A few weeks ago, we devoted two weeks’ worth of Instagram posts on public art and art in public buildings, all the while bemoaning that at some point, in India, a country that had produced so much ancient aesthetic in public spaces, we had stopped appreciating and contributing serious funds towards this endeavour! This, in spite of the Government of India policy mandate for earmarking a portion of capital funds for public works towards public art.
So why does apathy towards public art evoke this reaction from us?
As a consultant some years ago, (one of us) did many economic analyses as to how investment in public events, be it sporting, conventions, tourist attractions, cultural, entertainment… as well as impactful public art, increases visitor and local footfall to a place, bolstering the local economy. This creates both direct and indirect impact on the local economy, including increase in visitor and local expenditure leading to monetary infusion for local businesses, growth in employment in the direct service sector as well as construction sectors.
As far as we know, no long term local or state policies in India have taken this into consideration, while central policies remain as reports.
Putting aside the obvious economic benefits, as art and culture buffs, our lament is much more aesthetic (or rather lack thereof)!
Public art, when well executed, can recreate the identity of a place, transform a landscape, and heighten our association with a space. These are not idle factors. A sense of engagement with a space goes a long way towards taking ownership and creating safe spaces for the community and visitors. It impacts the socio-cultural activities and can help promote a community’s collective expression.
Tall claims indeed!
Even when art creates a controversy, it invites engagement and dialogue amongst differing opinions, which is a good long way away from public apathy towards public spaces. The interplay between artists, architects, urban designers, local authorities, civic leaders and most of all local communities creates constructive conversation about how we identify with our spaces and imagine ourselves.
We encapsulate below some of the art in public spaces in India, which inspired us to do the posts, and led to this article.
Durga Puja in India – UNESCO Declared Public Art Gallery
In December 2021, UNESCO formally declared Durga Pujo pandals as a ‘public art gallery’ for being an “intangible cultural heritage of humanity” is a much welcome move. These pop-ups happen once a year and have become elaborate expressions of community’s artistic and devotional fervour for the mother goddess.
As any successful arts project, and fair, ‘pandals’ encapsulate artistic ideas and are a place for social and cultural intermingling. There is extensive planning and detailed execution! But most of all they are an annual ode to the goddess in her various forms.
Ancestor – Bharti Kher’s Ode to the Universal Goddess
On September 08, 2022, New York’s Public Art Fund unveiled Bharti Kher’s monumental sculpture at Doris C. Freedman Plaza in Central Park, called Ancestor.
The 18 feet painted bronze figure is an ode to the universal mother, and as their website elucidates “linking our cultural and personal pasts and futures, Ancestor is Kher’s most ambitious work to date…. embodies multiculturalism, pluralism, and interconnectedness.”
The theme of a universal mother and Bharti’s unique take on the subject is indeed awe-inspiring! What also ties in well with our last post is the quest as to why we don’t have serious public arts projects in India!
The sculpture has been acquired by Kiran Nadar Musuem of Art in Delhi.
Yakshi – by Kanayi Kunhiraman.
This particular piece of public art is also about a goddess but has stoked some controversy in the south of the country, Malampuzha, Kerala.
Yakshi, a 30ft concrete sculpture by Kanayi Kunhiraman, is an imposing piece of art. The au naturel figure is set in a tourist spot, close to a water body, against the backdrops of the verdant Western Ghats.
With the Kerala Tourism authority featuring this beguiling work in its social media post, some factions have expressed their opposition for showcasing sensuality in public spaces!
For Kanayi, since Yakshi is a goddess of nature, there was no other way to represent her. Since he also believes that “art is like waking people up and giving them a shock and not like putting them to sleep by singing a lullaby”, he is probably pleased by the assortment of reactions.
We are just pleased to see more (interesting!) public art!
The next set of public art are directly related to some of the most important public institutions of the country and may be say most staid. Indeed the art their edifices magnifies their message and what they are trying to achieve.
Reserve Bank of India – Sculpture by Ramkinkar Baij
Post-Independence, India embarked on many public development works. In this milieu- many public buildings were also commissioned to earmark new public institutions. Since no important architectural project can be complete without appropriate artwork, these buildings saw monumental works by some of the leading artists of the times.
The Reserve Bank of India (RBI) is the foremost institution to maintain the economic and monetary health of India. The RBI building in New Delhi greets the visitors with the larger than life figures of Yaksha and Yakshi, crafted by Ramkinkar Baij (1906-1980). These sculptures, which took almost 12years to complete, act as guardians of wealth - a symbolism from Indian mythology. New India Assurance Company – Expressions of Art Deco in the Financial Hub of India
As with many iconic architectural or artistic projects, this one comes with its own lore.
The New India Assurance (NIA) Company was established in 1919 by Sir Dorabji Tata, as a response to the refusal of British insurers to insure Indian business interests. Since then, the megalith has undergone many changes and avatars, reflecting the socio-economic policies of the country.
Over the decades much has changed, but what remains is the awe-inspiring architecture and relief work on its facade- representing the ambition and confidence of its creators!
The building was constructed between 1935-37 by the architectural firm Master, Sathe and Bhuta, with the façade relief work sculpted by eminent Indian sculptor N. G. Pansare (1910-1968). Pansare was a student at the Sir J J School of Art and the Royal College of Art London. He worked on many monumental sculptures in Mumbai specifically, as well as across the country.
The sculptural decorations on the NIA building consist of two six-storey high figures, that make the building stand out in the busy area. The entrance pillars on the street level depict a man garbed in a ‘dhoti’ holding industrial tools, and on the other side is a woman draped in a sari holding various agricultural produce. Both the figures and the multiple individual representations of birds, and animals signify freedom and abundance.
For the film buff, the Filmfare award (black lady) was designed by Pansare in 1954! And those from the Sir J J School of Art, would be interested to learn that the sculpture in forecourt of the Applied Arts building is also the work of Pansare.
Mumbai remains a cornucopia of architectural styles, and possibly one of the few places in the world with such rich Art Deco style of buildings. Indeed, NIA building is a feast for the eyes!
A rich addition to Mumbai’s architectural story.
Shiv Parvati Relief by Satish Gujral – An Interesting Addition to Le Corbusier’s Post Modern Architecture
One of the first new planned cities in post-independence India, Chandigarh was designed and planned by Le Corbusier, and its architectural and planning ethos shaped many new urban centres in the country.
The building of Government Museum in Chandigarh represents the idea of what architectural modernism meant at that time and is a fine example of Le Corbusier’s use of industrial materials as an element of design.
What makes the building even more interesting is that it houses India’s share of ancient artefacts, which were split from the museum in Lahore at the time of partition.
The ceramic relief work by Satish Gujral, titled Shiv-Parvati, on the building façade, is an interesting addition. Gujral choice of subject is striking, because the representation of these two divine figures has been captured in sculptural forms across India and over centuries and he overcomes the pre-set signifiers associated with them and forges a new modern language for their forms. Gujral's focus is on the power associated with them rather than the iconography, choosing industrial elements of the building structure to create the large relief panels showcasing the versatility of both the subjects and the sculptor!
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