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The Relationship Between Art Educati...

Spano, Eniko Imre.

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The Relationship Between Art Education and Art Market Development in India.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Relationship Between Art Education and Art Market Development in India./
Author:	Spano, Eniko Imre.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
Description:	107 p.
Notes:	Source: Masters Abstracts International, Volume: 82-11.
Contained By:	Masters Abstracts International82-11.
Subject:	South Asian studies. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28418873
ISBN:	9798708758781

The Relationship Between Art Education and Art Market Development in India.
Spano, Eniko Imre.

The Relationship Between Art Education and Art Market Development in India. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 107 p.

Source: Masters Abstracts International, Volume: 82-11.

Thesis (M.A.)--Fashion Institute of Technology, State University of New York, 2021.

This item must not be sold to any third party vendors.

In the late 19th and 20th centuries Indian paintings were considered provincial and were seen to mimic Western innovations. Western art institutions largely consolidated them into one category with other kinds of Southeast Asian art. But after 1989, with the opening of the global market, major players in the Western art world saw an opportunity. In 1995 Sotheby's held its first Indian art auction for the Herwitz collection. Saffronart was founded in 2000 with exclusive focus on modern Indian art. In 2003 Sotheby's and Christie's started to hold modern Indian art auctions. The distinction of "Modern Indian Art" as a category was created by external groups. The Western art industry created a validating language for 20th century Indian art on the global market. It led to an increased demand for Indian modernists in the West. Although the number of local Indian collectors has been increasing due to the rising number of high-net-worth Indians, their number is still not significant in comparison to the new wealth of the country. In contrast to other new markets like China, growth in India's art market has not been nearly as significant.How can a country like India cultivate its own aesthetic scholarship and collector base within its own borders in the long run and become part of the global art market scene? The objective of this paper is to find some answers to this question by researching the public art education from K-12 grades and the higher art education of the country and compare them with other countries from the BRIC economies (Brazil, Russia, India, China), and especially with China which has proved to be particularly successful in cultivating its own art market infrastructure.The thesis first introduces the major art market developments of India in the last hundred years. Then it dives into the country's art education, beginning with the colonial art education and continuing through the contemporary art education scene.The final chapter introduces notable privately funded art initiatives whose work fills the gap that the government has left on India's art education. These initiatives go against and challenge the post-colonial state of art education with their decades-long rote learning practices, and aim try to provoke more critical, interdisciplinary art practices while expanding their networks locally and internationally.This thesis proposes that the marginalized role of art education in India is a major underlying cause of the country's failure to cultivate larger interest in visual arts and art collecting. My research attempts to collect data on India's art education policies and compare those with the more rigorous and enforced art education policies of China. My expectations of the outcome are more associative than clear-cut data science, as each country has many particular variables and India has very little policy in regard to art education. The discussion concludes with ideas on how to create awareness on the importance of art on the policy level, and how homegrown aesthetic value construction can be possible with the collaboration of museums, schools and initiatives, along with the help of technology, which can ultimately give a sense of importance to the local public.

ISBN: 9798708758781Subjects--Topical Terms:

3172880
South Asian studies.
Subjects--Index Terms:

India

The Relationship Between Art Education and Art Market Development in India.
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500 $a Source: Masters Abstracts International, Volume: 82-11.
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506 $a This item must not be sold to any third party vendors.
520 $a In the late 19th and 20th centuries Indian paintings were considered provincial and were seen to mimic Western innovations. Western art institutions largely consolidated them into one category with other kinds of Southeast Asian art. But after 1989, with the opening of the global market, major players in the Western art world saw an opportunity. In 1995 Sotheby's held its first Indian art auction for the Herwitz collection. Saffronart was founded in 2000 with exclusive focus on modern Indian art. In 2003 Sotheby's and Christie's started to hold modern Indian art auctions. The distinction of "Modern Indian Art" as a category was created by external groups. The Western art industry created a validating language for 20th century Indian art on the global market. It led to an increased demand for Indian modernists in the West. Although the number of local Indian collectors has been increasing due to the rising number of high-net-worth Indians, their number is still not significant in comparison to the new wealth of the country. In contrast to other new markets like China, growth in India's art market has not been nearly as significant.How can a country like India cultivate its own aesthetic scholarship and collector base within its own borders in the long run and become part of the global art market scene? The objective of this paper is to find some answers to this question by researching the public art education from K-12 grades and the higher art education of the country and compare them with other countries from the BRIC economies (Brazil, Russia, India, China), and especially with China which has proved to be particularly successful in cultivating its own art market infrastructure.The thesis first introduces the major art market developments of India in the last hundred years. Then it dives into the country's art education, beginning with the colonial art education and continuing through the contemporary art education scene.The final chapter introduces notable privately funded art initiatives whose work fills the gap that the government has left on India's art education. These initiatives go against and challenge the post-colonial state of art education with their decades-long rote learning practices, and aim try to provoke more critical, interdisciplinary art practices while expanding their networks locally and internationally.This thesis proposes that the marginalized role of art education in India is a major underlying cause of the country's failure to cultivate larger interest in visual arts and art collecting. My research attempts to collect data on India's art education policies and compare those with the more rigorous and enforced art education policies of China. My expectations of the outcome are more associative than clear-cut data science, as each country has many particular variables and India has very little policy in regard to art education. The discussion concludes with ideas on how to create awareness on the importance of art on the policy level, and how homegrown aesthetic value construction can be possible with the collaboration of museums, schools and initiatives, along with the help of technology, which can ultimately give a sense of importance to the local public.
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