Vrishchik, Year 2. No.4-5

•

Drawing in this number by K. Laxma Goud.,

~

VRISHCHIK February-March 1971.

Editors : Gulam Sheikh "Bhapen Khathar Address : 4 Residency Bungalow University office compound Baroda-2. Gujarat, Indi~.

Space donations by : Bharat Lindner Pvt. Ltd., Baroda.

Dynamo Dilectrics., Baroda.

Mercury Paints and Varnishes., Bombay.

Chika

~td.,

BOll}bay.

Voltas Ltd., Ahmedabad.

The All India Protest Committee's activities have spanned .into a convention of artists> a seminar on 'implications of internationalism in coptemporary art' and 'artists and the market', collecting information about the working conditions of artists of India and lastly formation' of a Council of Indian Artists. The constitution of the Council of Indian Artists was discussed in the exhaustive sessions held during 29-30 Jan. '71 and was adopted by a majority vote of the artists present. An ad-hoc working committee is also elected. Lately to raise funds for the running of the Council, an auction of art works mainly donated by protesting artists was held in New Delhi which had a grand success: practically everything was sol~ out! We believe this is a significant development i~ the history of modern art in India that artists have come together to ,fight a corrupt institution and formed a Council of the working artists of India. The project to collect information of working conditions of the artists of India, when finished, will throw ample light on the realities of today.

As announced earlier Vrishchik has submitted the list of protesting artists to the All India Protest Committee which is a functioning body of protest. It's clear that Vrishchik's stand in this regard largely corresponds to 'the views of the Protest Committee and we have joined hands in the formation of the Council of Indian Artists.

Inspite of all th~se, the Akademi has headed to complete its schedule10f holding the Triennale, which opened with usual speeches, of dignitaries. Protesting artists were there . too, spdrting large plaster cast medals printed in gold with 'Boycott Akademi' inscribed on them. Those who had spread rumours of demonstrations ( and are still trying to tar the image of protesting artists by blaming them to be rowdies) were taken aback by the, most peaceful yet highly significant protest .of the artists.

And the Triennale has taken place. The IncJian section has a number of artists who stood as substitutes to those nearly, two third of the invitees who refused to participate.

The spurious nature of most of the exhibits, highlighted by amateurisQ. clumsiness and a lust for idioms in vogue clearly pointed toward the absence of most of the important artists on India.

We are publishing here an account of the misworkings and inefficiency of the Akademi, alongwith some amendments to its constitution and policies, plus some suggestions to its future activities when It'S reformed. We have taken into account the present structure of the Akademi and reshaped it to the needs and interests of artists. We have not proposed entire change (which if it takes place . would hopefully lead to an even better situation) considering the present day political realities of the country ( and Akademi being a semi-Govt. body would not be in a position to implement them immediately) and the interests of young protesting artists of India for whom the boycott of the Akademi on a long term ba sis (if complete change of structure is demanded ) is a matter of great concern. We are also publishing two letters written to the Chairman and members of the General Council of the Akademi by some artists of Baroda and by a member of its General Council in 1969 which had met with indifference ( in the case of the first) and luke-warm response (in the case of the other). This also answers some of the questions raised in the press why the artists have chosen to protest at such a late juncture like the 2nd Triennale that if the members of the Akademi had bothered to attend to the ills of the Akademi ( when these letters were written it would have been saved from much of the criticism it faces today.

Sao Paulo Biennale

To,

10th March 1971.

The Editor Vrishchik, Baroda.

We have received a letter form the Secretary of Lalit Kala Akademi asking us to accept the invitation to participate once again in XI Biennale at Sao- Paulo.

The letter clearly reveals the attitude of the L. K. A. regarding the criterion adopted for selection of arti&ts to participate in such a prestigious International Exhibition.

We are selected because the Executive Board of the L.K.A. has decided to give another chance to all the artists whose work could not be included for competition due to "some irregularity in shipping schedule."

We are also promised to be informed about the size and number of works expected from us if we accept the invitation.

We do not understand why this information is withheld from the artists, and how can any artist give an answer without knowing details of the exhibition, The selection seems to be based on patronising feeling for the "young" artists. We think that such selection should be based only on the merit of recent works of artists.

Khosla Commission:

The Reviewing Committee headed by justice Khosla visited Baroda on the 22nd Feb. 1971. We were appalled to see the presence of only two members (out of eleven) whom Vrishchik submitted the details of protest. We feel that if the nine members (whoever they may be) do not consider it worth to visit the protesting artists, and still consider themselves worthy to sit in judgement over the affairs of the Akademi - are in this matter behaving like bureaucrats, which points toward the futility of such a Commission, and adds to the frustration of those who deSire better functioning of Akademi after the Commission's report. We also found that commission had sought ~o interview mainly the members of the Akademl (and in the case of literature we noticed that a so-called literary figure of Gujarat was invited to be interviewed on the basis of his position in the university while he is not even remotely connected with the realities of contemporary Gujarati - or for that matter Indian literature! ) barring many artists who hdd important things to say as regards the working of the Akademi.

Jyoti Bhatt.

Bhupen Khakhar.

Vinod Ray Patel.

Stop Press: Finally, we hear the Lalit Kala has called a conference of artists of India on 28-29th of this month to discuss changes in the constitution and the art situation in India vis-a vis the Akademi. It is too premature to predict anything now, but we hope the conference resolves to effect basic changes in the constitution and policies of the Akademi.

~'~ , ~.~-~

C-

~ I

"

----... .- -

~

,

' , ___

.\

•

What is wrong with central Lalit Kala Akademi ?

The record of Akariemi's functioning for the last fifteen years is an eye-opener to every artist and taxpayer of India. That instead of becoming a central n ucleu5 for the betterment of art in the country (with facilities of grants and freedom provided to it j it has become a complacent body wasting public money in the name of art.

It has defeated most of the aims 'and objectives it had laid in the constitution and has miserably failed to gain support and confidence of active and aware artists of India. Those artists who joined it in the hope of doing some good were out-nunlbered by the majority of nonartists in its general council and re~igned. retired or left it frustrated. At the present moment three artists have resigned from all activities of the Akademi until basic changes are effected in its consritution and policies. It is also self-revealing that only artists have decided to get out of its activities whife a number of fifty three have remained indifferent regarding the recent protest of the artists of fndia against the mi~workings of the Akademi, whIch includes those who have been sitting in the Akademi for over a decade.

1. Akademi spends mor{' than 50<J~ 0f its grants on administration while 19'70 or 25% is spent directly on art which includes its publication pi ogramme. for fiigures see the account anal) ses ).

2. The amount spent on activites like lectures, seminars, artists' camps anlf studio facilities fo r artists is meagre nothing. Under the name of studio facilities for artists Akademi has acquired an old hunting lodge where Qnly four artists can work at a ti me which has no provision of water and electricity. It should be remebered here that Akademi pays Rs. 2 lakhs fnr the spacious and luxuriously furnished offices of Rabirldra Bhavan.

3. T he only important activity of the Akademi for the benefit of the artists of India is National exhibition , the standard of which has been constantly deteriorating year after year and criticised regularly by artists and art critics.

Many important painters have given up exhibiting in it for years to which Akademi has been most indifferent. hs prizes are very low considering the prices of paintings today and the selection of jury always questionable. The exhibition committee is inefficient in handling art works while receiving or dispatching: only last year a kinetic sculpture was broken to pieces.

4. Delays in intimating artists about international participation has aroused confusion and frustration amongst artists, and as a result, last minute scrambling up of shows has created poor image of fndian art abroad. No information of the famous international exhibitions is supplied or made available to artists at the beginning of the year. (It may be noted that in most of the international exhibitions artists are not allowed to send their works directly).

Following are some of the glaring instances of mismanagement regarding international participation :

5

A. Exhibit> did not reach Sao Paolo Biennaie ( 1969 ) though our representative of the jury dId. B. Exhibits badly damaged in transit \ Sao Paolo 1967).

C. Exhibits lost and damaged ( painting of G M. Sheikh lost in Paris Biennale 1967, sculptures of Mahendra Pandya damaged beyond repair in an exhibition sent to Japan and Australia, 1958 ).

D. Claims for damages settled after years (10 years in thc case of Mahendra Pandya, claim of t he loss of painting at Paris Biennale 1967 is not settled y~t).

E. Mismanagement of incoming exhibitions from abroad; a tapestry was lost from the French exhibition, 1969.

F. Inv itation to participate in international exhibitions arbitrary and sometIme thoughtless, for instance; Ram Chhatpar, a sculptor, was invited to participate in an exhibition of graphics in Italy! ( :. Storage of exhibits very bad. Paintings and sculptures returned to artists months-years after they arrive from abroad, for instance Sao Paolo exhi bits of 1967 were returned to Nagji Pa tel in 1970.

6. Akademi's publication programme mainly includes the members of the Akademi and those who are dead. rt has rarely considered artists who are not members of the Akademi. (The monographs on contemporary artists I include Thakur singh, Venkatappa, Ravi Verma whose works hold no contemporary significance: while artists like Raza, Padamsee, Samant, Souza etc., are not considered. It has not published a single monograph on artists of the sixties.) Out of 23 publications on contemporaryartists 15 are' on the members of the 'Akademi, 5 on artists who are dead and 3 on artlsh outside the Akademi. The accoont report published here reveals that these monographs do not sell ar.d the stock lying in store is worth over 5 lakhs.

7. Art journal LaHt Kala publishes irregularly and usually contains irrelevent and useless material in it. There is no point in publishing long articles on foreign artists when Indian artists do not get proper coverage in Indian press and路 information regarding famous artists of Europe and America is easily available through foreign journals.

8. . Akademi's policies have not changed inspite of the efforts of individuals a.nd commissions. Bhabha report has had no effect. Nine artists of Baroda sent a letter in February 1969 : published ' elsewhere in this number) with suggestions regarding Akademi's policies and activities which was not attended. One of the mem bers of the executive board of the Akademi K. G. Subramanyan circulated a letter amongst the members of the general council ( published elsewhere in this number) which had pointed to the ineffectiveness of the Akademi which the majority of members did not find worth discussing.

9. Artists' representation io the Akademi is poor. Only nine are chosen as artists while the rest of {he 47 are State representatives, representatives of art organisations and government nominees.

10. There is no representation of the artists of the sixties.

Most of the artist members of the council are unaware of the realities of present day art.

11. There has been several law-suits against the Akademi including those of artists' claiming for damages and losses of their works.

12. Akade,ni rardy consults artists or experts from outside except for calling,them to be judges in the national exhibitions.

13. Akademi has not yet thought of a project of a book on contemporary lndian art.

14. Some members in the Akademi have remained in seats fur three consecutivp. terms which means right from its inception. This has stopped healthy flow of blood in its council.

] 5. Mode of selection in the Triennale was considered highly objectionable by a number of artists and more than half of the first list of invitees refused to partIcipate in the Triennale.

An enormous sum of money is spent on such an international exhibition which is not an important event on the international scene ( there was not a sing'e report of the first Triennale in any of the international journals of art) while an average Indian artist is much in need of financial help and encouragemen[.

Letters I Baroda, February 8, 1969, To, The Chairman and Mem bers, Lalit Kala Akademi~ New Delhi On the occasion of the 15th National Exhibition sponsored by the Lalit Kala Akademi. it may not be irrelvant to assess critically the experience of the last fifteen years. Such an assessment by artists working in association with the Akademi during these years, could serve as useful guideline for the future policies of the Akademi. In the past, the Akademi has accepted important suggestions made by the artists, as for example, the abolition of numerical categories in prize-gIving and in 1958 the abolition of such catagories as, 'Modern', 'Represntational' etc.

May we draw your attention to the following :1) In the ab~ence of definite criteria for judging exhibits the award of prizes has acquired the arbitrary quality of a game of lottery.

2) In the art world these prizes have lost prestige. Even within the Akademi a similar loss of regard towards these awards is noticeable.

3) It has often happened that an artist submitting three

entries may land a pnze with one of these while others are rejected from the exhibition. Another artist not awarded a prize may find all the three entries suomitted put up for exhibition. What are we to conclude from this? Are Drizes given for a chancy fortuitous, work of excellence? Does the Akademi demand variety, due to the lack of which even a prize winner should find his other works rejected?

If this be so, does the Akademi lay no store on the consistency of artistic expression ?

4) It has often happened that an entry rejected for the National Exhibition has subsquently t et n rurchastd for the Lalit Kala collection and even, has then been sent to represent India in an international Exhibition. The absurdity of this situation is self-evident.

6. Instead of determining a last date for receipt of the schedule and exhibits at the Akademi's office at Delhi it would be more impartial to fix a last date for despatch of these, so that the time given to artists all over the country remains the same.

S) A close scrutiny of the exhibits year after year shows a completely different set of values fanctioning in the selection of entries. We urge that some such system be adopted which ensures a greater consistency.

7. The Akademi should collect information regarding the various international exhibitions in . which it proposes to parti~ipate and prepare a sched ule of the same

6) Instead of a bizarre lottery-like pattern of prizes, a close watch should be maintained for new and imaginative work done in the country during the year and such work be considered for the award of prizes at the National Exhibition.

'Ve could obtain a few useful pointers from the way the works of art are selected and awards are given at the international exhibitions and other rt exhibitions abroad.

L The names of the persons included in the selection and judging committee should be announced in the prospectus.

Not to disclose their names would amount to casting a doubt on their integrity-an insult that the Akademi surely does not intend. Such an announcement would be most useful to artists all over the country. They could then decide for themselves if they wish their work judged by a particular panel, if not they could save their time and money by not sending an entry.

2. More attention should be given to the formation of the selection and judging cl1mmittee with a view to ensure some consistency in the standard of the selection of exhibits.

3. The a"",ard winners should have their work exhibited in bulk under the sponsorship of the Akademi, either at the National Exhibition, or any other suitable time. Their work would then speak clearlY with a greater impact.

4. On the basis of the selection of the judging panel and of the awards it would seem that prize winners and judges are chosen by rotation in matching pairs, so to speak. There is no reason why the same painter should not obtain an award during consecutive years. There is also no reason why the same judges should be excluded from the panel during consecutive years if it be felt that a fair and constant standard of judgement can not be obtained by their rotation.

S. The amount of cash award should be increased and the number of awards may be decreased. This will make award winning a matter of greater prestige and benefit.

which be passed on to all the artists individually during the beginning of each year.

8. The artists whose works the Akademi intends to send to any of these international exhibitions should be also informed at the beginning of the year so that they have sufficient time to prepare. especially with regard to artists residing outside Delhi. who are likely to be inconvenienced by a short notice.

9. The Indian contingent to the intc.rnational exhibitions should consist of a few artists represented by sufficient number of their recent works instead of one work each of so many heterogeneous artists which has no impact at all.

Sincerely,

1. Jyoli Bhatt.

2. Bhupen Khakhar.

3. Jeram Patel.

4. Gulam Mohammed Sheikh.

5. Ratan Parimoo.

6.

7.

8.

9.

Vinod Ray Patel.

Vinod Shah.

Feroz Katpitia.

Mahendra Pandya.

2 To all the members of the Gel/eral Council of the Lalit Kala Akademi.

Dear friend, As a member of the Lalit Kala Akademi I am Sure you are as much agitated as I am about certain devElopments withjn it I have been notic.ing of late, which, in most of its deliberations, breaks it up into power blocs that are more engrossed in their respective stances than in the merits of (! question.

Apart from not being able to deside on any new and constructive steps towards the furtherance of Fine arts in this contry, the Akademi stands divided even in-the small details of its functioning, and has been recently, as we all know to our shame, drawn into the law courts in this regard.

This should shock us all into serious rethinkin!! about the suructure and the functioning of the Akademi. The Lalit Kala Akademi was instituted in October 1953 and inaugurated in August 1954. The main purpose of the Akademi was (if we bring together all its objectives), to be a lively centre of activity that could initiate a renaissance in the field of Indian art; and, to ensure right decisions in this regard, it meant to bring within itself as members the most brilliant and mature artists of the country. As of today the Akademi has completed 15 years of its existence. It would be grossly unfair to say that the Akademi has not achieved anything during these years, but what it has achieved is rather small and inadequate in terms of its objectives. This has not escaped the notice of others; when it completed ten years in 1964, the Gov~rn足 ment instituted the Bhabha Committee to assess its performance (along with those of its two sister Akademis and the I. C. C. R. ) and suggest suitable recommendations.

This committee found that all was not well with it and suggested certain basic changes in its structure. It hoped that if its recommendations were implemented in the course of the next five years, the Akademi would have attained the basic independent status, it sorely needed, to work more effectively towards the objectives set before it.

Five years have passed and we are in 1969. None of these recommendations have been implemented or even properly discussed; our organisation is no better than it was and in no better position than before to get nearer its objectives.

The role the Akademi plays in our national life is not puissant enough to contribute to a renaissance ; its exhibitions within the country are hardly of the c1odbreaking kind; the exhibitions it sends abroad hardly holds up a persuasive image of our scene; its publication programme falls short of our expectations in quantity and quality; it has not been able, therough these years to muster meaningfully the serious and thinking artists outside

its fold in its various activities. On the other hand it is engrossed mostly with organizational trivialities and is fighting hard 'to hold itself together.

I am of the opinion that the impasse we arc in is related to the Akademi's basic structure. Of the 59 and odd seats in the Akademi only 9 are reserved for active artists of the country. The other fifty are for nominees from the State and Central Govts. and representatives from the various art organizations. True, some of the nominees of the State and Central Govts. are active artists and some of the non-artist nominees do make significant contribution to the deliberations. But the fact that they are sponsored by a Govt, or an institution tends to distort their role to some extent; they feel duty-bound to further the advantages of these sponsors to justify their position, rather then think in more general and comprehensive terms.

I recognise the necessity of artist representation from the various states and art organisations into the Akademi in view of the Jarge and various nature of our country. I do not also want to imply that only artists of established reputation have the most valid and useful things to say about the furtherance of Fine arts in this country. All the same, the authority of an organisation like the Lalit Kala Akademi depends on its having the majority of its members from among such artists of standing and by granting that their opinions with regard to the furtherance of the arts is of the utmost importance.

Such a lack of a sizable membership in the Akademi of active artists of standing was noticed~ by the Bhabha Committee and it had recommended that this should be rectified expeditiously by electing as fe1l0ws all the artists that mattered (even if they be young in age) and making all of them ipso facto members. The Committee visualised the raising of such a membership to fifty in five years, so that, at the end of these five years, these artists will have a major and decisive voice In its deliberations.

Whatever may be the method employed to bringing into the Akademi a sizeable section of the major artists of this country, it is a prerequisite to the Akademi's efficient functioning. At the moment, justfiably or otherwise the artists outside the Akademi think that the sitting members are more concerned with being in their seats, term after term, than with the main objective and that those active artists who have withdrawn their names from the Akademi, like M. F. Husain or Krishen Khanna, have done so because they found themselves overpowered by the sitting lobby and sadly ineffective The fact that some members have been there since the Akademi's inception and that in most of the Akademi's activities only its members are involved lends credence to such a suspicion.

Statistical analysis of the Lalit Kala Akademi's Annual Reports

With a view to dispelling this and invigorating the Lalit Kala Akademi I think we should consider certain constitutional and admmistrative changes in the organisation that ensure the following :1. Thf; general body of the Akademi should have within it a majority membership of the most active artists of India. (This may be effected by increasing the allotment of seats in the general council of active artists of standing up to a miximum of 50. Of these 1/5 should withdraw every term and an equal number of new members may be elected into their seats). The election of theee members should be purely on the basis of their contribution and standing and irrespective of regional or other considerations.

2. Active artists outside the Akademi should be involved in its various programmes, like publication, exhibition, conferences etc. more frequently and more intimately.

3. The Akademi's participation in international exhibitions conferences etc. should be decided with a view to present the most effective image of what is on our national scene vis-a-vis what other countries present of theirs in international exhibitions, Most of tpese countries make a most astute selection of work that will work together as one image, and harness highly specialised publicity agencies to boost this. Even if we do not emulate them in every respect, we should be careful enough to rig up a powerful and convincing image of our scene.

4. All the activities of the National akademi should be on the basis of national considerations; its activities should centre round what is best in whole country. Regional servicing should be left to the Region:!l academies who can seek advice and professional help from the national institution wherever they need it.

5. The effectiveness of the Akademi will depend on how independant and impartial it is and how rigidly dedicated it is to standards. "It should have an elected Chairman and its Secretaey, selected after mature deliberations, should have more administrative freedom and status, which are points the Bhabha Committee also has stressed.

Whether you agree with me or not on all these, points, I am sure you will agree with me that such a reconsideration is necessary. If you do, kindly notify me about it. If the majority of us think more or less on the same lines, we could meet and discuss the changes we envisage, and move in the direction of having these effected.

Personally, I have no doubt in my mind that if the National akademi has to function on the right lines and justify its name, such changes are inevitable and the sooner these are initiated the better it would be.

Yours Sincerely, K. G. Subramanyan Member of the General Council.

(1)

Total amount spent on travelling and conveyance of. the members, on sundry expenses compared with amount spent on purchase of art as follows;

Year

Sundries

Travelling expenses of members

Amt. spent on conecting works of art.

1966-67 1967-68 1968-69

49,651 149,204 63,229

16,726 24,858 36,013

23,005 23 . 900 49,200

Average

87,361

25,865

32,035

(2)

Out of the grant and other receipts the amount spent on the administrative heads and other heads is as follows: 1966-67 ]967-68 1968-69

7,42,000 ]2,28,000 10,91,000

Average amount spent in the last three years on different needs are: Administration ... .

Spent on Art. .... .

Exhibitions ...... " .

Grant to organisations ..... .

(3)

55%

15 % 20 ~~

8 ~~

The amount spent directly on art activities and art:

Library Photographic record Studio facilities Artists' camp Seminars & lectures Lecture films Copying frescoes Purchase of artists' works Archives

Publication

]966-67

1967-68

1968-69

5,002 3,947 525 11,571 1,268 56 2,049 27,005

5,029 2,950 438 78 4 1,326 1,230 22,550 1,587

7)617 ],407 692

1,615 15,449 50,700 1,124

51,423 92,886

35,192 1,34,827

78,604 87,376

1,44,309

1,70,019

1,65,980

From the above figures it is self-revealing that more than 50% is of the total receipt spent on administrationbetween 19 ~~ to 25 ~/~ is directly spent on art which includes the publication programme of L. K. A. Excluding publication of the L. K. A. books and magazines the amount spent on seminars, lectures, purchase of art, the figures are : figures worked on the basis of grants received.

1966-67 1967-68 1968-69

9.6% 3.5% 9.1 %

1966-67 1967-68 1968-69

5,30,000 10,00,000 9,60,000

When Lalit Kala Akademi is fOlmed to foster art we find that not more than 10% is spent directly on art. If we work the figures spent directly on purchase of art, average will be 5% spent on purchase of artists' works.

The amount of grant if invested in 10 years security may earn more and the amount will still remain intact.

(4)

Publications

]966-67

Total amount spent 92,886 Stock of publication 3,94,802 lying Amount received from sale of publications 1,46,392

1967-68

1968-69

1,34,827

87,376

5,01,965

5,13,772

1,17,168

1,01,027

the regional representation altogether. These representatives may represent art organisations or artists' organisations and may be artists, art critics, art historians or those connected with either contemporary or ancient art. The ratio of artists members and other members must be equal, i. e., at least 9 out of 18 state representatives must be practicing artists. General Council may be given powers to scrutinise the integrity and involvement of these members with art matters of contemporary relevance. ( Seats 18 ).

4. The 15 seats of representatives of art organisations may be scrapped. These fifteen seats be included in the list of working artists, appointed with recommendations of the Council of Indian Artists in the present circumstances and then be elected by the majority vote in the General Council.

5.

5 seats of Government nominees be reduced to 3.

6.

2 seats for eminent architects be reduced to 1

7. 2 seats for the representatives of All India Board of Technical Studies in Applied arts be reduced to 1.

8.

One, seat for an eminent film-maker may t"'e created.

Thus

9 15

When stock of publication lying since last two years is worth of Rs. 5,00,000-can we not afford to have good publications and sell the same at subsidized rates? The stock lying may become obsolete within few years' time.

In the year 1967-68 & 1968-69 the amount of Rs. 2,00,000 is spent on rent to L. K. A. wing.

seats for eminent artists. seats (replacing the 15 represen tatives of art organisations)

3

seats ( out of the total 4, one seat be given to an eminent film-maker) saved from the list of architects, Govt. nominees and from AIBTS.

9

artists as state representatives.

36 These 36 seats may be given to artists of national standing (irrespective of age) who may be e:ected or appointed by the General Council (initially on recommendation of the Council of Indian Artists). The word "eminent' may be dropped.

This would give the working artists a clear majority over non-artists in the General 'Council : 36/24 = 60.

Proposed amendments an.l changes in the present constitution of t.:entral Lalit Kala Akademi : 1. It should have clear majority of practicing artists who are aware of the realities of contemporary art as well as traditional art of India, in its General Council.

2. Total number of members of General Council be increased to 60. (from the present number of 56), as there are 18 states now, instead of 14.

3. The number of regional representatives (or state representatives may not change considering it would be impossible fol' on Akademi of national standing to scrap

10.

All the rest of the seats may remain the same.

It. The tenure of membership be reduced to 3 years.

12. No member be allowed to hold office two terms.

fl')f

more than

13. At the expiry of each term at least 1/3 members should retire.

14. Non-member artists, art critics be co-opted for various activities.

15. A clear policy be adopted as regards the relationship of state Akademies with the Central Akademi.

Some suggestions fo r f uture Activities

A. Small committees be formed to take decisions on important activities and be given such powers. Activities such as international participation, delegation's, granting ai is to art organisations and artists to hold group and individual shows etc.

B. At least 2/3 of the to ~al grant be spent on art activities and 1/3 for adminisrration, M'ore grant be sanctioned for seminars, talks, research, films on contemporary art, publications, archive of contemporary art etc.

C. Prizes in the national exhibition be of the value of Rs. 5000/- each, and exhibition may travel to 4 different cities every year.

D. A regular and lively magazine on contemporary art be run ( posslbly bi-monthly) with more emphasis on contemporary art of India with an editorial board of 5 ; ( a painter, a printmaker, a sculptor, an art critic, an art historian. ) E. A news bulletin givjng information regarding the rules of reservations of galleries (with an pxhaustive list of them with details of size of halls and lighting arrangements etc. ) ill various towns, and means of transport, rules of octroi in different states be published wh ich wo uld also carry out a selection of revie ws of exhi biti ons held in various towns.

F. A' manual giving compl ete information ( addresses, price, availability) of artist's material (partic ularly for sculptors and graphic artist s) and tools be published after an exhaustive survery a nd be revised every year if necessary.

G. Loans 路and gra nts be given to artists and fi lmmakers to make short art fil ms and to printmakers for settIng up graphic workshops etc.

H. A proper archive with a collection of slides of contemporary Indian art be made. The works may include public as well as private collections. A proper catalogue be published.

L The grant for purchasing works of art from national exhibitions and the Triennale etc, be used for buying works from group and one-man-shows held elsewhere.

This collection of work may either be permanently displayed, donated or lent to the National Gallery of Modern art.

J. Larger, better publications on contemporary as well as ancient art be made. Established as well as young artists be represented equally.

K . Information regarding internrtional exhibitions be com piled every year and circulated to all artists at the beginning of every year. Intimations to participating artists be given in advance : 3 months for painters and plintmakers, 5 months for sculptors.

L. A project of a large book/ b.:w ks on conte mporary Indian art be undertaken. Several artists / art critics be. invited to contribute and grant( be given to them for research.

Proposed areas of research: Ravi verma to Shergil and her heritage ; Progressive group to today.

implications of internationalism in contemporary art A reply to Geeta Kapur

Vivan Sundaram Geeta in her article 'fmplications of Internationalism in Contemporary Art' takes up two contradictory positions, on the one hand in historical terms and the other as an idealist. Even the former position is not in specific historical concreteness, the dialectical relationship of the economic basis to the elements in the superstructure (i. e., law, philosophy, art etc). This point is elaborated further on. Having made some generaiised connections between the works produced in the west, arising out of its socio-economic structure'She believes that the artist has the capacity to transcend 'the determinism of history' in the figment of his imagination. She ascribes to the artist having this unique _quality of seeing himself and his work in idealistic terms, therefore being a-historical, yet the works produced in tbe west during the last half century have been determined by history according to her. Her position seems closer to being an idealist than seeing the situation in historical materialistic perspective.

This is not quibbling for an academic definition as the two positions have a long history of antagonism. It is only through historical and dialectical materialism can a correct analysis of the situation be made for any real change to take place. If Geeta is not merely interested in "ideal freedom" being achieved with the exercise of creative imagination, but in the process of man becoming conscious of bis oppression and taking action, then she must step down from her idealist flying hobby horse.

1 he term internationalism is taken as a static concept implying a certain set of values. She bas not traced the historical emergence of the concept of internationalism, but makes an observation by saying that it "does not develop through some notion of international justice but by the exertion of Spt cific interests", yet in an idealist vein she propounds "true internationalism must assume some measure of political and economic parity until then it remains a trecherous ideal".

from the labours of man. Being a global system it brings into contact different peoples and cultures which produce the concept of internationalism. At the same time the surplus generated is not for tbe benefit of the ~ociety at large but for the consolidation of money and power in the hands of the capitalists. Bourgeois ideology permeates all social structures, philosophy, literature, art etc. Simultaneously the system gives birth to the proletariat (urban and rural) and it is this class which engenders the concept- of internationalism. Here the content of internationalism is revolutionary, which unites all working, exploited and oppressed people of the world to overthrow the ruling class.

Working class struggles and liberation movements are heroicaly taking place, which Geeta if aware of, makes no indication and thertfore aloofly and academically, desires "true internationalism".

Geeta quotes the bourgeois critic Herbert Read who according to her makes "a very fine formulation of the distinction between universalism and internationalism by saying "Universality is a human quality: Internationalism is a political concept". Different religions and philosophies have expounded at length about universality being a human quality but we must not merely read the scriptures without looking into history to see whether such notions were not a cover up for perpetuat.ing the most inhuman exploitative systems (slavery, feudalism, caste and class). Universalism is also a oourgeois notion which emerged out of its global expansion. It glories in the universality and oneness of mankind (which is bourgois kind) while conveniently blanketing its devastating pillage of under-developed societies and the exploitation of its own people.

Read says "Universality is a question of depth, vision and sympathy" . He does not elaborate vision of what, sympathy for whom. Do not both these terms imply width, tbe society and the people? If the "vision of artist", is the perception-of a new consciousness, tberefore a new culture Internationalism is a dynamic concept and must be seen and society, the "sympathy" (solidarity) for the people historically. In a closed self - sufficient tribal and feudal in the process of emancip~tion, then today it must be linked society there is no concept of internationalism. The capitalist to the internationalism of tbe proletariat and anti-imperalist mode of production broke the feudal system and for its growth and development needed ever expanding global markets and liberation movements. people to exploit. In relation to a stagnant closed society Universalism is thus political and internationalism is the capitalism is a progressive force where it generates a surplus struggle of man against exploitation to become human.

Geeta says "To those not possessed by the promises of material progress alone, modernism has a deeply controvesial content. Because it IS in the realm of values , it must be constanlly questioned and examined. The point is not to deny it, but to arrive at the fundamental and idealistic concept of it". Since it is implied that some nations cannot reap any benefit from material progress, of which India is one. I t either means the profits of olir labour which produces weahh is taken from us-from the people. Or we do not have the capacity to produce material wealth. The former is obviously more likely than the latter. The implications of the statement seem to imply that there are other forms of progress (wealth) which we can strive for and the basic material needs are of no great consequence. This "realm of values" arises out of particular material conditions, and we have to critical1y see whefher this particular form of material progress is for the total betterment of man in society, or i~ leads to exploitation and dehumanisation. Of this we have empirial evidence, and since the latter is true, merely arriving at a fundamental a nd idealistic concept of it, is to be removed from reality, . 0 be detached from the concept assertion of man desiring to emancipa te himself from such tyranny Geeta writes about "The forming will has been of the western man, conditioned by his own cultural history.

When this is realised modernism appears not as an . inevitably conditioned phenon-.ena but a set of facts and values in the process of transformation by [he will of non-western peoples till now excluded fro:n the modern world by historic circumstance."

The "will" of man cannot only he cnnditioned hy his cultural history unles~ the basis from which it arises i. e. . the history (the stage of development of material productive forces) is elaborated and specified I t is crucial l\.) explain how the phenomenon of modern ism - because a western prerogative and the realisation of its not being an inevitably conditi\..)ned phenomena-has come about or is taking place and whether the process of transformation by the will of non-western peoples can fundamentally come about only at a cultural level (in the realm of ideas)? Until the cultural transformation is linked to the socio-economlc breaking away from western ~capitalist) hegemony, no real transformation of the condition of man (cultural included) can take place.

Geeta questions the terms "M odernism, Internationalism and especially Progress" and says "are misapplied to art activity". She further elaborates these to have "been determined by political and industrIal-commercial developments at a specific historic time in the west". Here and later on, she questions the terms but accepts the notlOn that the particular stage of socio-economic development in west (i.e. capitalist) is the embodiment of progress. As pointed out earlier capitalism cannot be seen in isolation and in a static finite sense It has to be seen in relative terms and can be simultaneouslyprogressive, degenerate and regressive as it develops. The capitalist crisis is reflected in depression, j mperialist a~d facist wars and against the emerging socialist societies.

As to tbe question of the relation of art to tbe socioeconomic basis, she posits a determinitic either/or form, not attempting to see the relationship in reality. Whoever makes the analysis that art is a mtre contingent activity to the above more supposed basic activities: (socio-economic); is making a very mechanistic and crude one to one connection .

She suggests the unique role of art "with tIle exercise of creative imagination" is aspiring to an ideal freedom after "pushing against the boundaries of lived reality"" challenging the determinism of history" . This can be interpreted in two ways - either one is trying to achieve ideal freedom in art, creating the image of an utopia . Therefore they have little to do with the present situation, the human condition and consciougness to change it. This can produce sentimental, romantic, mystical > irrelevent, escapist, conformist, formalist, reactionary art. On the other hand if art not only represents lived reality, but through creative imagination is abie to perceive the realisation and action of man to destroy the structure and class in the given society which oppresses, exploits and alienates the artist from other men and through that liberation sees the emergence of a new revolutionary society-a new man and new way of seeing - it then plays a unique role . Great art ha~ played and can play that unique role.

Triennale and the implications of internationalism Indu Jaisingh

The protest against the Triennale is composed of artists who represent a very heterogeneous conglomeration. The only uniting factor of these artists 'high and low' is their opposition to the Lalit Kala Akademi. Such an opposition has therefore a strong element of personal motivations based on gains and loss~s vis-a-vis the individual artists.

be that they reiterate a genuine principle of internationalism, striving to understand the cultures of the peoples of the world, and thereby express their solidarity. This instead of the hitching up with the world market controlled by cultural imperialism, is the real aim of an international art show.

However the present 'movement' has a positive aspect in as much as the Lalit Kala is an organ of the Establishment and thereby a protest aginst this institution can objectively amount to a protest against the Establishment. The wrongs and ills that the artists have experienced or realised at a purely personal level ( tllough some in the past might have benefited by the same 'ills' ) could get a social expression through this protest. The very fact that a large number of artists have come together at this juncture in the history of Indian art is a welcome sign. Much is made of the 'individuality' of the artist by the ruling classes, in order to divide them, divest them of all social responsibility and thus make them the tools of the machinery of the status quo.

2. The problems facing the artists cannot be solved in isolation, i. e. the ills plaguing the Lalit Kala and the art world in India cannot be removed under the present sociocultural milieu of society without changing it. You can't fight the symptoms unless you cure the disease. The social cultural milieu in India today represents a curious picture of values resulting from the superimpositlOn of capitalism on feudal and semi-feudalism. Our art trends exhibit this compiexity. In the fifties our top artists sought fame and recognition in Paris and London and their art reflected the modes and themes prevalent in the west. This is a hangover from colonialism mixed with rising bourgeois values. We find in the SIxties that the emphasis is on things Indian and Indian canvasses represent tbe search for an Indian identity expressed through modern art forms.

Tantra and religion blend with abstract art forms. This represents a more sophi~ticated form from the earlier art concentrating on sayan Indian village scene or village girl.

But basically the motivation is the same : the market demands more sophistication. The western medium and impact still mediates the commodities of art in India.

The artist in 1ndia therefore rather than achieving a genuine creation derived from Indian reality is now more subtly still being dictated by the predicament of his circumstances : the stimulation is artificial and originates elsewhere. Such art in India have no relation to the living reality 1n India.

In the present economic and political crises of our country, it has so happened that this very method has boomranged.

The ruling power cliques cannot function in the old ways.

Two things must be realised before it is too late. They are : 1. What should and does unite the artist is his concern for humanity. This should be the underlying concern of any Triennale or art show and it is this concern artists should also seek to uphold. The Triennale as conceived by our officials is very much a product of the cultural imperialism that predominates the art world and which bases its headquarters in the U. S. A. and westerm Europe. It is tbe primary concern of the protesting artists, or it should

Imp ications of inter ationalism (Following are some notes from the Artists' Seminar h21d at Gandhi Sangrahalaya, New Delhi on 29.- 1-'71. under the auspices af All India Protest Committee.

These notes were taken during discussion that followed reading of papers by Geeta Kapur, ( published: Vrishchik, Jan. '71), Vivan Sundaram and Indu Jaisingh ( published elsewhere in this number ). The notes are not complete or conclusive of all topics discussed and for its present formulation, ( and mistakes if any ) the transcriber is responsible. We shall gladly look forward to elaboration and elucidation (or correction) of any of the views published here. Inspire of the shortcomings ()f rough notes and partial unclarity we publish them because they contain a different ideology than the views of the papers read. - G. S.)

Narendra Dixit . I would like to read out the last paragraph of Geeta's article and a letter by Altaf Mohmedi from Vrishchik which point to the main issues of today. r believe that a more elaborate analysis of Indian situation is needed now. It would be wrong if one says that artists are not committed to their cause in India, but I feel that there is more of a show than action in our protest. What kind of protest-action we should take in these circumstances? We are not bold enough to discuss or take action; perhaps we are mock-idealists. Safe revolutionaries we are. We should analyse the roots of causes of despair and dissatisfaction and act constantly. At the moment I feel that we only rise when there is a big dramatic cause like famine or riots-or the present affair of the Akademi.

Anand Dev : May I ask Geeta Kapur a question? Do we want to establish our supremacy by challenging the supremacy of western art?

Geeta : There is no such implication in my paper.

Haridasan : Perhaps the word supremacy is incorrect in this regard. And if it was western supremacy wasn't it spontaneous ?

Swaminathan : The contents of papers boil down to the discussion of the responsibility of an artist as a social indivIdual and to art. Even living right under the nose of technological culture how artists like Cornell, Morris Graves etc., have created different visions is a pointer to all those who talk about social responsibilities of an artist.

What is market? Market can only kill a weak artist, it can not destroy every artist.

I have been noticing of late that socio-political problems are becoming a great concern amongst some artists. I believe that we are over-awed and shadowed by the views of some western writers and thinkers, The history of left in India has been constantly influenced by the history of left in the west. We are handed over a package ideology every twenty years. ' Each individual, each artist has his own views of re-organising the society and I have mine. And T admire the youth in France or elsewhere, but their problems are not mine. Ours is a pseudo-revolutionism.

Art is a dialogue between man and reality according to western art. Ours is a dialogue between man . and man. All throughout history particular civilisations have created particular set of ideas of this dialogue. But in Indian art the traditional noumen bas presented an entirely different ideology.

Society does not make art. Miniature paintings were made under fendal patronage, but who will say that the paintings are feudal art?

In our time we face the market to a greater or smaller extent - and it's necessary to resist the pressures of market because it imposes stagnation in the most creative areas. Western civilisation has posed its own values which has now created the problems of confrontation. The question of parallel validity of cultures instead of progressive validity has been raised. For me art is valid

here and now despite the historical truth which I think

is re!ative. Progressvisim is meaningless and irrelevent if art remains important inspite of the historical developments.

And for me there is no qualitatiye difference between an easel painting, a tribal or a folk painting. I consider the whole idea of tribal and folk as catagories wrong. Claude Levi-Strauss has already exploded the myth of super!ority of civilised man over tribals and primitives.

One should resist the imposition of false values, of dividing art in catagories : in this regard I see no difference of attitude. of the art of U.S.A. or U.S.S.R. I think the confrontation (market, ideological) and cultural competitiveness is a big trap. Here we subject man to an ideologica1 slavery which will convert him into an automaton. Is this our reality? Do we aspire this?

Narendra Dixit : \Vhat is wrong in accepting the contribution of the great thinkers of the west? Swami himself quotes them. And why to condemn west again and again CIS a habit? I believe that communism poses a threat of idealogical slavery.

Krishen Khanna : I think there is a danger of becoming over-simple, here.We try to see things in black and white. But Teality is not such. And because of this our attention is diverted from the main issu~.

We criticise western art shows and international exhibitions and art festivals. We consider them supposedly engineered by art-marketeers. There is a danger of over-simplification as well as of suspicion in this attitude. Art exhibitions or festivalS may be of good or bad standard, but essentially they are a platform for artists. They may not necessarily have a static character. If they provide an opportunity to see the works of others, what is wrong in it? I think we define history in the most mechanical way - and we are obsessed by this definition. We are self-reliant and confident as artists therfore we may be critical of other values.

But why deny other values? To respond to different set of values is most important.

Geeta : Our awarness of the situation is based on historic circumstances : our responses may be real but are

like reflexes of motivations perpetuated through history. So the layered response (negative) may be an ad-hoc response, has history in its making.

Krishen Khanna : Whatever may be the forces that have constituted our awareness today. An individual has a capacity to choose. The choice gives us perspectlve. International exhibitions are an arena in which, through this perspective, attitudes are defined.

Narendra Dixit : Is it the individual versus the art scene ?

Waldo Ra.smussen : There is also a difference in organising the exhibitions. The various Biennales and Triennales are organised by official - Government agencies, while there are exhibitions like the Documenta in Germany which are organised by proffessionals.

Vivan Sundaram : This or that method of organising exhibitions is not the issue. The implications behind having international .exhibitions are to be c1earified. We are question}ng the basis: who are the proffessionals who organise the Documenta ?

Krishen

Khan~a

: Docurilenta focuses attention on the distortion of reality. A section of the contemporary art situation is selected and presented in a grand manner, which distorts the reality of art today. A more comprehensive view of the contemporary art situation is important.

Swaminathan : There may be many.important artists and international exhibitions may provide a platform to observe their works. But even the works or' those artists I admire, do not mean much to me.

Only I feel myself at a disadvantage compared to a western artist. His is not only question of a painter but also that of a human being. It is also the question of power.

We have to work out tactics of resistance.

The kind of work exhibitions like Documenta projects as a contemporary trend (Why Minimal or Pop art be considered as contemporary trends ?) through communication media, sets values and standards for others, which is a serious question. Thus west seems to limit the scope of art through tremendous power. This was not so a century ago, perhaps. Technology and state power have combined and stopped this resistance. Thus the exchanges of art between two countries have to be considered in a different way.

R. N. 15189/69