The Life of Street Artists Outside Jehangir Art Gallery: A Qualitative Study

Abstract

This research (conducted in 2018) investigates the lives and struggles of Indian street artists outside Jehangir Art Gallery, Mumbai. Using a qualitative methodology, in-depth interviews were conducted with three artists to understand their socio-economic background, motivations, and challenges. The study explores the dichotomy between institutionalized and street art, highlighting the socio-economic and cultural barriers that prevent these artists from mainstream recognition. Key themes include financial instability, artistic resilience, and the evolving gender dynamics within the street art community. The study concludes that while street artists remain on the fringes of the formal art economy, their work is a vital representation of India’s rich cultural and artistic heritage.

Introduction

Street art, historically associated with counterculture movements, has gained mainstream recognition globally. However, in India, the domain remains largely underappreciated and economically precarious. Jehangir Art Gallery, one of India’s most prestigious art institutions, is a space where recognized artists showcase their work. Ironically, just outside its doors, self-taught and emerging artists sell their artwork in an informal, unregulated market.

This study investigates the lives of these artists, exploring their motivations, struggles, and perceptions of their craft. It also examines the role of socio-economic factors in determining artistic success and access to institutionalized platforms.

Research Methodology

Approach

This study adopts a qualitative research methodology, employing in-depth interviews and a case study approach to understand the narratives of street artists.

Participants

Three street artists were interviewed outside Jehangir Art Gallery, representing diverse experiences:

Imran Qureshi (35, Mumbai)
Imran, originally from Gujarat and raised in Mumbai, had no formal artistic training but was drawn to painting. Inspired by Mughal art, he honed his skills through persistent practice. He has been selling outside Jehangir Art Gallery for five years and finds his business unpredictable—some days he sells multiple pieces, while on others, he makes no sales. He acknowledges the affordability of renting a stand through the Kala Ghoda Association, which supports street artists. Though he aspires to exhibit inside the gallery, he understands the long wait time and stringent selection process. Despite the financial instability, he is content with his work and values the camaraderie among fellow artists. A significant moment in his career was when an artist from inside Jehangir Art Gallery bought one of his paintings, reinforcing his belief in his craft.
Saudagar Abdul Gani (76, Mumbai)
With over five decades in the art industry, Saudagar is a seasoned painter and designer. His artistic inspiration comes from nature, especially the sea, and he takes great pride in his detailed works. Having taught over 200,000 students in a primary school for 20 years, he sees himself as an educator as much as an artist. His career included collaborations with well-known Bollywood designers, and his works have traveled internationally. However, a significant financial loss due to an unsuccessful exhibition at Jehangir Art Gallery forced him onto the streets. Despite this setback, Saudagar remains deeply passionate about art and detached from materialism. His primary concern is sustaining himself rather than achieving commercial success. His story exemplifies the unpredictable nature of an artist’s life and the resilience required to continue despite challenges.

Case Study 2: Saudagir Abdul Gani. Image credit: Reddit

Anonymous Artist (28, Kolhapur)
The third respondent, a young artist from Kolhapur, has been selling his work outside the gallery for only three months while pursuing his art education. Unlike the other two, he is at the beginning of his journey and is driven by the need to use art for social commentary. He creates paintings and sculptures that reflect societal issues and hopes to make a name for himself in the art world. Despite being surrounded by more experienced artists, he is determined to push forward and establish his presence. His perspective highlights the generational shift in artistic ambition—where young artists use their work as a means of activism while adapting to changing artistic trends.

Data Collection

Participant Observation: The researcher engaged with the artists informally, buying artwork to initiate conversations.
Semi-structured Interviews: Each artist was interviewed in their natural setting, allowing for an organic discussion about their journey, struggles, and perspectives on the art market.
Field Notes & Audio Transcription: Conversations were recorded and transcribed for detailed analysis.

Findings & Case Studies

Socio-Economic Barriers & Financial Struggles

Street artists in Mumbai face severe financial instability due to unpredictable customer footfall and fluctuating demand. One of the artists, Imran, highlighted that while some days he sells multiple paintings, on other days, he earns nothing. The lack of financial security makes it difficult for artists to sustain themselves solely on their craft.

Institutional Barriers & Art Market Elitism

Artists outside Jehangir Art Gallery are often excluded from formal gallery spaces due to bureaucratic barriers and high entry costs. Booking a slot at Jehangir Art Gallery requires artists to wait for six to seven years, along with meeting stringent selection criteria. Consequently, many artists feel that success in the art world is more about connections than talent.

The Resilience & Passion of Street Artists

Despite these obstacles, the artists interviewed expressed deep passion for their craft. One respondent, a senior artist, narrated how he lost significant money during an exhibition that failed due to a city-wide crisis. Yet, rather than abandoning art, he adapted by selling bookmarks and smaller paintings on the street.

Gender Dynamics in Street Art

While traditionally male-dominated, there is a gradual shift in gender representation among street artists. Although the interviewed artists were male, discussions revealed that more women are entering the field, albeit facing additional societal restrictions.

Discussion

Art as a Socio-Economic Struggle

For many street artists, the choice to pursue art is a delicate balance between passion and economic survival. Unlike institutionalized artists who gain financial backing through sponsorships or elite networks, street artists rely solely on daily sales and public generosity.

The Digital Shift & Changing Consumer Behaviors

With increasing digitization, younger artists are leveraging social media platforms like Instagram and Facebook to promote their work, reducing dependence on physical foot traffic. However, many veteran artists still struggle with online marketing, leading to generational disparities in exposure.

The Future of Street Art in India

Despite limited institutional support, street art is slowly gaining recognition through initiatives such as art festivals, public mural projects, and social media-driven art communities. However, systemic changes—such as greater financial backing, accessible gallery spaces, and government support for independent artists—are needed to truly integrate street art into India’s formal art landscape.

Conclusion

This study highlights the resilience, challenges, and evolving landscape of street artists in Mumbai. While financial instability and exclusion from elite institutions continue to hinder growth, digital platforms and evolving consumer behaviors offer new avenues for recognition. By acknowledging and supporting street artists, society can broaden its definition of artistic success and democratize art accessibility beyond institutional barriers.

Key Takeaways:

Street artists remain marginalized but highly resilient.
The gap between institutional and street art is wide, but changing slowly.
Digital exposure is becoming a game-changer for emerging artists.
Economic sustainability remains a significant hurdle.

References

Abbing, H. (2002). Why Are Artists Poor?: The Exceptional Economy of the Arts. Amsterdam University Press.
Borghini, S., Carù, A., & Cova, B. (2009). Street Art, Sweet Art? Reclaiming the Public in Public Place. Journal of Consumer Research.
Fletcher, P., & Helmrich, A. (2019). Reframing the International Art Market. Brill.
Irvine, M. (2012). The Handbook of Visual Culture. London & New York: Berg.
Novak-Leonard, J., Skaggs, R. (2017). Public Perceptions of Artists in Communities: A Sign of Changing Times. University of Arkansas Press.