An art work titled ‘Water Matters’ showcased at the India Art Fair 2024.
It is colloquially said that a good design is all about dialogue, every creation is a storytelling exercise, awaiting the audience. Arts and crafts are those mediums through which the storytelling is about, and the art and design fares become those creative, vibrant spaces where the art community gathers to connect, reflect, and celebrate the irrepressible spirit of humanity.
India has a rich history of regional art and craftsmanship that has been creating a furore worldwide. But more often than not, the design of these specimens is nestled in age-old traditional history. Mostly this is because for a very long time, Indian arts did evolve but the crafts sector was isolated from the developments of the outside world, almost creating a vacuum in the industry. This becomes a limitation/hindrance for Indian artisans to reach wider audiences and find their competitive edge to thrive in the industry.
Contemporary Indian art emerged with the economic liberalisation of 1991. It is marked by its experimentation beyond traditional forms like painting and sculpture, incorporating performance, video, installation, and digital media. Influenced by postmodernism, it often explores pressing socio-political themes, diverging from the national identity-focused modernism shaped by India’s colonial and independence history.
Indian artists have since leveraged cross-disciplinary collaborations with fashion, film, animation, and theatre, expanding their creative toolkit in response to globalised demands and technological advancements.
The international recognition of Indian art intensified in the post-liberalization period, as foreign curators, collectors, and institutions took a newfound interest. Events like the Singapore Biennale and Shanghai Biennale gave Indian artists opportunities to showcase their work internationally, often catering to Western perceptions of Indian art. This exposure helped some artists, such as Krishna Reddy, Vivan Sundaram, and Anish Kapoor, gain success abroad, which in turn bolstered the value of contemporary Indian art in global markets. Domestically, initiatives like the Japan Foundation and the India Art Fair, alongside auction houses like Sotheby’s and Christie’s, played significant roles in shaping the Indian art market.
In the early 2000s, a boom in Indian art sales to foreign collectors emerged, with institutions and auction houses expanding their collections and propelling artists into the global spotlight. This period saw the rise of notable figures like Mithu Sen, Subodh Gupta, Bharti Kher, Shilpa Gupta, and Sudarshan Shetty, who employ traditional and contemporary methods to create eclectic, socially resonant works. These practitioners often rely on organisations such as the India Foundation for the Arts (IFA) and residencies like KHOJ International Artists’ Association, which provide visibility and support, especially for experimental and installation art.
Needling Tradition, Technology and Innovation in Indian Arts and Craft
While paintings and sculpture have historically dominated the market, there is now a gradual shift as collectors recognize the value of conceptual and digital art, partly driven by the advent of NFTs, which authenticate and commercialise digital works. Yet, installation and performance art still depend on grants and support from Indian and Western institutions, such as the Metropolitan Museum of Art and Centre Pompidou, due to limited domestic infrastructure.
Postmodernism also inspired the formation of Indian artists and curatorial collectives like Raqs Media Collective, which broke from the modernist ideal of the “lone artist” by fostering collaboration. Artist-led collectives and spaces like HH Art Spaces and 1Shanthiroad promote public engagement with contemporary art, challenging censorship, gender dynamics, and other critical issues in the art world. Contemporary Indian art today, is a dynamic fusion of the traditional and the experimental, sustained by a growing, albeit complex, support network and global interest.
Indian Handicrafts – Resurfacing from the Freefall
Art Enthusiasts showing interest/ interacting at the BEADS stall in Design Democracy 2024
The impact of this art and design paradigm was felt in the crafts sector as well but not uniformly in all industries. The textile and craft industry has witnessed phenomenal growth where many design innovations are taking place, drawing inspiration from age-old techniques. Here also, various sub-sectors like applique work, chikenkari, and thread embroidery among others are being experimented upon by various in-house brands like kavana, dressfolk, etc.; on the other hand, the khadi industry, which has tremendous scope has yet not been explored much and is still tagging behind.
The majority of artisans associated with the Indian handicrafts are struggling to sustain themselves. In this zeitgeist of survival since independence, a lot many crafting traditions have already been lost. The others, like the kansa craft, paper mache, ceramics, filigree work, clock making, sabai grass, etc. – are struggling on the ventilator.
The pandemic has been particularly cruel to the artisans; it has eroded the little ounce of hope in an already struggling industry; but over the years, some transformations have taken place. These ventilators have only been possible because some governmental and non-governmental handholdings have allowed for the revitalization of these industries.
There have been efforts from the government like providing technical and mechanical know-how in an ever-changing world and other financial and marketing assistance but various non-governmental initiatives are also helping the industries to revitalise their craft in accordance to the temporary demands, to sustain themselves. Private studios and art and craft fairs are a few of those. Over the years, these events have undergone a massive transition; from emulating the West to now, embracing the East.
Role of Indian Arts and Design Scene in Reshaping Global Aesthetics
India’s art, craft and design landscape is experiencing a creative renaissance, with indigenous designers crafting high-quality interior and lifestyle pieces that compete on a global stage. Art events like the India Art Fair (IAF), India Design, Delhi Contemporary Art Week, and Design Democracy, among others, are forums where artists, curators, collectors, and art and craft enthusiasts come together to push creative boundaries, bring forward marginalised voices, and build a marketplace where the art and craft world can flourish.
These exhibitions feature an extensive lineup of galleries, talks, performances, and workshops that spotlight powerful voices in the industry. They provide artists and craftspeople with opportunities to talk about diverse yet pertinent issues faced by the industry and the world at large. Such platforms have become essential for these designers, providing a venue to showcase their work alongside international brands and connecting them with India’s expanding design community. Unique offerings like the all-woman artist posterzine and the first-ever Young Collectors Hub add fresh dimensions to the fair, fostering an inclusive and dynamic environment.
In line with its mission to uplift South Asian arts, artisanship, and craftsmanship, IAF recently introduced a dedicated section on Design Initiatives. This inaugural design feature showcased pioneering designers and studios from South Asia, presenting collectible furniture, jewellery, and more. This integration of design with traditional art honours Indian craftsmanship bridges the gap between functional and fine art, and underscores the growth of India’s art market.
Thukral and Tagra, two artists participating in the fair, emphasised the importance of interdisciplinary approaches to climate awareness, noting that art has a unique capacity to communicate sustainable practices by drawing from science, indigenous wisdom, and public policy. Additionally, IAF 2024 prioritises accessibility with braille guides, tactile artworks, and inclusive seating plans, making art accessible to a diverse audience. Throughout the city, parallel exhibitions and events amplify the discourse on contemporary South Asian art, enriching the cultural experience.
Another event, Design Democracy, showcases premier Interior and Lifestyle artefacts and is an essential meeting ground for design lovers, creatives, and industry experts, bringing together established and emerging brands from across the globe. Set in the vibrant city of Hyderabad this year, this festival provides a platform for networking, exploring, and celebrating design through curated exhibitions that feature brands from both B2B and B2C sectors. I aim to elevate India’s design scene by fostering connections between designers, architects, and property owners while also creating an inclusive space for all.
The festival featured over 100 exhibitors, including major Indian brands and international names across furniture, lighting, flooring, and art, highlighting India’s ongoing design revolution. Through curated exhibits, conferences, and workshops, Design Democracy promotes knowledge exchange and collaboration, offering opportunities for young designers to network with established professionals and industry pioneers. With initiatives like DD Ventures, emerging studios can secure funding and mentorship from leaders in the field, propelling them toward sustainable success.
BEADS showcasing their Handmade Filigree Jewellery at the Design Democracy 2024
Showcasing modern interventions in India’s rich craft traditions, Design Democracy 2024 celebrated the fusion of heritage through innovation. At Design Democracy, BEADS, presented Odisha’s craft heritage in contemporary forms. By infusing contemporary flair into traditional crafts and anchoring their work in sustainability, they redefine artisanal tradition through their exhibited “Bamboo Light Pendants”, “Ceramic and Filigree jewellery pieces”, ceramic wall decor pieces etc., while designers like Vikram Goyal and Ashiesh Shah push boundaries with unique collectibles. The festival’s immersive exhibits are complemented by inspiring installations, such as “Threads That Bare” and “A Bold Step Sideways,” curated by Girish Shahane to spotlight bold textile narratives and experimental art.
Events like Design Democracy, present a multi-dimensional event that unites creativity, commerce, and community. Through workshops, public sessions, and thoughtfully curated displays, the event not only showcases the best of modern design but also connects creators to a global audience, contributing to a more accessible and innovative design ecosystem. This allows for upcoming studios like BEADS to sustain the craftspeople and also keep in touch with industry professionals and know about the ongoing innovations across sectors. It also provides opportunities for future collaborations with other design studios and artists.
India is a hub of artistic innovation and industry professionals and design studios are working hard to bring to the forefront such initiatives that offer great potential for the cultural exchange, worldover. Arts and crafts festivals serve as a global nexus for collectors, curators, and art professionals, fostering deeper cultural dialogue and building ties with the international art community.
———————————————————————————————————————————————————————-
Words by Rageshree Ranade, born in 1993, is a visual artist and writer based between New Delhi and Jabalpur. She holds an M.F.A. from Shiv Nadar University (2019) and a B.V.A. from Maharaja Sayajirao University (2016). Rageshree has exhibited at prestigious venues like the Kiran Nadar Museum of Art, Art Konsult, and Shiv Nadar University, and has contributed to respected publications such as Art & Deal and MASH. Her leadership roles include Editor-in-Chief, Editorial Consultant, Content Strategist and Content Officer at organizations like MASH, Utsha, Mezink, and TEDx. She has directed projects at the various organisations like India Art Fair and Palette Art Gallery. A dedicated advocate for art & culture writing, Rageshree has served as a guest lecturer at Raja Mansingh Tomar University and Dr. Hari Singh Gour Vishwavidyalaya, and is currently invited to share her journey at SEMS Welfare Foundation.
