their work, as also the fact that all twenty, arguably, have broken exciting new ground over the past few years. As the timeline indicates, in most cases the growth pattern has been consistent, but markedly productive from 2003 to 2006.
Auction houses have recently claimed that 12−15 per cent of the buyers of Indian art worldwide are, reportedly, from other regions, including France, Germany, Belgium, Italy, Hong Kong, Singapore, Japan, and the Middle East. Clearly, India is inching its way to a firmer position in the international art arena. It may not be entirely incorrect to say that the rigour and vocabulary of many artists in this publication has contributed seminally in shaping international perceptions about Indian contemporary art and fuelling its upward movement. Indeed, the works of almost all featured here have found place in prestigious international collections across the globe.
As things stand in the current scenario, to believe that an art index floated by an auction house or art funds managed by galleries are objective ways of quantifying and assessing the market share/prices of specific artists, is naĂŻve. Locally, astute dealers are reshaping a staid market and many from this grouping are most likely to scale greater heights in years to come.
Fresher ways of seeing, a more vigorous and a clearer approach to writing on art and much needed infrastructure may facilitate better understanding among young collectors and international connoisseurs.
India 20 aspires to provide an alternate view – the voice of the artist as heard and recorded.
Anupa Mehta Ahmedabad, July 2007
