STRP Festival

By Rajendra

Interactive session on ART MARKET was organised by India Art Festival at Jehangir Art Gallery, Mumbai on 19 April 2011. The experts in the field were invited to talk on ART MARKET and its present condition. In the Interactive session at Mumbai, Dr. Saryu Doshi spoke on the need for quality Art Fair in Mumbai, in which artists and art galleries can exhibit artworks and art collectors, connoisseurs can interact with them. Rajendra, Secretary of India Art Festival introduced India Art Festival’s dynamic module and how this Art Festival is different from other commercial Art fair. He Said “India Art Festival is a platform for Art Galleries as well as individual Artists. In the Art Festival, Art Galleries would exhibit artworks of their associate artists. However, there are many talented artists in India who have not been inducted in to gallery system as there are very few galleries compare artists’ population in the country. Art Galleries are doing their best to promote art and artists but as there are many artists who are not represented by any art gallery, India art festival have created special artists’ section to provide democratic platform to such artists.

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The other speakers at Art Market session were Anupa Mehta, Director, The Loft at Lower Parel, Art writer Gopal Mirchandani and Abhijeet Tamhane.

The similar Art Market interactive session was also organized at Lokayat, New Delhi on 15th April 2011 The experts in the field invited to talk on ART MARKET at Delhi included Siddharth Tagore, Publisher and Editor, Art and Deal, Johny ML, Art Critic & Curator, Anubhav Nath, Director, Ojas Arts, and Rajendra, Editor, Art Journal. Siddharth Tagore spoke on the practical aspect of Art Market and elucidated on current state of art market. He added that “Event like India Art Festival would introduce buoyancy in the art field”. Johyn ML, Curator, India Art Festival highlighted importance of Gallery system. He also explained pitfalls associated with disorganized art field and how event like IAF will help organize it to some extent. The event was attended by Veer Munshi, Manu Dosaj, Director, Art Alternatives, Arpana Caur, Manjunath Kamath, Dharmendra Rathod, G. R. Iranna, Manish Pushkale, Manoj Tripathi, Publisher, Creative Mind, Harsh Singh, Varun Khandelwal, Sudhanshu Paliwal, Virendra Pani, Ms. Krishna, Director, Krishna’s Collection, Keval Anand, Rajashree Biswal, Associate Editor, Art Fair and many others.

This was the first series Art Talk event organized by India Art Festival at Mumbai and Delhi many more to follow in the next few months till the India Art Festival, which is slated to take place at Nehru Centre, Mumbai from from 17 to 20, November 2011.

For More Information Please Visit Our Site:

http://www.indiaartfestival.com

Sample Essay

Words 1,140

However, Tae Kwon Do often becomes a lifestyle, a practice that graces each day of the martial artist’s life. Because of its accessibility and relationship to all areas of life, Tae Kwon Do is the strongest and most effective martial art in the world. Tae Kwon Do is more physical and aggressive than “soft” martial arts like Tai Chi, which relies more on inner stillness than on physical force. However, Tae Kwon Do incorporates a fair amount of meditation and awareness techniques, including attention paid to ethics. Therefore, it far surpasses physically stunning arts such as Capoiera and even some forms of Karate. Tae Kwon Do comprises the physical, the mental, and the spiritual arenas, making it one of the most thorough and well-rounded martial arts in the world today.

Likewise, it is steeped in a rich historical and cultural tradition unlike some other more modern and amalgamated martial arts like Russian Sambo.

Tae Kwon Do embraces tradition even as it adapts itself for the modern world of competitive sports. After its inclusion in the Olympics, Tae Kwon Do retained its allegiance to core principles and remains removed from the plethora of other martial arts traditions like Judo. Based on Jiu Jutsu, Judo is also an Olympic sport. However, Judo involves far more grappling and potentially harmful moves than Tae Kwon Do does. Participants frequently get thrown, choked, and held in dangerous joint locks. Judo comprises strikes and grapples, but the combination lacks grace and finesse. On the other hand, Tae Kwon Do combines physically challenging kicks with advanced foot work and blocking techniques that makes for a stunning visual display.

Emphasis in Tae Kwon Do is more on the self than on conquering the opponent, although competitive martial arts always involve some form of aggression. However, Tae Kwon Do is certainly safer than Judo, Jiu Jutsu, Thai kickboxing, or any other number of physically-focused martial arts.

Developmental Learning in Art

Human developmental theories can be found in education, society, and even in peace research: cognitive, developmental, social learning, and socio-cultural developmental theories all have contributed to the educational system that is present today in the United States of America. Researchers such as Darwin, Freud, Erickson, Piaget, Watson, Skinner, Kohlberg, Bandura, Vygostsky, Bowlby, Bronfenbrenner, Gilligan, among many other scientists have done extensive research that today has influenced education throughout the content areas. The purpose of this article is to analyze two human development theories and create a lifelong learning curriculum for the art education throughout the lifespan of a learner.

Cognitive Developmental Theory

To understand is to invent, or to reconstruct by reinventing.                           

  Piaget (1972, p. 24)

Jean Piaget

Even though some critics say that Piaget’s theories are not correct, others support his research. To understand a bit better where the theories originated from lets discuss the origin of Jean Piaget. In 1896, born in a French-speaking part of Switzerland a child was born to a medieval literature professor called Arthur Piaget. According to his father, Jean was a precocious child who developed an interest in natural science (biology and the natural world), and even published a number of papers before he graduated from high school about mollusks. His lifelong passion was to understand how humans create knowledge. Piaget’s efforts founded the discipline of genetic epistemology (biological foundations for knowledge), and established a framework that continues to affect the way teachers are trained and students are taught.

He served as a professor of psychology at the University of Geneva from 1929 to 1975 and is best known for reorganizing cognitive development theory into a series of stages, expanding on earlier work from James Mark Baldwin: four levels of development corresponding roughly to (1) infancy, (2) pre-school, (3) childhood, and (4) adolescence. Piaget spent years observing and interviewing young male children in an effort to further his theories about the construction of knowledge. According to Nagarjuna (2006), Piaget “thought that by observing the ways that children create meaning, he could learn more in general about the development of knowledge.”

Development from one stage to the next according to Piaget is the accumulation of errors in the child’s understanding of the environment; theses errors eventually causes such a degree of cognitive disequilibrium that the structures within the child require reorganizing. According to Murray (2007), “All development emerges from action; that is to say, individuals construct and reconstruct their knowledge of the world as a result of interactions with the environment.”  According to Nagarjuna (2006), “Cognitive structures are understood to be the ways that young people make sense of the world, given their lack of adult sensibilities.”

Jean Piaget viewed intelligence as a process that help an organism adapt to its environment and proposed four major periods of cognitive development. The four development stages described in Piaget’s theory are (1) sensorimotor stage, (2) Preoperational stage, (3) Concrete operational stage, and (4) formal operational stage. Each cognitive structure in Piaget’s theory is defined by a series of traits, and corresponds loosely to specific age. These chronological periods are not rigid rules, just approximate values to set the stages in an order starting from birth to 2 years of age defining the sensorimotor stage, where the children experience the world through movement and senses and learn object permanence. The preoperational stage starts from the age of 2 to 7 years and the child has an acquisition of motor skills. In the concrete operational stage starts from 7 to 11 years and the children begin to think logically about concrete events that are taking place in their environment. In the formal operational stage begins after the age of 11 and it is when the child develops of abstract reasoning of the world around them.

            Based on his life long research, Piaget felt that “students should not be seen as empty vessels to be filled by expert teachers, but rather active participants in the building of their own knowledge” (Nagarjuna, 2006). According to Murray (2007), Piaget concluded “that schools should emphasize cooperative decision-making and problem solving, nurturing moral development by requiring students to work out common rules based on fairness” (p. 2). Even though the explanations offered may be incorrect today, according to the latest adult sensibilities and research, but “the fact that children do offer explanations for these things shows that they are actively working to understand the world around them” (Nagarjuna, 2006).

Following Piaget’s line of reasoning, Selman (1980) examined children’s cognitive understanding of the social world. To understand relations and interactions between people, children need to understand that others also have an internal state which influences how they are behaving. Selman reported that rather young children realize that different people have visual perspectives which are independent from their own. . . . Implying Piaget’s insight in peace education would ask for an active, exploratory process in which conflicting information and social dilemmas are allowed to exist. In such a process, learning to understand the underlying perspectives (visual, social, or emotional) of other people would broaden our possibilities of being confronted with and understanding differences.

Hakvoort (2002)

Lev Vygotsky

The second theory that will be used to write the art curriculum for the lifelong learners is the cognitive theories of Lev Vygotsky. Vygotsky insists that children’s minds are shaped by the particular social and historical context in which they live and by their interactions with adults, explaining why educators will never be replaced with technology no matter the advances that we reach. His social development theories play a fundamental role in the development of cognition. Vygotsky (1978) states:

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Every function in the child’s cultural development appears twice: first, on the social level, and later, on the individual level; first, between people (interpsychological) and then inside the child (intrapsychological). This applies equally to voluntary attention, to logical memory, and to the formation of concepts. All the higher functions originate as actual relationships between individuals (p.57).

Vygostsky’s theory of art developed a “dynamic overall

Denying the appeal of art is like . . . well, denying your existence. Through the ages, every generation has enjoyed the power and entertainment of art, as it has been around since time immemorial. With so many different styles and types of art, there’s always something for everyone. Art continuously captures the hearts of people around the world and hooks them into a long life love. Art is at the heart of everything we see and feel in our daily lives and without it our world would be so dull and unattractive!  It is not possible to imagine a world without the beauty of art.

If you are one of those people entrapped by the beauty of art and are looking to purchase a piece for your home or office, consider this: not all art is original art. What, you didn’t know that? There are many companies out there that take a popular piece and mass reproduce it to make more money.

These pieces are usually referred to as “cookie cutter” or “motel art”. Most reproduced art can be found in motels and other similar places that purchase from the same companies.

It is something to keep in mind. If you are looking to buy art for any reason whatsoever, whether it is for personal satisfaction or for display and decoration in the office, you will need to be attentive in finding out if the art you want to purchase is original art, or reproduced. Original art is one hundred percent original; one-of-a-kind, painted once, never reproduced, and not found anywhere else. Oh, sweet satisfaction.

The value of original art increases over time and if kept for several years, you could have a small fortune on hand worth thousands, or more, especially if the piece was created by a popular or up and coming artist. So remember, buy art that’s original and it’ll ultimately pay for itself over time.

So, how can you tell original art from a reprint? A lot of novice art buyers believe that art they find on websites is original unless the word “reprint” is included in the description. Wrong. Some people lie about pieces being original art to try and gain more money. That’s why you must find reliable web resources that have a strict policy of only branding art as original, if it is in fact, truly original art. Resources with clear and specific information regarding their art is really the only way to go.

Buying art for the first time can be a little nerve wrecking, but as long as you are sure of the source you are buying from, you shouldn’t have anything to fear. Take advantage of those new artists (most of them do not have anything reproduced yet), and you can be sure the art you purchase is original.

Remember to always do extensive research before making an expensive purchase, unless of course you’d rather have a reprint.  Spending some time in research will certainly save you lots of money in the end!

With a flood of interest being generated in Indian art, paraphernalia of art is growing albeit in a non organised tipsy fashion.
Normally the world over there is a clear distinction between art museums and art galleries. The museums often owned by state are supported by the private capital from donations or gifts of money or/and works of art. The private galleries operate on the unitary principle of profit. Art galleries use the fundamental of high profit generation for their operations. They have research departments that keep tracking pricing/popularity of individual artists, they scout for fresh talent, research on future graph of artists to invest and hold inventories of works of art, collaborate with art auction houses and art Funds, carry out documentation on art and artists for different genres, media, period etc, they work to create durable relations with substantial interest art collectors, they help to build theme specific collections for individual collectors, they help to reshuffle the existing portfolio of art of collectors, help in the valuation and authentication of art works, they seek suitable art curators for upcoming exhibitions, they plan their art calendar for medium and longer terms periods, they work out their media plans for art promotion.
A very important function of private galleries alongside profits is to educate and create awareness and interest about art in general and in specific art works of artists with fresh creative expressions. This they do by mounting exhibitions and learned writings on art. They also organise interactive sessions with art loving public and the collectors, Organising lectures and seminars involving experts from the field.
Is it for money alone that one should look for art related activities? Yes and no. First let’s consider art as investment value. The systematic, expertise based investments in art require market transparency, information flows, a fair pricing mechanism and a developed art infrastructure in which competitive art market exchanges can take place. These and many more questions require answers generated by art market players who have an honest commitment to art related activities. This will help more people to look at art as an investment in their asset portfolio.

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But art is also cultural repository of a society. It is what we pass on to the future generations to be proud of as a national and sub-national entity. To nurture, to educate to be proud of our art and to keep in good health the art works is responsibility that goes alongside the investment value of art.
Religare is a welcome entrant to the art market field. Its business interest is in financial services. Its main area of interest is in Retail, Institutional and Wealth management. It has put its signature in international finance through its subsidiaries and strategic joint ventures. Thus Religare is suitably placed to launch an initiative in art with its background in asset management. It can integrate its other asset classes with art works and help to build a synergy for the much needed art infrastructure services.
Religare has launched with professional acumen Religare Art Initiative a multi pronged initiative. Mukesh Panika heads this Initiative. RAI is planned to be a multi layered art hub housed in very avant garde space in Atma Ram mansion in historic Scindia House in the Outer Circle of Connaught Place New Delhi. The interior is designed to have multiple art related activities including substantial space for a gallery. An area of 10,000plus square feet sounds very encouraging for this art hub.

It’s New it’s Different
What struck me were the unusually imaginative and creative interiors. Looking up on ceiling you find sausage shapes meandering (I am sure they are airconditioning ducts) about. From floor sturdy flat iron pillars with nuts and bolts rise up more like the support pillars on tin sheeted old railway platforms all over India. The raw touch of the space adds an art brut feel to the interiors. To me the interior recalled Fernand Léger tubular industrial machine art. The interior looks like a roving installation and breaks the space and reduces possible monotony. The visual movement in space is created by the use of glass walls. You can visually reach out to spaces and your curiosity moves your feet onwards. The viewing space also climbs up like a mountain trail and offers an individual personal communion with the art work. The restaurant is enveloped by exhibition space and you will be able to combine the aroma of an espresso with equally strong art that Religare is betting on to serve as a main course. The resource centre will be useful to seek references to artists and their works and all that concerns art. Thus what I said in the beginning about the distance between galleries and museums, Religare Art Initiative attempts to bridge it. They are not just a gallery but aim to combine functions normally devolving on museums. It is a new concept for India since they intend to enrol artists, art lovers, researchers to be members of a new art fraternity and work as it muscles and sinews and of course it heart and brain.
The first of the exhibition they launched is called Outer Circle synonymous with location of the place but also carrying a double entendre in reference to the art of the young upcoming artists that is showcased. They have decided to include varied forms and media of artistic expression namely paintings, photographs, sculptures, installations, video from 16 of the upcoming artists. Seasoned experts Alka Pande and Mukesh Panika are the curators for the maiden exhibition running through October 2008.
Need for logistics
The other day while talking to some art collectors we happened to focus on the problems being generated in art field. There appears to be a lack of really creative artists in sufficient numbers to create a more broad based art collection. A few names circulate from gallery to gallery and while the new art shops deal in a kind of calendar photo pictures probably debasing the aesthetic tastes of collectors.
Secondly every person who is worth a couple of visits to art exhibitions swears that he is an art expert, dealer, consultant, advisor, curator. A gentleman who left his pen pusher’s job to hold exhibitions called up an artist friend and requested him to grace the opening of the exhibition since he had one of his works in the show. My friend on arrival discovered that it was another artist’s work who shared first name with him and this art expert did not know his B’s from P’s. A lot of drift wood and flotsam appears when river rises. I hope Religare team knows that, with a fine reputation and professionalism of mother organization to back them their job is cut out fine. They will have to work overtime to create a

Article by Hollis Ware

If you have a love for ancient artwork and statues, you’ll find it much more affordable to buy ancient art replicas instead of original works. But how and where do you find ancient art replicas? Use these shopping tips to find great replicas easily and at affordable prices.

Before you shop for art replicas, know what you’re looking for and why you need a specific type of art. Do you want a replica of an ancient painting or statue? Do you want art from a specific theme such as ancient Christian art, Greek art, or Buddhist art? How will you use the replica – to decorate, to make a statement, or to place in a religious establishment? Knowing what you want and why you want it is crucial to finding the right ancient art replica at the right price.

*Tip: Buy art replicas for enjoyment, not merely investment. You’ll feel better about your purchase and you can admire the work of art for years to come.

Anyone Can Buy Art Replicas

Many people assume you must be an art expert or a frequent art buyer to buy ancient art replicas. This is not true. Anyone can buy art replicas once they know how to shop, what to look for, and where to shop. But keep in mind that doing a little research in advance can save you a great amount of time and trouble. If you know what type of art replicas you’re seeking, and if you know a little bit about replica quality, then you’re ready to shop.

Compare Sources

Don’t buy the first ancient art replica you see. Shop around at a variety of sources to see what each has to offer. Compare quality and pricing as well as rarity of the items. Some art replicas are sold by the thousands to the public while others are limited in the number sold. If you’re looking for art replicas as an investment, find out how many will be sold of that item.

You can shop around in your local area or nearby cities at art galleries, statue outlets, and local art fairs to see what’s available. You might also come across ancient art replicas at garage sales or thrift shops, though this can be very time consuming unless you are lucky.

An easy way to shop around is by using the Internet. There are websites that specialize in ancient art replicas including paintings and statues. Art replicas can be purchased online and shipped to your door with little effort. But be careful not to be taken by websites that use the words “copies” and “replicas” interchangeably. Copies are not always the same as replicas, though they can be similar. If you want a true ancient art replica, look for hints of authenticity such as “created from a mold or cast” or “hand-painted to closely match the original.” Wall plaques may state “made from a casting stone” or something similar. These indicate that the artwork was re-created, not merely copied on a printer or in a factory.

Online Search Tips for Ancient Art Replicas

When searching for ancient art replicas online, be very specific in your searches. For example, if you want a Christian art wall plaque of the Archangel Gabriel, type this specifically in your search. If you need to buy Greek art replicas such as an Aphrodite Statue or a Greek Classic wall plate, use these specific terms for better search results. Or you might use more general terms if you’re not sure what to look for, such as “buy Greek art,” “buy Buddhist art,” or “buy Christian art.”

While searching online, look for websites that specialize in ancient art replicas. You’re more likely to find what you’re looking for without having to sift through hundreds of other products. Specialty sites might also offer higher quality replicas because they’re able to spend more time and effort on quality and customer service. Whether you’re buying a Greek Sphinx replica or a statue of FooDogs, you’re likely to find more personalized service from a specialist.

If you’re not sure about the quality of a replica or how it was created, be sure to ask questions before buying. Ask if the replica is merely a copy or if it was re-created by hand to closely match the original. Also, ask for clarifications when you see the word “reproduction.” This could mean the product is a handcrafted replica or a copy, depending on the website or dealer.

Whether you’re shopping for Greek art, Christian art, Buddhist art, or other items, these few steps can help you find what you’re looking for at the right price. Start adding ancient art replicas to your collection or decor today!