Shades of fundraising

Fundraisers are often fronted by artists who are called on to donate works for worthy causes, whether by NGOs working in specific areas or in the case of large manmade or natural calamities. Sometimes they get to keep part of the proceeds (usually if it is an auction), at other times they give away the entire caboodle as in the case of the recent Art for Kerala Flood Disaster where they have responded with due support to artists Jatin Das’s and Vivan Sundaram’s call to donate works to raise funds for the Kerala chief minister’s distress relief fund.

Punters looking for bargains suss out such fundraisers but more often than not it is difficult to get works of high quality at these events. In most cases, even though the prices seem attractive, the works are less so. The Kerala fundraiser is different in that respect. Not only have artists contributed works of better quality, they have also ensured that values are lower than their market value to ensure that the transactions take place. This, after all, is not about establishing market benchmarks as much as ensuring that works do not remain unsold.
 

Though the Kerala fundraiser opened on Thursday and runs over this weekend, already a number of works have been snapped up

The National Gallery of Modern Art has not only lent its premises for the cause — with some trepidation, understandably, not wanting to get involved in the taint of commerce — but also “curated” the selection through a process of guidance: requesting small works, preferably on paper, at values that are affordable. To a large extent, this has been successful. Though the fundraiser opened on Thursday and runs over this weekend, already a number of works have been snapped up. Clearly, there have been some hits and misses in terms of pricing. While some masters were sold for literally a song, others, by comparison, appeared steep — but, nevertheless, managed to find buyers.

This, therefore, has been a win-win for everyone concerned. NGMA has further consolidated its reputation as the prime institution for the promotion of Indian art. The artists have risen to the occasion and proved that they can be counted on to respond to a worthy cause. Galleries have provided some support as requested by the sparse team of organisers. There has been a sense of the art community coming together, even if it is in its own quirky, chaotic way. And buyers have showed that they are more than willing to step up — the prices, often discounted by as much as 50 per cent, helping, of course.

The fundraiser has proved yet another point, that art collectors are looking at fair values, and are willing to open their purse-strings so long as they don’t feel they are being taken for a ride. Younger collectors, particularly, are looking for entry-level prices, but they are not yet convinced about the validity of emerging artists. The term “affordable” is often thrown around casually, but these buyers are seeking reasonably priced works by recognisable artists, even if they are paper works, etchings, limited-edition prints or sculptures, which is not the domain for most auction houses that thrive on higher priced/valued canvases.

Here, therefore, is an indication that art lovers are ready for an affordable art fair or other, similar platforms where less expensively priced works by established artists can be made available. It is also a pointer to the developing resilience of the market, no matter how small. A market can only grow with a base of younger/smaller collectors who will provide the strong, firm and deep foundation that it requires. A minuscule group at the pinnacle may sweep up the higher-valued masters and contribute to the larger value of the market, but it is the low-value base that will provide it the strength it so desperately needs.
 

Kishore Singh is a Delhi-based writer and art critic. These views are personal and do not reflect those of the organisation with which he is associated