Asia’s arts and culture sectors have been radically transformed in recent decades with a

huge proliferation of public and private galleries, museums, art spaces, and other cultural
institutions, new world-leading art fairs and other commercial initiatives, and a growing
number of major Asia-based art exhibitions and collections. Attendant with these
developments are new forms of public participation in Asian art and cultural institution
projects. An increasing number of Asian artists and cultural institutions have been interested
to engage publics as active participants in their art-focused projects, regarding public
participation as a constitutive element of the art-making process and a new means of
generating public dialogue.

CASE STUDY

National Museum Delhi was the first largest and planned museum in India. Which had been
designed by Gurgaryear Committee. It’s connected to all or any or any the Mother city by
four Major roads from all directions. it’s four stories with the basement. Also, the basic form
of the Building Is Fan formed with the circular court in between enclosed by a coated gallery.
In addition, wings are connected with the court consistent with totally different necessities.

Objectives
Together with art objects of historical, cultural and inventive significance with the aim to
show, protect, preserve, and interpret and to function cultural centre for enjoyment and
interaction of the folks in inventive and cultural activity.
Zoning of National Museum Delhi
The zoning is doing vertically as well as horizontally. Administration and different workers
connected areas and services like H.V.A.C, electrical and different services are at the
basement. exhibitions are placed at a higher level. Horizontally, it is a zone into open,
transition, and exhibition areas.
Circulation
It has loose circulation. Visitors enter in hall kinda gallery left aspect of the token counter, all
hall is connected with one another with a center circulation court 6m wide, exhibition area of
various floors are connected with stairs and lifts and toilet is provided on the stairs.
About floor plans of National Museum Delhi
Moreover, exhibition halls are interconnecting with a central circulation court 6m wide
separate entrance for VIP. And physically handicapped are also present.
Services
Underground fire-tank is providing, Conservation lab is providing on the 2nd floor, common
storage, A.C plan room, electrical, provided in the basement.
Firstly, Harapan civilization, Maurya, Gupta, Terracotta, Bronze, Medieval art, Buddhist art,
Jewellery, ornamental art, miniature painting, these galleries are placing at ground floor
Secondly, coins, Indian painting, manuscript, Ajanta painting, Thanjavur painting, these
galleries are placing on the first floor.
Moreover, textile, western art, wood carving, tribal art, music instrument, these galleries are
placing on the second floor.
Lighting at National Museum Delhi
Each display has its own focused light, diffused light. Which are utilizing in false ceilings or
hanging by steel sections. No natural light is using inside it. Artificial light is doing with
daylight exhibits to keep a minimum. Natural lighting is barely utilizing in the center
circulation court. Well played with focused lights with the utilization of concave and convex
lenses totally different places. In the jewelry section, the gallery was dark and receding
pockets were creating with minimum lighting. The full structure is based around the central
rotunda that lights up the whole passageway.
Gallery Circulation
All the Galleries are in a Closed area so Binding Oneself to reach on every display. The main
passageway is approx. six mt wide right along the O.T.S. Galleries are largely Rectangular in
form. stairs are Provided for Vertical Circulation. Height Varies From 2.4 to 3.5 mt.
Display techniques at National Museum Delhi
Haphazard travel movement, the form of the area is itself useful in the display. Columns
returning in between are additionally using for display, linear arrangements on the corridors,
some paintings are boxing within the walls. Whereas most of them are hanged on walls,
display to display distance is 3.5 m to 4 m, every display has its own focussed light, diffuse
light. Lights are utilizing in false ceilings or hanging by steel section, no natural lights are
using. Interiors were doing with the assistance of wood, glass and stone. The flooring used
is marble and wood. totally different wall colors and rendering are finishing to avoid
monotony.

Observations at National Museum Delhi

Separate entrance for VIP. Stone sculptures are places around the building. So there is three
front entry in building however just one in use due to security purpose. A loose movement
system is provided within the building. Its shop and institute is a further advantage. Also,
seating arrangements are creating for the guests to look at the thing of interest on display.
The toilet isn’t properly placing in the building. No additional firefighting stairs in the building.
No natural light is utilizing in the exhibition. It has its galleries rotating around an open
courtyard, no views are providing. Sculpture in the central gallery isn’t visible properly due to
glare from the back.

The Chichu Art Museum is situated on Japan’s Naoshima Island. That was built in 2004
and is regarded as one of the top art institutions for contemporary art. It was designed as a
site for rethinking the interaction between nature and humans. Tadao Ando, a well-known
Japanese architect, designed the museum. The museum’s spaces look loaded with energy
and volatility, but the surface appears silent and ordered. Because of the museum’s
development, Naoshima Island became known as Japan’s art island, and it now houses five
separate art galleries. It houses and exhibits works by three artists: Claude Monet, James
Turrell, and Walter de Maria.

The Chichu Art Museum was designed in a brutalist style by the architect. However,
concrete was used to develop the building’s clear lines and to provide in-built embellishment.
Part of the attractiveness is that the architect paid attention to even the museum’s empty
parts. Every component of the building is built with the idea of how a person moving through
the area will feel it.

As its fourth artwork, the secluded Japanese museum began with architecture. When
designing the museum, Tadao Ando, a young architect, had two fundamental issues that
need to address. His first priority was to reduce the building’s environmental impact, and his
second was to engage with the artists and artworks in the design to be entirely site-specific.
The museum’s curators stated that the paintings on display are specifically suited for certain
places, whether inside or outside the chamber.

Vision and Concept of Chichu Art Museum

The word ‘Chichu’ literally means ‘Underground’ in Japanese, and with it, the building is
expected to represent a dim environment devoid of natural light. The building believed to be
‘rethinking the relationship between nature and mankind’. Because it is built underground
utilizing natural materials. The island is distinct from the white cubic galleries and museums
found in most major towns, instead emphasizing the complete experience, taking into
account the natural features and the surrounding region. It enables the revitalization of its
rural villages. It also fosters a reflective and direct engagement with art, self, and nature.
“Darkness rather than brightness, below ground rather than above – the Chichu Art Museum
is the most direct representation of this feeling entrenched deep within me,” stated architect
Tadao Ando. Artworks in this museum are meant to be experienced with our complete body.
This is an ambitious endeavor to use the underground environment to create locations
where visitors can experience the works in their purest form. Visitors are isolated from the
outer world, their perceptions are sharpened, and they are able to focus entirely on the
artworks. This is a bold concept for an art museum.
Tadao Ando fulfilled his architectural concept of not inflicting violence on the ridgelines,
skylines, and horizons of the surrounding islands in such an extreme fashion that the
so-called context and architecture of nature co-exist at the site to adapt to the natural
environment. Skylights and windows in the ceilings employed to bring natural light into the
museum’s underground areas.

Display of Artist’s Work

Three artists’ works are on display at the museum. Each artist’s space in the museum meant
to complement and improve the installation experience. It houses a massive artwork by
Walter de Maria as well as James Turrell’s meditative light works. Finally, a collection of
Claude Monet’s exquisite “Water Lilies.” Tadao Ando has designed a unique art environment
for each work.
The curatorial goal was to bring together artworks that ‘confront nature,’ whether through
sunshine, neon light, natural materials, or natural subjects. Claude Monet, James Turrell,
and Walter De Maria are all engaged in altering and enhancing our perception of nature.

The Chichu Art Museum possesses this power and magic since the modern world lacks the
capacity to accomplish this level of regard for nature as well as the artist’s work. The
Museum successfully resolves the issue of being architectural yet non-monumental by
confining the architecture to an underground structure and refusing to have an outside
design rising out of the ground. Furthermore, the artistic approaches of Walter De Maria,
Claude Monet, and James Turrell, as well as Tadao Ando’s architectural approach, merged
into a single site.

India Art Fair

India Art Fair, previously known as India Art Summit, is an annual Indian modern and
contemporary art fair held in New Delhi, India. The fair includes paintings, sculptures,
photography, mixed media, prints, drawings and video art. The first three editions of the fair
were organized at Pragati Maidan, one of India's largest and oldest exhibitions grounds.
Starting from the 4th edition, the venue was shifted to NSIC grounds, Okhla. First held in
2008, it is India's largest art fair. The art fair includes several pavilions of exhibits by galleries
and solo projects by several artists. It also has an art education series with guided walks
conducted by curators and students of art history. Simultaneously, there is a speakers' forum
with panel of Indian and international experts from the art domain to discuss issues
pertaining to the art in the region. It focuses on key issues related with the art production, art
market and its reception in India.
The first fair targeted over 6000 visitors with 34 exhibiting galleries at the fair, and over 550
contemporary and modern artworks.The fair rapidly gained popularity, and the first three fairs
had a total 146,000 visitors, making it among the world's most popular art fairs.

History
India Art Fair is the biggest fair of modern and contemporary Indian art in the world. Its first
three editions attracted over 146,000 visitors and its fourth edition held in 2012 canvassed
91 exhibitors from 20 countries. Over the years the fair has mainly showcased Indian
modernists (including Bombay Progressive Artists' Group), Indian diaspora artists such as
Anish Kapoor, contemporary Indian artists, international artists and art from the
subcontinent.

Following in the tradition of international art fairs and other global platforms for art exhibition
and sale, Neha Kirpal, Founder and Director of India Art Fair realised the need for a similar
platform in India to respond to the global interest in Indian art. This led to the first ever India
Art Summit (IAS) in 2008. It was patronised by prominent Indian artists like Anjolie Ela
Menon, S H Raza, Krishen Khanna and Keshav Malik. Since then it has taken place every
year with the exception of 2010. Neha Kirpal, the owner of the India Art Fair divested 49
percent of its stake in early 2011 to two stakeholders, Sandy Angus and Will Ramsay,
co-founders of the Hong Kong Art Fair, to create a larger network.In 2009 the highlight of the
fair was a display of Pablo Picasso's works, exhibited by Beck & Eggeling, a German gallery.
The same year Lisson Gallery brought diaspora artist Anish Kapoor's sculptures to India for
the first time.

Kochi Muziris Biennale

Kochi Muziris Biennale is a grand international art exhibition held in the port city of Kochi that
boasts of a unique multi-cultural past. Kochi Biennale is a celebration of the contemporary
art scene across the globe with displays of artworks of both Indian and International artists
through a wide variety of mediums. Besides these exhibitions, the Biennale also conducts
talks, seminars, screenings, workshops, music programs and other educational activities.
The Biennale takes place at various venues in and around Fort Kochi, making it a cultural
hotspot in the state. Muziris has its own significance as an ancient port city that invokes the
historic cultural exchange that the port city once had with the foreign countries.

The Kochi-Muziris Biennale is an international exhibition of contemporary art held in the city
of Kochi in Kerala, India. It is the largest art exhibition in the country and the biggest
contemporary art festival in Asia. The Kochi-Muziris Biennale is an initiative of the Kochi
Biennale Foundation with support from the Government of Kerala. The concept of
Kochi-Muziris Biennale was ideated and executed by Dr. Venu IAS, who was the culture
Secretary, Government of Kerala. The exhibition is set in spaces across Kochi, with shows
being held in existing galleries, halls, and site-specific installations in public spaces, heritage
buildings and disused structures.
Indian and international artists exhibit artworks across a variety of mediums including film,
installation, painting, sculpture, new media and performance art. Through the celebration of
contemporary art from around the world, the Kochi-Muziris Biennale seeks to invoke the
historic cosmopolitan legacy of the modern metropolis of Kochi, and its mythical
predecessor, the ancient port of Muziris.
Alongside the exhibition the Biennale offers a rich programme of talks, seminars, screenings,
music, workshops and educational activities for school children and students.

The First Kochi-Muziris Biennale began on 12 December 2012. The Biennale hosted 80
artists with nearly 50 percent foreign artists, site-specific works and a sustained education
programme in the three months. As a run-up to the event, in April, the Durbar Hall Kochi will
host German modern artist Eberhard Havekost's exhibition "Sightseeing Trip", held in
collaboration with Dresden State Art Collections. The Aspinwall House exhibits the art works
of 44 artists spread across the premises.
Entry was free till 23 December which was then replaced by ticketed entry at Rs. 50 to help
pay for daily running costs. According to artist and Kochi-Muziris Biennale artistic director
Bose Krishnamachari support has come in many forms. Shalini and Sanjay Passi held a INR
25,000-per-head dinner in the capital to raise funds, raising ₹550,000 (US$6,900). Google
met with the foundation and has offered help with the website, which received 7.5 million hits
in the first month. The Jindals of Jindal Steel and Power Limited, the late Kerala Congress
leader T.M. Jacob, R.K. Krishna Kumar of Tata group, Jayanta Matthews of Malayala
Manorama and the businessman Shibu Mathai have all donated.

The Copley Society of Art, Co|So, is the oldest non-profit arts association in the
United States, with a history dating back to 1879.

They currently represent over 300 living artist members, ranging in experience from students
to nationally-recognized artists and in style from traditional and academic realists to
contemporary and abstract painters, photographers, and sculptors.

The gallery hosts between 15 and 20 exhibitions each year, including solo exhibitions,
thematic group shows, juried competitions, and fundraising events.

Dedicated to the enjoyment of visual arts, the organization provides a platform for arts
cultivation while engaging and educating the public. Artist membership is comprised of
contemporary and traditional artists admitted by a credentialed committee.

Co|So supports artist members by offering venues for exhibiting and selling their artwork and
awards special status to those who have achieved distinction. Membership is open to both
artists and patrons whose combined contributions help support the educational and
community outreach programs, essential to the organization's mission since 1879.

About Artist Trust

Artist Trust is a 501c3 nonprofit organization that supports working artists of all disciplines in
Washington State. We fuel our funding and other programs for artists through fundraising,
partnership, and community engagement. Recognized as a national model for direct funding
and professional development for working artists, we have invested over $15 million in
individual artists since our founding in 1986. We view our mission through a lens of racial
and geographic equity and are actively working to become an anti-racist organization and
build a leaderful workplace.

Mission
Artist Trust’s mission is to support and encourage artists working in all disciplines to enrich
community life throughout Washington State.

Values
In 2021, a cohort of six Washington State artists representing multiple disciplines,
backgrounds, and geographies were convened to re-envision Artist Trust’s values with
explicit racial equity and anti-racist language. This process was led by AV Consulting as part
of Artist Trust’s Racial Equity Audit process as recommended by our community. Stay tuned
for a full report on the outcomes of the audit later this summer.
Thank you to our Racial Equity Artist Cohort: Jiemei Lin, Paige Pettibon, Carl Richardson,
Abel Rocha, Gilda Sheppard, and Chris E. Vargas.

We see our new values as aspirational. We are already implementing them in our processes
and will use them as a guiding tool for policy creation and program development. We are
fortunate to be a part of a community that pushes us to be better and are excited to grow
with you by our side.

WE ARE A COMMUNITY

With artists at the forefront, we collectively build community at all levels of our organization
by being welcoming, sharing space, being transparent, and elevating artists’ vision and
voice. We show up for artists beyond monetary support through genuine, kind, safe, and
joyful actions. Our community includes all who feel a connection with our work, including
artists of all disciplines and backgrounds, culture bearers, and creatives, arts enthusiasts,
supporters, organizers, and advocates.

WE SEE ARTISTS AS LEADERS

We believe that the leadership of artists has the power to create just, equitable, and vibrant
communities. We work to elevate artists as leaders throughout the entirety of Washington
State, centering those who identify as Black, Indigenous, People of Color (BIPOC),
LGBTQIA+, live with or have disabilities, or come from rural or less-resourced places. We
build stronger relationships with artists by respecting their voice, elevating their expertise,
and creating systems that positively impact their development and success. We exist
because of artists.

WE SHARE POWER & RESOURCES

To be truly antiracist and respond to the complexities of the nonprofit sector, we must share
power, funding, and resources. We meaningfully engage artists to inform our power-sharing
strategies, especially for Black, Indigenous, People of Color (BIPOC), harmed, and
underrepresented communities who have been historically shut out. Our fundraising efforts
are community-centric and aligned with movement building. We engage our donors as
partners and actively work to build relationships between donors and artists.

WE EARN TRUST

We believe that trust is earned through transparency and that our mission is best carried
forward through antiracist action. We stay accountable by collaborating with artists to
develop and evaluate our goals, ensuring we stay mission-focused and in line with our
values. We provide accessible information about our business practices, make clear the
processes and rationale for our decision making, and communicate changes regularly and
consistently. We acknowledge the errors and harm to artists who identify as Black,
Indigenous, People of Color (BIPOC) in our former practices and continue to learn from our
mistakes.

WE ENGAGE IN CONTINUED LEARNING

Artist Trust is committed to change. We push boundaries and welcome new perspectives by
asking artists to analyze, think critically, and actively inform our purpose, actions, and role in
the community. We understand that knowledge is not always static. To eliminate the white
supremacist roots in the education we have received, we must honor the lived experiences
of artists who identify as Black, Indigenous, People of Color (BIPOC). We do this with
intention by creating accessible and transformative spaces that shape our decision-making
and programming.

Racial Equity Framework

Artist Trust is a nonprofit organization that helps Washington State artists of all disciplines
thrive through direct support, connections, and advocacy. We believe a fair and just society
ensures artists of all backgrounds and identities are included in its cultural narratives.

Artist Trust’s Commitment to Racial Equality

Artist Trust is committed to becoming an anti-racist organization, and to working against the
systems of racism we have inherited, upheld, and perpetuated. We know we are not there
yet. Black, Indigenous, and people of color (BIPOC) have been systemically oppressed, and
we are committed to partnering with them to eradicate white supremacy throughout our
organization and to support historically marginalized artists across Washington State.

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