VIEW ARTICLE
VIEW PDF
Saloni Doshi is a prominent Indian collector whose relationship with the arts began at a young age through Bharatnatyam classical dance, Hindustani music, and theater. Her photography training with Jeroo Mulla and her time at Osian's Auction House marked the beginning of her connection with the visual arts, although the concept of "collector" came to her organically rather than as a premeditated goal.
Over two decades, he has amassed a collection that includes paintings, works on paper, and, significantly, photography, a medium to which he feels a special affinity, considering it a democratic and accessible language. For Doshi, the value of art lies in the message, not the medium, which is why he defines himself as “medium-agnostic.”
Doshi, a photographer herself, explains the importance of this discipline in her collection and her desire for the Saloni Doshi Collection (SDC) to be an exercise that engages diverse audiences. Her book, "The Right to Look," seeks to document the evolution of more than 450 artistic practices with which she has interacted during her residency at Space118 and within her collection. The book includes a historical overview of Indian photography from the 1840s to the 2020s, highlighting the colonial influence and the subsequent emergence of an Indian artistic sensibility. Key photographers such as Lala Deen Dayal, Narayan Vinayak Virkar, Homai Vyarawalla, and Jyoti Bhatt are mentioned, along with how photography in post-1990s India began to address themes of gender, identity, and postcolonial reality.
The interview below is an excerpt from “The Right to Look.”, a collection of photographs by Saloni Doshi, selected by Amit Kumar Jain, and exhibited at SPACE118 from November 2023 to March 2024.
AJ – How did your journey into art collecting begin? Did you always imagine you would be an art collector/sponsor?
SD – From my earliest years, I was surrounded by an environment steeped in artistic influences. From a young age, I received training in Bharatnatyam classical dance and spent eight years studying Hindustani classical music under Shubha Mudgal at my school in New Delhi. I also honed my harmonium playing skills. During this time, my mother played a crucial role in my life, consistently introducing me to various types of theater, including productions in Gujarati, Hindi, and English.
Visiting the Prithvi Theatre became a routine part of our daily lives (in fact, when I moved to South Mumbai, I immediately sought lifetime membership in the NCPA, which underscores the enduring importance of theatre in my experiences). This continued exposure to diverse art forms opened up a new world for me, particularly around 2000 when I interned at Osian's. There, I had access to an extensive collection of books, monographs, pamphlets, catalogues, and literature, allowing me to delve into the realms of art; my time at the auction house played a pivotal role in cultivating my burgeoning yet profound appreciation for the visual arts. This, coupled with formal training in photography under Jeroo Mulla at Sophia Polytechnic, contributed significantly to the beginning of my journey as a collector. However, the idea of being a "collector" was not something I had envisioned for myself; in fact, I was unfamiliar with the terminology. Although I knew people bought artwork and understood its market value, the terms "collector" and "patron" were initially unfamiliar to me. To be honest, I stumbled across these terms and their lifelong associations thanks to my intense passion for a wide range of art forms.
AJ – In addition to a remarkable collection of contemporary art, including paintings and works on paper, there is a substantial number of photographic works that you have amassed over the past two decades. Can you tell us how this came about? What has been your affinity for this artistic medium?
SD – I have always felt a deep connection to the act of collecting photographs. As a collector, my interest lay in understanding artistic methods, observing the creative processes unfolding in artists' studios. I discovered that photographs had a unique ability to capture and poignantly encapsulate such moments. Under the guidance of Jeroo Mulla and through my immersion in the works of filmmakers such as Akira Kurosawa, Wong Kar-wai, Mani Kaul, and Satyajit Ray, as well as the photographic work of Cartier-Bresson, Man Ray, and Eugène Atget, I became particularly fascinated by how a meticulously composed photograph could shape our perception of the world. It was this aesthetic and historical consideration that motivated me to collect such photographic works.
It should be noted, however, that photography is only one medium to which I have felt an affinity; in fact, I consider myself "media agnostic," since the genre of a work is a conduit, a way in which the message is transmitted. Although, it must be said, I have a weakness for works on paper, and perhaps that is where a photograph finds a comfortable place in my heart.
AJ – Did you ever imagine becoming a full-time photographer, perhaps an art photographer?
SD – Having been formally trained as a photographer, I have had a deep love for photography and the art of taking pictures for as long as I can remember. However, I never considered pursuing it professionally. My interest was primarily focused on capturing architectural spaces and interiors, and while I enjoyed it, I never thought of making it a formal practice. In my early thirties, I used to give the photos I took to friends, but it was merely a casual gesture. As this exhibition underscores, my true passion has always been more about collecting than creating photographs.
AJ – How important do you consider the role of the private collector today, at a time when there are hundreds of art galleries and countless growing museum institutions?
SD – As a collector myself, I feel justified in emphasizing the increasingly crucial role of private collectors. The importance of this role is evident in the growing community of collectors united by their shared passion for art. In regions like the US and Europe, this collector community is remarkably enthusiastic and proactive in sharing, donating, and exhibiting their collections, fostering symbiotic relationships with various institutions. In India, however, we have yet to develop such a vocabulary and sentiment. Private collectors here often maintain a more reserved stance, keeping their collections largely private. While there are exceptions, such as the KNMA and the NMACC, there is still a long way to go in terms of opening up discussions about how we can make a significant impact with Indian art (or any other art form) and provide public access to collections that are not readily available to institutions. Collaboration between a collector and a public institution is integral to establishing a dynamic ecosystem that not only benefits artists but also disseminates information and understanding to the general public.
AJ – Is art collecting a difficult, perhaps risky, undertaking? What kind of obstacles have you faced on your journey to assemble this collection?
SD – Embarking on the path of art collecting has been unexpectedly challenging, often evoking emotions, though I've never perceived it as risky. I've always made purchases within my financial means, occasionally opting for installment payments. When you find a work that resonates with you on a personal, emotional, historical, or purely abstract level, you naturally look for the best way to acquire it, and that's precisely what I did. The difficulty in this journey doesn't stem solely from the possibility of not being able to obtain or afford everything you desire. The challenge lies in the limited number of people who truly appreciate and support your feelings and, if I may add, your spending habits. Although I cultivated meaningful connections with established collectors such as Lekha Poddar, Rajiv Savara, Kavita Singh, Anurag Khanna, and several others in India and around the world, building these relationships was a gradual process. This path has involved sacrifices at times, but in the end, it has proven to be immensely enjoyable and rewarding.
AJ – What kind of relationship have you developed with the photographers whose works you have collected? Has it been somewhat detached, or do you find yourself completely immersed in their process before acquiring any of their works?
SD – I've engaged with their body of work, thoughts, travels, and life experiences, whether through reading or conversations, and this has made me feel more drawn to their work. That said, however, it's not their personality that captivates me or sparks my interest in collecting, but the artwork itself. I've never approached art collecting with a focus on the artist or the medium, but rather on the message conveyed by the work or works.
AJ – What message do you wish to convey to the public through the exhibition of your works?
SD – I see the message as twofold: it refers to the importance of private collections and the influence of photography. Throughout my journey as a collector, I have traversed diverse landscapes, attending art fairs, biennials, exhibitions, and private previews worldwide. These experiences have nurtured my aesthetic sense and introduced me to new connections that have reinforced my preferences and aspirations within this artistic ecosystem. I believe such exposure should be accessible to all who seek it. Numerous treasures lie hidden behind shutters and stored away, containing untold stories that could significantly contribute to the evolving body of Indian art, ultimately shaping our heritage and identity.
Furthermore, I want people to recognize photography as a crucial art form, on par with any other medium. It is remarkably democratic and accessible, urging us to broaden our visual and intellectual understanding of it.
AJ – Are there any photographs/works you wish to acquire but haven't had the opportunity to yet? Or any regrets in the same genre?
SD – The list is endless! There are so many deeply endearing and wonderful practices everywhere. If I had to name a few, I would say Raghubir Singh, Richard Avedon, Peter Hujar, Annie Leibovitz, Andreas Gursky, Hiroshi Sugimoto, among others. Also, when you acquire something that resonates deeply with your love, joy, and cherished feelings, the concept of “regret” never even crosses your mind. While it is possible to outgrow a piece over time—collecting is a journey marked by various stops—at every stage of my life when I’ve made a purchase, it has always stemmed from a place of genuine affection, ensuring that it retains a special meaning for me.
AJ – What do you think distinguishes Indian photographers in the contemporary art world? Do you feel they have established a dominant position both domestically and globally?
SD – It’s difficult to pinpoint a single photographic quality that has become defining for a nation as large and diverse as ours. While it can be disheartening to observe that only a handful of Indian photographers achieve global recognition, such as Dayanita Singh, Gauri Gill, Pablo Bartholomew, and Raghu Rai, what I find truly captivating is the breadth of their work, reflecting the diversity that shapes their—and our—worldview. For example, Pablo Bartholomew’s groundbreaking exhibition, The Nagas , offers a vivid portrait of the colorful, exotic, and delicate life of the tribal community. Its extraordinary nature is unparalleled. However, Raghu Rai’s photography during the Congress years or Lala Deen Dayal’s 19th-century photographs are monumental in their own right, rendering any comparisons weak and secondary.
AJ – It's often seen that people favor painted works (oil, watercolor, etc.) over photography as the true or “best” works of art – works that require painterly skill and detail, as opposed to something that is printed. What would you say to that?
SD – As I mentioned before, I think it’s important that we’re exposed to newer forms, new vocabularies that broaden our understanding of art and its various genres. Only then can we move beyond those generalized ideas about what “art” really is and appreciate all kinds of styles and media. I’m interested in showing installation works soon, allowing people to examine a style of art that is rarely seen or appreciated outside of museums or select exhibitions. It’s time we engage in a more elaborate way to highlight the multifaceted nature of art.
AJ – Are there any photographers you feel particularly drawn to?
SD – Among the many artists I have encountered, my enduring love and admiration extend to Hiroshi Sugimoto, Raghu Rai, and Pushpamala N. When I first experienced Hiroshi Sugimoto’s work at Pace Gallery several years ago, his conceptual and philosophical approach to photography significantly altered my perspectives on how to engage with the medium. His Sea of Buddha series marked a transition from realistic representation to abstract elegance, an aspect that resonated deeply with me.
Similarly, Raghu Rai's documentary practice has left a profound mark. His ability to capture a moment, encapsulating the feelings that define our history and the emotions we have experienced, has been a truly inspiring journey. Furthermore, Pushpamala's performance photography has consistently left me in awe with each iteration. If I could, I would eagerly collect every available edition and all the costumes.
AJ – What will happen to the Saloni Doshi Collection in a couple of decades? Have you thought about the final destination of what you've acquired?
SD – Developing the courage, dedication, and passion to exhibit my collection has been a formidable and often challenging undertaking, and I sincerely believe I am only just beginning this journey. Exhibiting a collection acquired with love is akin to displaying the jewels in a crown: a moment of both pride and vulnerability. Many collectors struggle with such an endeavor, as not everyone has the means to establish a dedicated exhibition space. However, I am determined to embrace the present rather than postpone this experience until I am 60. I aspire to make this collection accessible to a wider audience because I believe the purpose of this exhibition extends beyond simply assessing what needs preservation and restoration.
My goal is to be a catalyst, a “change agent.” I believe that sharing this collection shouldn’t be limited to wealthy or older collectors; it should also be open to young people. Age shouldn’t be a barrier preventing people from sharing, educating, and informing others about the diverse possibilities of art. I envision the Saloni Doshi Collection being presented whenever and wherever possible. In that spirit, all exhibitions will be available online on the Collection’s website, as well as on its social media channels. It would bring me immense joy to see it travel to other cities like Bangalore, Chennai, Delhi, and Kolkata, expanding even further in the years to come. While the collection may eventually find its place in a museum (which I hope it will), until then, there are many more miles to travel and countless works of art to appreciate.