On how the book came to be

Bina: I was commissioned to write The Big Book of Indian Art by the Aleph Book Company, which raised some eyebrows since I’m not an academic, art historian, or art critic. However, my passion for the arts has been a constant throughout my life, sparked by visits to artists’ studios in my student years and nurtured through founding ‘International Gallerie’ in 1997, a global art and ideas publication.

Perhaps, Aleph recognized my commitment to Gallerie and my unconventional, intuitive approach to exploring the arts—an adventure that has brought me immense joy over my seventy-five years. Taking on this significant project felt like a serendipitous opportunity.

On the mindset of modern artists in the post-independent era

Bina: The ‘old-school’ mindset was quite different from today’s perspectives. Artists, regardless of their style, embraced a wide range of ideas, united by their shared passion for art. In the post-independence era, many began to draw inspiration from Western art, creating a vibrant landscape of individuality through the work of artists like Ram Kumar, V. S. Gaitonde, M. F. Husain, Nirode Mazumdar, Chintamoni Kar, Paritosh Sen, J. Sabavala, K. H. Ara, Krishen Khanna, S. H. Raza, F. N. Souza, and Akbar Padamsee. These artists, rooted in the ‘old school’ yet possessing fresh visions, formed a supportive community. Their collective vision fostered unique individual expressions that have infinite luminosity.

On the significance of Indian artists' global reputation

Bina: Global recognition for Indian artists opened up broader opportunities for engaging with Indian art, allowing the next generation to find their paths. However, today’s artists often operate in more insular environments. The competitive and commercial pressures now shape their creative processes, whether they are producing lyrical or socio-political works, often at the expense of the instinctive expressions that characterised the past.

On Modern women artists

Bina: Some of the artists featured in the book include the vocalist Shobha Broota, who infuses rhythm into her abstract works, and engaged with diverse styles and mediums in her early work (as I’ve written in the book) including figurative works, portraitures, and printmaking, before embarking on her philosophically inclined and meditative compositions. Gogi Saroj Pal (who sadly passed away in January 2024) brought life to her folk-style narratives. Similarly, Madhvi Parekh has an intuitive connection to her surroundings, drawing inspiration from both past and present. Her canvases come alive with curious characters that seem to step in as if they were actors in a performance.

On Gallerie and the relationship between art criticism and the market

Bina: Magazines and art discussions provide unique insights into various art movements and artists. True artists, while influenced by different schools of thought, ultimately forge their own expressions that arise from within, rather than merely emulating others. In India, traditional mythological and folk influences can blend with European styles, resulting in works that possess their own distinct identity.

Regarding your question about Gallerie, the global arts and ideas magazine I founded in 1997, the inspiration began during my student years when I served as editor of our school magazine. I had then envisioned creating a vibrant journal rich in visual and editorial content, in the future. While my passion for arts and literature remained strong, my college years in Kolkata during the politically charged late 60s and early 70s, deepened my concern for equality, human rights, and justice. Time flew, and it wasn't until 1996 that the seed of that seminal idea blossomed into Gallerie, which was started in the following year. What began as a platform to showcase excellence in the arts, evolved into thematic issues addressing critical topics such as 'War,' 'Race/Casteism,' 'Peace,' and discussions on 'Migration,' 'Beauty,' and even 'Rain.'

The central focus of Gallerie has always been on exploring various regions to share their art and culture, fostering understanding and appreciation of diverse cultures. I believe in co-existence and unity in diversity, a vision I aim to nurture through the magazine. Over the past twenty-six years, I have travelled extensively to research regions such as Afghanistan, Pakistan, Poland, France, Italy, Palestine, Armenia, Central Asia, Myanmar, Taiwan, Japan, and many others. In India, I have delved into the rich cultures of Kashmir, Kerala, Bengal, and the vibrant city of Mumbai. So far, I have published fifty volumes chronicling these explorations, and I’m currently working on the fifty-first.

Regarding the current trend of market-oriented networks you mentioned, I have noticed that the art scene has become more insular for new generations. The spontaneous camaraderie that once thrived is fading, replaced by a calculated approach to creating art aimed at these market networks. As a result, there seems to be a diminishing sense of soul in much of the work. However, fortunately one can still encounter a few rare practitioners who manage to convey their true emotions and authenticity amidst this trend.