It is an undeniable fact that the last few years have seen an unprecedented focus on the work being produced by young artists. As a global trend, its manifestations are obvious in the growing numbers of students enrolling in art programmes everywhere in the world, in the statistics emanating from auction houses and gallery sales, and in the number of exhibitions and events that focus specifically on the work of young artists. In 2009, the New Museum of Contemporary Art in New York launched its Generational Triennial with the exhibition Younger Than Jesus, featuring works by 50 artists from 25 countries, all under the age of 33 (that being the supposed age of Jesus Christ at the time of the Crucifixion). The next edition of the triennial – titled The Ungovernables and published in 2012 – highlighted artists whose works investigated worldwide acts of civil disobedience. The featured artists were all aged between 28 and 38. Around and since then, numerous other forms of this attention have cropped up — from art fairs (Liste at Art Basel) and biennales dedicated to the work of young artists (Moscow International Biennale for Young Art) to the popularity of the works of young artists at galleries and auctions.
It is not just in the international art world that the hype around young artists has been building; indeed, its impact is being felt in Pakistan as well with the growing number of younger artists from the country gaining increasingly more exposure and attention each year, both locally and internationally. While the V M Art Gallery (part of the Rangoonwala Trust in Karachi) has always deemed support for young artists and recent art graduates as one of its primary goals – evident in its annual scholarship for art students as well as in its annual Emerging Talent exhibition that began in 2003 and features the work of fresh art graduates – in more recent years newer galleries have started devoting increasingly more space to the work of young artists. Together these developments have offered additional exposure to young artists and generated a new kind of interest in their works among the mainstream art viewers and collectors.
Within this scenario, annual thesis shows at art schools help viewers and collectors bypass the galleries and approach young artists and their works directly even before they have officially entered the art market. These shows also facilitate investors to acquire at low prices the work of those artists whose creations are likely to fetch higher prices in the future. Being a graduate of the department of fine art at Karachi’s Indus Valley School of Art & Architecture (IVS), I have witnessed the manifestation of an increasing interest in thesis displays. The number of people attending these events seems to be increasing with time (as do the sales of the work on display).