worldwide.”

Three works by Chinese artist Zhang Xiaogang were in the top ten, including Bloodline: Mother and Son, 1993, which sold to an Asian private buyer for $2.27 million; Bloodline: Big Family Series, 1996, sold to a European bidder for $2.1 million; and Baby Boy with Red Face, 1995, which fell for $1.62 million. A record was set for Indian artist Subodh Gupta when Saat Samundar Paar (Across the Seven Seas), 2003, sold for $1.2 million.

The Asian contemporary-art day sale on May 25 was 90 percent sold by lot and 92 percent sold by value. Three of Yue Minjun’s works were sold at prices well beyond their presale high estimates: Dark Sky, 2003, brought $835,260; Romanticism & Realism Series 2, 2003, brought $792,000; and 99 idol series No. 50 & 63, 1996, took $510,800.

Garden, circa 1970, by Chinese artist Liao Chi-Ch’un led the Chinese 20th-century evening sale with a price of $4.5 million, followed by Spring in the West Lake, 1934, by Chen Cheng-Po, which sold for $4.36 million.

There were three works by Zao Wou-Ki in the top ten: 1-4-68, 1968 ($1.84 million), 26-4-62, 1962 ($1.62 million), and 25-5-62, 1962 ($1.55 million). Sanyu’s Pink Flowers, circa 1930s, sold for $1.41 million.

Among the Asian contemporary works for which artist records were set during both the evening and day sales were Mumbai-born Jitish Kallat’s installation Rickshawpolis 9, 2006, which sold for $200,848; Korean artist Hong Kyoung Tack’s Library II, 1995-2001, which fetched $585,554; Makoto Aida’s Monument for Nothing, 2002-4, sold for $688,114; Hisashi Tenmyouya’s RX-78-2 Kabuki-mono 2005 Version, 2005, which brought $616,322; and Tetsuya Ishida’s painting Decided By Myself, 1999, which sold for $705,480. Another record was set for Japanese artist Mr., when his acrylic on canvas V, 2005, was bought for $647,000.

In defence of Artist Maqbool Fida Husain

Images: M F Husain:
Pictures courtesy: Copyright Sotheby's.


Freedom of expression is an easy term to understand, but defies definition in today’s times. I have always wondered why people – whatever the persuasion, left, right or uncommitted – have a hard time understanding the concept. Is it because if you have an agenda you are unable to comprehend what it stands for? Or is it because people with closed minds have no freedom any more to think independently?

Expressing oneself by speech or in writing or by artistic endeavour or through a play or even through a camera lens is a basic right in a democracy such as India.
It’s a shame that writers, artists, playwrights, filmmakers and others with creative minds have been victims of hate speech and terrorist threats. The recent incident of Bangladeshi writer Taslima Nasreen having to leave India for an unknown destination does not say much for India’s avowed secular credentials.

In 1989 when Salman Rushdie’s The Satanic Verses created more than a stir resulting in a fatwa by Iran’s Ayatollah Khomeini, India sat on the fence for a long time for fear of offending the Muslim vote. Rushdie is India-born, though in his later years he studied and lived in the UK and currently resides in the United States.

The most enduring example over the past decade of course has been 93-year-old Maqbool Fida Husain, who has been at the receiving end just because his paintings do not appeal to a certain section of his audience. He cannot return to the country of his birth because some obsessed Indians have decided not to let him.

Born on September 17, 1915 in Pandharpur, Maharashtra, it’s not Maqbool Fida’s fault if he was born Muslim. Is it a coincidence that all these earlier aforesaid folk were born Muslim? Or, does the Indian milieu have double standards in India and elsewhere?

The Battle of Ganga and Jamuna 12, an oil on canvas dipltych (74-3/4” x 107-3/4”) that was bought for US$1.60 million in March in New York by an anonymous buyer, creating an auction record. No mystery here. Auction houses routinely avoid mentioning names of owners unless the buyer or the institution agrees to have it mentioned.

This set of 27 was formerly housed in the Chester and Davida Herwitz Collection at the Peabody Essex Museum in Salem, Massachusetts. But, Hindu activists can take comfort that none of the warriors or women in the original Kurukshetra battle between forces of right and wrong were depicted nude. The painting depicts goddesses “Ganga” and “Jamuna”, personification of the holy rivers as conjoined with labels in Sanskrit on both sides of the split while representing conceptual strife between warring factions of the Kuru lineage, the Pandava and Kaurava cousins, each descended from river goddesses. (Courtesy: Husain: The Tata Iron & Steel Company Limited, Bombay 1998.)

Apart from this expensive piece at Christie’s, several of Husain’s paintings won top drawer price such as his 1997 Mother Teresa (63-1/4” x 32-1/2”) that sold at $205,000 which was bought by an American bidder, and across town at Sotheby’s, his Untitled 1953 piece (47-1/2” x 47-1/2”) was bought for $409,000 by an Indian trade buyer.

During Christie’s sale in mid-town Manhattan in March, two groups – Indian American Intellectual Forum (IAIF) and Hindu Janjagruti Samiti, protested against Husain’s work saying he was insulting Hindus and what Hinduism stood for. His work had drawn protests even in 1998 in the Chelsea area of Manhattan.

Groups of varied hues have protested over the past several years in London as well, not to ignore the vandalism subjected to some of his works at home by vested interests. But Husain’s creative works continue to be bought and resold at constantly rising prices.

Husain’s artistic skills and interpretations cover the gamut of free expression ranging from the Mahabharata series to scantily-clad women to horses (his favourite) to religious Indian icons.

What gives the ruling administration, those speaking for the art establishment, right wing leaders or opinion-makers and politicians in India the right to criticise, denigrate and demonise an artist for his work? When did the government and the people in power become arbiters of art? If the government changes, knowing the vagaries of politics in India, will Husain be accepted by the other side? Or is he doomed forever?

Not many people are aware that among the doyen’s masterpieces is a series of 27 paintings that he completed in 1971-72 for the 11th Sao Paolo Biennial on the epic Mahabharata.

There is a breed of men and women (let’s call them “facilitators”) who revel in and encourage people on the fence to take sides. Regrettably, there are also men and women with an agenda, hacks who write for money. Several decades ago it was mercenaries who accomplished favours for money. Now, with brand management and public relations a successful industry in India as well, everything is a brand – whether it is an artist, a politician, a fashion model or even a novelist.

Any artist is conscious of the provenance of his or her work, and so should others who view, comment on or buy art. The place and time-period when an artist creates his/her piece becomes critical, especially if the end product qualifies as an investment.

At the time when artisans and artists created Khajuraho frescoes and artefacts between 950 and 1050 AD one wonders if self-styled “monitors of art” existed who could and would cry “foul”.

Activists who want to bring down an artist now are obviously in a different mind-set, not necessarily conscious of subtle nuances of art or art appreciation. Many of the misled volunteers ready to torch a piece of art will perhaps stop being activists if they are told precisely what that art represents and stands for. The price of success for an artist seems to be the wrath of the art monitors.

It is ultimately Husain’s fault that he acquired fame just as Salman Rushdie or Taslima Nasreen. Let’s face it: there are many artists who continue to portray nudes, but since they have not yet earned fame or notoriety, they are “safe”.

In the 50’s and 60’s, Husain had the moral and financial support from the likes of the Herwitzes – Chester and Davida – and Tom Keehn, who worked in a non-profit organisation for Nelson Rockefeller between 1952 and 1961 in Delhi.

Keehn, who is also 93 and very close to the Husain family said, “last year, when Husain visited New York, the artist had produced “Two Horses” within just 75 minutes with about 20 people watching.

In 1947, The Progressive Artists Group was formed by artists Francis Newton Souza, S H Raza and K H Ara and Husain was an early member. American, European well-wishers abound and now successful Indian financiers have taken to promoting Indian artists.

These days artists too are savvy about their financial potential and know that a mix of hard work and creative juices will be a winning combination for them, specially with many Indians with purchasing power ready to invest in realty of the artistic kind. One fears however that promotion of artists by some interests may not be necessarily altruistic. One hopes artists do not become art factories in the name of potential, fame and riches On the other hand, with Indian authorities reportedly waiting for Husain to show up in India, it was in his interest not to flee to Dubai or London. He has made it more difficult for himself by feeding more fodder to the rumour mill that he was allegedly being supported by financier Guru Swaroop Shrivastava for 100 paintings.

Husain has been working on a project for the last six months under the patronage of Her Highness Sheikha Mozah bint Nasser Al Missned, wife of Shaikh Hamad bin Khalifa al-Thani of Qatar. According to The Peninsula paper in Qatar, Husain has said, "there will be 99 paintings as there are 99 names for God. It will be not only Islamic history but also pre-Islamic, which will include Christianity, Judaism etc, mostly the Arab part of it.” Husain will be using contemporary style of drawing because according to him “the visual form can be understood by anyone, even children.”

While the artist became controversial for his nudes, it ought to be mentioned that he has also drawn young Muslim children reciting the Quran with a Muslim teacher who appears to be blessing the kids. The painting done in 1953 is called The Teaching (in translation, it was actually Untitled). He has also painted Mother Teresa resemblances evidenced by her typical blue-border saris.

How does one reconcile this current intolerance with the fact that India and Indians have long been exposed to nude artefacts, of buxom women sketched by artists who follow other faiths such as Hinduism or Christianity; of nude men from certain Hindu sects parading their bodies in the name of being pure, religious and unattached to mortal creations (read clothing)?

Its perhaps speculative but worth exploring that if Husain was not born Maharashtrian, would he have taken up with Madhuri Dixit, a fellow Maharashtrian? After all, he has mentioned that she was the inspiration behind his 2000 film – Gaja Gamini that also starred Shabana Azmi and Naseeruddin Shah.

While Husain’s freedom of expression is under threat within India’s shores, the soaring prices of contemporary Indian art is a growing phenomenon that is here to stay.

A New York based trend writer, Raj Rangarajan reports on the art market and has contributed to publications in the United States, Canada, Australia and India. He can be reached at raj.rangarajan@gmail.com