Chinartree

Dr. Amin Jaffer on Contemporary Asian Art theories, practice and markets – May 2009

On a recent trip to Dubai, for Christie’s latest sale of international modern and contemporary art, ChinarTree met with the insightful Dr. Amin Jaffer. 

Previously a senior curator at the Victoria and Albert Museum in London, Dr. Jaffer has authored volumes such as ‘Furniture from British India and Ceylon,’ ‘Made for Maharajas: a design diary of Princely India’ and co-edited ‘Encounters: the meeting of Asia and Europe: 1500-1800.’         

As someone who has written, researched and lectured extensively on historical East-West interactions, Dr. Jaffer is a rarity in that he also has expert knowledge of contemporary art in the region, as International Director of Asian Art at Christie’s.  It is this valuable and diverse experience that we wanted to tap into. 

ChinarTree: In a discussion with you on Indian art in 2007, your colleague Yamini Mehta said, “I find that there are relatively few scholars who combine the linear depth of Indian art history and the breadth of the contemporary scene.”1  Would you still say this is the case two years on? And if so, what effect does this have on contemporary art criticism and curating in India? 

Dr. Amin Jaffer: Indian Contemporary Art is a dynamic area and we have witnessed tremendous growth in this field quarter to quarter.  I am enormously encouraged by not only the growth in scholarship, but also the depth of commitment from taste and opinion formers, critics, curators, art fairs, galleries and auction houses, to developing the subject, educating and integrating it within a wider international art scene.

CT: When dealing with the Asian contemporary art world, would you say that ‘non-Western’ art is still being perceived through the prism of ‘Western’ art practice and ideas?

DrAJ: Although the presence of Asia is increasingly being felt, the contemporary art world is still driven largely by the West, which has defined the parameters of artistic practice and ways of critically evaluating and understanding such works. 

Increasingly however, the contemporary art movement in Asia is finding its own voice and champions.  Art foundations and curators in the non-western world are forging a new methodology and broadening the perceived wisdom on how contemporary art is viewed.

CT: Could you give us examples of these art foundations or curators that are helping to develop such new approaches? 

DrAJ:  The Devi Art Foundation is perhaps leading the way in India today and the curator Gayatri Sinha provides an example of forging a new methodology and broadening the perceived wisdom on how Asian contemporary art is viewed. 

In addition, important curators of international contemporary art have begun to include South Asian artists into their exhibitions or institutional programmes. This has been vital for new platforms and to provide information on artistic approaches in relation to the wider context.

CT: To what degree would you say Asian artists are part of the ‘hybridized culture of globalisation’ and to what extent, if at all, would you say they are still dealing with post-colonial issues?

DrAJ:  I feel it is dangerous to generalise about artistic practice, which is so varied.  Certain Indian artists have explored themes and issues which are relevant across cultures, often expressing them with a localised artistic vocabulary.

Others, who might have just as strong an international following, work with themes and in styles that are firmly rooted to India’s own social-cultural and political experience. These approaches are unique by their being communicated in current international dialogues.  

CT:  Whilst I agree that there is a danger in generalising, is it not also important for academics, critics and curators to deconstruct and analyse art through the use of definitions and contemporary theories?

DrAJ:  As long as we remain open minded as commentators to the many influences, then yes, these ‘devices’ can be useful as a guide or framework.  They couldn’t really be applied without contextualising. 

CT:  What impact does the increasing dominance of internationalism have on future art practice in 1) India 2) The Middle-East?

DrAJ:  Each generation develops its own voice and responses to the world, whether or not it draws inspiration from its cultural past.  Indian artists today are increasingly integrated into the international artistic community, represented at leading fairs and biennales, exhibited globally both in a museum and gallery context,  and widely collected at home and abroad. 

This exposure has inspired a more immediate dialogue between some Indian artists and their peers around the world, as they jointly address issues that affect humanity in the 21st century.

Middle Eastern art is also finding its place internationally.  Our sales in Dubai of contemporary art from the region have provided a global platform for such artists and have helped to develop international understanding and recognition for their work.

CT: With the global financial crisis impacting the art markets, many regional gallerists have been saying that now is a good time for emerging artists to flourish, both artistically and financially.  However, are recent trends in fact indicating the opposite?2  In that collectors are going back to investing in ‘safe-bets’ such as the Modernists? 

Dr AJ:  Works of quality will always find buyers. It is true that collectors are more selective in an economic slowdown but pricing is key and, if carefully managed in conjunction with consignors, collectors can drive momentum in the saleroom, delivering great results. 

Many buyers seek to acquire works by artists that have an established reputation and are therefore ’safe bets’.  Equally, others recognise that in a slower market emerging artists are bound to apply themselves more diligently to their work, relying more on quality and less on a strong market in order to ensure that their works are appreciated.

CT:  With Christies’ most recent art education initiatives in India, do you feel there is still as much of a thirst for these programmes as there was previously?3  (given the current economic context and seeming, relative lack of interest in the markets).

DrAJ:  Absolutely.  Wherever there are inquisitive people there is always a thirst for knowledge.  Even if people are slower to spend, they are no less keen to understand works of art and the market for them.  We continue to be as busy as ever with a packed sales calendar and are lucky to continue to offer great works of art all over the world.

CT:  How do you foresee the next year panning out for 1)Indian and 2)Middle-Eastern art markets?

DrAJ:  In recent months, the art market has demonstrated that it is both stable and resilient to the wider economic environment.  Whilst many other markets have frozen, we continue to see impressive prices in the saleroom with significant liquidity and participation at every level of the art market, across all geographies. 

In our forthcoming sale of Indian and Middle Eastern art we have been more selective in what we have consigned, encouraged sellers to agree to reasonable and attractive estimates to ensure collectors will continue to be drawn to objects of the highest quality which are offered with appealing estimates.  Solid percentage rates result when a sale fine tunes these two elements.
 

  1 http://www.india-seminar.com/2007/578/578_interview.htm
  2 http://economictimes.indiatimes.com/Art-/Modern-masters-staging-comeback-to-grab-headlines/articleshow/4411263.cms
  3 http://india-forums.com/news/article.asp?id=167062