Anmol Vellani

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Anmol Vellani is the founder and former executive director of the India Foundation for the Arts, an independent philanthropic organisation. He is also the co-founder of Toto Funds the Arts, which encourages emerging talent in the arts in India. Earlier he was a Program Officer in the New Delhi Office of the Ford Foundation with responsibility for grant making in the performing arts, folklore and classical learning In South Asia. He has served in an advisory capacity for government departments, civil society networks, international foundations and cultural organisations. Anmol has written on a range of subjects, including the arts and religion, arts entrepreneurship, the role of foundations, intercultural dialogue, culture and development, and the performing arts. He has helped to design courses on the arts and management, served as faculty for training workshops in grant making, and used theatre methods to conduct creativity workshops. He studied philosophy at the Universities of Oxford and Cambridge and has directed theatre productions in different languages and locations in India and abroad.
Address: Bangalore, Karnataka, India

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The Desire of the Artist and the Dharma of the Artist Manager

The Routledge Companion to Arts Management, 2019

This paper paints a portrait of two types of artists—one self-directed and the other audience-l... more This paper paints a portrait of two types of artists—one self-directed and the other audience-led—and asks what is practically and ethically at stake for artist managers who work with one or the other. Spotlighting this pair of starkly contrasting artists, it is suggested, throws into sharper focus what might be missing in the prevailing view about artist managers, which emphasises their traits, qualifications, skills, capacities and functions. Artist managers advance the interests of purely market-driven artists by relying on instrumental reasoning and pursuing profit-maximising goals. They function like managers of for-profit enterprises and are the poster boys of neoliberalism, which valorises only the economic potential of the arts. Artist managers who work with self-driven artists, however, confront distinctive challenges because they must create the material conditions that enable the latter to live by their choices as well as grow audiences for their artistic output. Such artist managers, it is argued, have a mission and ethic that sets them apart from managers in other fields and from business and social entrepreneurs. This pdf has two lines not found in the published version of the paper, which can be accessed here: https://www.academia.edu/76981129/The_Routledge_Companion_to_Arts_Management

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