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Top 10 visual artist 2021 on launch of besaart
Getbes Newsroom!

T op 10 visual artist 2021 on launch of besaart

Published on 15th January, 2021

"On 15th january 2021, GETBES launches its visual art platform - BESAART, to empower artists digtially across the world." - ujjawal k. Thakur

Artist have a great respect in the eyes of all the people and the main reason for that is definitely their wonderful work.

Not only this the awesome and important role of artist is that artist helps us to see the world in the innovative and new ways. Artist also make a visual record of the place, people or events of time and place. Artists make functional objects and structures more pleasurable and help in elevating them or imbue them with a definite meaning.


On the first position we have Anish Kapoor who topped the Hurun India Art List 2020 with the sales of his marvelous work at public auction of INR 44.39 crores. Anish is generally know for using marbel, graphite limestone and plaster to make geometric structures. Kapoor is the only artist to be known for the exclusive right to use the ‘blackest black’ pigment in this world developed by Vantablack. An accomplished sculptor, Kapoor received a knighthood during the Queen’s Birthday Honours in 2013 for his contribution to visual arts. A total of 39 of his artworks were sold last year.


On the second Position we have Rameshwar Broota (79) with the total number of sales of INR 11.89 crores. A New Delhi based artist, Broota’s work revolves around the paintings of male bodies. His artwork is named as “Anatomy of that Old Story” is believed to have fetched the value amongst his other artworks that were actually sold in the previous year. Broota has also been the head of Triveni Kala Sangam, an art and cultural education centre Delhi.


The next one is Zarina, Zarina hopes to evoke and pin it down a sense of home through minimal monochrome prints, canvases, intimate drawings, elegant sculptures, and cast papers caked in layers of gold flake. Generally known as Zarina Hashmi, and with a background in mathematics, she is one of India’s few female artists of her generation, including Tyeb Mehta and M.F Husain amongst others. Significantly, Zarina was a part of India’s first-ever national Pavilion at the 54th Venice Biennale of 2011. Zarina’s work is generally informed by her experiences living itinerantly and being a part of minority Muslim Community in the following partition. She basically articulates dislocation and exile through her abstract geometries, stark lines, vocabulary of maps and a muted palette. Her pared- back works are laced with a bit of politics and a lot of emotions and expand beyond the personal to include references to cities around the world that have felt the divisible consequences of conflict.


Next comes Sheela Gowda who responds towards her environment. The heady, rambunctious ins and outs of everyday life and works in Bangalore are her fodder. Using material associated with the city -human hair talismans, cow dung, Kumkum, incense , tar drums- she is best known generally for her large installations and sculptures that captivate their surroundings. Generally working through painstakingly by hand, Gowda employs craft techniques, responding to the status of manual labor in the face of India’s economic and social metamorphosis as well as its implication in the fabrication of art. She mainly looks towards disenfranchised and marginalized communities in India to create staggering works such as Behold in 2009, which was acquired by Tate in 2014. The work is composed of 4 kilometers of knotted roe swinging from 20 car bumpers , suspended by tight plaits of human hair. It responds to the tension between India’s fierce urban aspirations and the religious economy in which hair is donated to temples to form talismans or sold for profit.


The next one in this list is Raqs Media Collective, frequenters of the world’s major institutions and are equally adept artists, curators, editors and researchers. Academic in their processes, the artists co-founded the Sarai Programme and Sarai Reader Series in 2020 at the centre for the study of Developing Societies in Delhi. Working with researchers from the programme, they mainly have built a inter-disciplinary practice spanning media, books, sculptures, photography and lecture performances entrenched in philosophy , the re- examination of history and their on going scrutiny of received systems of knowledge. Their work often addresses discrepancies in system of power and truths , offering subtle revisions and new questions. Insatiably inquisitive , their art direction of the 2020 Yokohama Triennale promises to unearth a whole new perspective on local and global concerns.


The next comes Nikhil Chopra with many conjured characters, one of the India’s leading performances artists and the current artist-in-residence at the Metropolitan Museum of Art. Whether walking from Athens to Kassel for Ducumenta 14 in 2017, contemplative drawing is integral to chopra’s practice. He explores the complexities of colonialism and its legacies, implicating his audience in the process.

In his “Memory Drawings” series (begun in 2007) ,chopra fuses autobiography with collective history and nostalgia by taking on the persona of Yog Raj Chitrakar. This itinerant, dapper character has traversed a range of cities including New York, Mumbai and Oslo. He uses his drawings performatively to access memories of landscape and consider identity and convoluted histories, creating vast charcoal drawings made on stretches of canvas that often take the form of a tent.

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The next is Shilpa Gupta and She is concerned with human perception and the imperceptible, and the acquisition and the consumption of knowledge and its shaping into arbitrary categories and systems. Working with any video, audio, performance and installation , she generally seeks to emancipate knowledge and also stimulate flows of information across various time and communities, counterintuitive to repressive powers, which may operate at state and local levels.

Her awesome work at the 58th Venice Biennale in 2019, For In your Tongue, I cannot Fit(2017-18), picked apart the enactment of censorship, penal conviction, and rights of expression. The works of 100 poets who were imprisoned for their writing emanated from 100 microphones, each one suspended over a page of writing pierced by a metal rod. Incorporating verses written between the 8th century and the present day, the work in part highlighted the revitalization of sedition claims in India.


The next comes Reena Saini Kallat, Symbols of bureaucracy- rubber office stamps and clipping of barbed wire entangled with electrical cables-reoccur in Reena Saini Kallat’s work. Sanitizing the apparatus of state, recent pieces such as her series “Leaking Lines”(2019) toy with the contours of nationalities and the potency and permeability of geographical borders. In this set of diptych drawings- each named after an Iconic boundary- an abstract land mass composed of woven cables is severed by a laser-cut line, a symbol of the area’s political delineation. This is accompanied and Juxtaposed by a charcoal landscape sketch showing the lived geographical impact and markings.

Building on her international acclaim, this year Kallat’s drawings, sculptures, photographs and videos will be or have shown recently at institutions including the Minneapolis Institute of Art, London’s Hayward Gallery, and the Musuem Oscar Niemeyer in Brazil, among others.


The next one is Thukral and Tagra both are from New Delhi. Working together for almost 15 years, artist duo have an unmistakable pop aesthetic, which belies deeper social concerns. Deftly moving between art, fashion and advertising and they consciously broaden the scope of art while also addressing issues such as migration, India’s globalization, and the mythological narratives intrinsic to the country’s self- conception.


The last but not the least is Sahej Rahal. A complex mythical world is being built by the young artist Sahej Rahal. Winner of the Forbes India Art Award in 2014, he creates biomorphic sculputures, ritualistic performances, digital epehemera, clay salvaged furniture and everyday detritus. His works are beguiling and cryptic assemblages where Indian legends, Japanese anime, Paganism, and science fiction collide to make characters with volatile temperaments who find themselves at ease in the present.

Recently for his exhibitions “Continuous Voyage” at the 2019 Vancouver Biennale. Rahal created a series of fossilized, anomalous and animalistic bodies.

These were top 10 artists but this is not the end there are many more struggling artist for them we are here. We are here to showcase their excellent work and help them to earn a living through their passion.

- by Ms Ruchi Jha, Editor.

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