September 14, 2002

Art writing can be traced as far back in time as Plato’s works from the fourth century BC, and over the centuries it has became a wide genre that has filled volumes. Centuries later modern ‘art criticism’ was attributed to Dennis Diderot, who began it all with reviews written on the salons of Paris in the 18th century.

In a controversy between artists and critics, Walter Sickert commented patiently on something Diderot wrote: “I would rather have foolish things said on matters of importance than have them passed over in silence. At least thus they have become subjects of discussion and dispute, and truth is elicited” (food for thought). Art criticism increased in the 19th century when new art movements drove writers to a frenzy of exasperation and artists appeared defiant of their rhetoric.

Today, anywhere in the world, a regular ‘ice breaker’ or topic for heated discussion begins with the words: ‘What is Art’? There are numerous answers, each one personal, but exploring the mystery manifest in volumes of art writing can be an intriguing and addictive pastime.

Art enthusiasts familiar with the tenacious development of art in Pakistan and the positive role played by the media, are excited by an important development that began one year ago on September 1, 2001. The inception of a regular art paper, the Gallery, brought out by Dawn as a bi-weekly supplement. It became a step forward in lifting art and art related subjects from the ‘leisure’ pages of the newspaper. Art became dignified as a subject with an agenda of its own according artists due respect.

Contributors welcomed the professional approach of the Gallery, evident in the excellence of its production. Where previously typos, misspellings and a host of light-hearted errors marred the credibility of art writers and their subject, in the Gallery, it seems, articles are actually read by the staff and edited with sensitivity.

Having a large spread offers more reviews, providing a narrative for aesthetic activities throughout the country. By covering young and emerging artists as well as the established exponents, an up-to-date look at art events in and outside Pakistan is possible, replacing the previous narrow field of local shows.

With half a century of Dawn’s media experience behind it, the Gallery is aware of the expectations of its readership. The format appears to cover diverse art related events and personalities, interviews and extensive coverage of art by new and established writers. It also offers a ‘yardstick’ by which to gauge the accessibility and knowledge of the writers, explore some of the difficulties faced by artists in the country and introduce and compare artists and opinions. Besides traditional art forms such as painting and sculpture, there is space to explore contemporary interests such as photography, archaeology, architecture, installation art and other media offering fresh and thought-provoking viewpoints.

Putting the Gallery’s year’s output of bi-weekly copies together gives a fair idea of what has been happening on the art scene, and indeed there have been outstanding editions such as the issue on the Mohatta Palace exhibition of Sadequain’s paintings and the commemoration issue on Ali Imam, which are fast becoming collector’s items. I passed a few copies to interested friends abroad who showed great interest. It felt really good to have an ‘art paper’ to distribute. In years to come a bound collection of the Gallery editions will prove to be important archival material.

The renowned man of the arts, Sidney Guest, in a discussion on art criticism in the late ‘80s had said: “There is no danger of saying too much, there is always a risk of saying the wrong thing; the only danger is of saying nothing.”

Now with the Gallery around, one can be sure that at least the last is not going to happen anymore.