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Miley Cyrus Will Democratize the Artworld, Part 2

I was chatting on Facebook with a friend about Miley Cyrus as sculptor unintentionally emancipating creativity for the common person (see previous post).

My friend responds, “haha you think the art world will let that float?” 338 more words

Performance Art

Boston Raphael: Legal Art History

By Belinda Rathbone*

In 1969, my father, Perry T. Rathbone, then Director of the Museum of Fine Arts, Boston (the “MFA” or the “Museum”), bought a previously unknown painting by Raphael from an elderly art dealer in Genoa. 1,374 more words

Art Market

FOCUS : ARTfi : When Art and Business meets in Berlin

Artfi, the Fine Art and Finance Conference, is taking over Berlin in a couple of days only. For the few of you who doesn’t know (yet) about this amazing platform, here are some useful informations that will make you want to pop in to the German capital. 228 more words

The Arty Corner

Art Market At The Farmers' Market In Withrow Park

Artists At The Withrow Park Farmers’ Market – Saturday, September 13th, 9am-1pm – Event
Participating in the Art Market this Saturday :

Catherine Thomas : 633 more words

Farmers' Markets

Introducing Our New Series: "Behind the Scenes"

This post marks the start of our “Behind the Scenes” series, in which we’ll bring you inside several of our special long-term projects. In future installments of this series, you can look forward to learning about our research into a selection of mobiles by the famed American sculptor Alexander Calder, and our attempts to authenticate a work purportedly by the English portraitist George Romney. 925 more words

書摘|Art of the Deal:Contemporary Art in a Global Financial Market

序章重點摘要:

本書架構|

隨著二十一世紀初網路經濟泡沫化,藝術投資市場開始蓬勃發展,並且出現大量藝術投資基金,但卻鮮有針對藝術投資實務操作及其對於藝術產業生態之影響的相關學術研究,既有的相關討論也多呈現相互矛盾的論點。Horowitz撰寫本書的目的即在融合三種不同的觀點及面向以提供藝術投資相關的批判論述。第一種觀點為實務導向:因為目前多數與藝術品相關的避險基金及私募股權基金缺乏資訊揭露的規範而造成資訊不對稱或資訊錯誤的現象,並且仍處於初期發展階段,面臨金融危機的影響以及對於新型態金融商品需求降低等考驗。第二種觀點乃著重藝術的本質:目前藝術投資基金的標的多侷限於畫作而忽略其他形式的藝術創作,且基金經理人對藝術市場運作的瞭解僅來自於針對藝術品拍賣價格的學術研究,難以對當代藝術市場發展有全面而深刻的瞭解,作者欲藉由此觀點以平衡目前偏頗的視野。第三種觀點則是藝術的工具性 (art’s instrumentality) 並非僅表現在藝術投資基金,而係源自於整體藝術產業的專業化,例如自1960年代起藝術教育的實務導向,以及畫廊、拍賣公司、銀行及藝術創業等大量採用的創新行銷、融資及銷售策略。

本書共分為三章,涵蓋的時間範疇自1960年代迄今,主要著眼於1990年以後的發展。在此時間架構下,囊括了現代投資組合理論(Modern Portfolio Theory)、資本資產定價模型(Capital Asset Pricing Model)、後現代經濟(postmodern economy)、後現代主義(Postmodernism)以及在非物質化(Dematerialization)概念下重視藝術內容以及智慧財產權的趨勢。第一章Video Art探討自1960年代興起的錄像藝術,說明其發展係過去半世紀以來當代藝術經濟邁向專業化的重要象徵,並探討數位錄像技術及錄像藝術於網路流傳對於藝術市場造成的影響。第二章Experiential Art說明體驗藝術的市場如何發展及藏家真正想收藏的作品類型,及其衍生的智慧財產權及行為者網絡理論(Actor Network Theory)議題,此部分將著眼於觀念藝術(Conceptualism)作品相關的判例及法律研討。第三章Art Investment Funds關注的焦點則為藝術投資基金,探究其營運目標、其所面臨的金融及文化挑戰,以及在藝術經濟環境中同步發生的各項發展與此類基金的關係。此章節旨在完整而深入地了解當今藝術投資的發展,並確保將當代藝術市場變化的歷史脈絡爬梳納入分析範疇。在本書末尾的結論中,作者討論了目前全球金融危機對於當代藝術經濟的影響,期望能透過理解大環境的整體發展及未來可能面對的挑戰以充分掌握藝術市場的主要變化。 100 more words

Art+Market|藝術與市場

Central Park Stroll Arm In Arm After Fine Meal At Restaurant Daniel And Hyperallergic Is Not Much About Art

Yesterday I sent in my images to the Hyperallergic picking contest. Not this one. The painting above I began last night and finished this morning in reaction to what you can read about below. 998 more words