论文部分内容阅读
保罗·高更(Paul Gauguin)曾说:“艺术里不是革命的便是盗窃的。”对艺术界的平庸没有思考与批判,同样也是汉娜·阿伦特(Hannab Arendt)所说的“平庸之恶”。从经济学的角度看:无论在权力型社会还是市场型社会,当画家们的艺术天资皆不突出而处于同一水平线时,在竞争中,天生禀赋将无法形成垄断,于是画家们最聪明的做法是:寻找差异性(新),设法通过设计技术壁垒或支付时间成本(工),来形成垄断。商勇先生应《画刊》杂志之约,自2014年7月起,连载英文,尝试从制度学及经济学角度透析中国艺术的平庸困境。
Paul Gauguin once said: “There is no revolution in art that is theft.” There is no thought or criticism of the mediocrity of the art world, nor is it what Hannab Arendt said “Common evil.” From an economic point of view: In the power-based or market-based society, when the painters ’artistic talents are neither prominent nor in the same horizontal line, natural endowments can not form a monopoly in the competition. Therefore, the artists’ cleverest practices Is: looking for differences (new), trying to form a monopoly by designing technical barriers or paying the time cost (workers). Since December 2014, Mr. Shang Yong has published a series of articles in English about Illustrated Magazine, attempting to analyze the mediocre dilemma of Chinese art from an institutional and economic perspective.