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在发达国家,艺术品投资已成为与股票、房地产、证券等项目等同的经营获利方式,而在中国远非如此。在中国改革开放之前,艺术品一直仅作为纯粹的精神产物而存在。随着社会的转型和市场经济的逐步确立,艺术品才逐渐走出象牙塔,堂而皇之地走进了流通领域。由此,市场问题也便不容回避地摆在了艺术家面前。艺术品的创作者和接受者之间总会因文化背景和审美取向的差异而存在“错位”现象。如何应对,每个艺术家会作出不同的选择。艺术家与市场之间,需要一个较长时间的“磨合”过程,中国的艺术品市场正处于这种磨合期。
In developed countries, art investment has become the same operating profit-making method as stocks, real estate, securities and other projects, but far from it in China. Prior to China’s reform and opening up, art had existed only as a purely spiritual product. With the social transformation and the gradual establishment of a market economy, works of art gradually walked out of the ivory tower and openly entered the circulation field. Thus, the market problems can not be avoided in front of artists. There is always a “dislocation” between the creators and recipients of art works due to differences in cultural backgrounds and aesthetic orientation. How to deal with each artist will make a different choice. Between artists and the market, it takes a longer “run-in” process, and the art market in China is in such a run-in period.