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谈艺术当代我国艺术博览会的学术性建构历程与理由

发布时间: 2010-11-17


预读:rt in today’s world. At the same time, they provide a social stage for the development of contemporary art.Art fairs are the direct outcome of a consumption-driven socio-economical development. In the context of market economy, they are a form of industry and of market, while the spiritual property谈艺术当代我国艺术博览会的学术性建构历程与理由
论文中文摘要:“艺术博览会”对于全世界来说都是一个新兴事物,迄今为止历史还不足50年,在我国的历史更是不到20年。它是以较早成熟的综合性市场运作方式——“博览会”中逐渐细分出来,形成的一个专业性的市场形态:即一种艺术商品集中展示交流与交易的形式、一种将艺术审美与商品经济有机结合的组织活动。艺术博览会所具备的开放式、全景式市场方式使其成为目前世界上规模最大的一种艺术品展示和交易的商业活动,同时也为当代的艺术进展提供了一个社会化的舞台。艺术博览会是一定社会经济进展所带动文化消费需求的必定产物,在市场经济语境下,其既是一种产业形态又是一种市场形态。艺术本身所具有的精神属性使其产品与业态增加了一个新的维度,这样艺术市场行为的发生就不仅仅具有经济特点,同时更为重要的是具有一种社会特点与精神影响的现实作用。也正因如此,对于学术性的建构成为艺术博览会区别于其它类别博览会的一个本质特点。本论文以当代我国艺术博览会的学术性建构历程与不足为切入点,行文以以下四个角度对这一论题进行析理与探讨:一、对我国艺术博览会的发生、进展进行客观、翔实的考述,并对其在我国当下市场语境中的具体形态与体现进行全面的考察与诠释;二、对其学术性建构的进展历程进行梳理并对其中所有着的现象与不足予以总结和剖析;三、以学术与市场的联系、市场主体之间的联系,艺术的市场传播等三个主要矛盾层面,对当代我国艺术博览会的价值目标进行拟设;四、针对上面陈述的浅析,结合国际规范与成熟业态的进展方式,为当代我国艺术博览会学术性的建构提出现实对策。可以说,艺术博览会在经济全球化下如何面对行业竞争健康的进展,并对社会产生积极的效益与影响,既是一个艺术领域课题也是一个重要的现实课题。如今艺术博览会已经成为我国当代艺术市场链中的重要一环,与画廊、拍卖会共同构筑起当代艺术的两级市场,在规范与改善市场机制与秩序方面发挥着无可替代的作用,同时作为一种商业本质的产业形态,其在创造可观的经济效益的同时,对艺术的社会推广与普及、艺术教育等方面也产生着巨大的社会效益。通过对我国艺术博览会的全面考察与探讨,我们也理性的认识到在市场化进程中我国的艺术博览会还有着着诸多亟待解决的不足,应引起业内人士及相关部门的足够重视,在当今经济全球化日益进展的环境下,艺术市场已呈一日千里的进展走势,对于当代文化艺术产业与市场相关领域的介入与探讨无疑具有十分重要的现实作用!

【English Abstract】 "Art fairs" are new to the world. To-date they have less than 50-year history, while in China their history is less than 20 years old. Art fairs gradually evolved from an early comprehensive pattern of marketing-the so called "fairs"-to a speciapzed market typology. Art fairs are both a venue for the exchange and commerciapzation of art goods, and an organized activity for the integration of aesthetics and economy. Due to the size of their market model, they have become the biggest commercial activity dedicated to the display and trade of art in today’s world. At the same time, they provide a social stage for the development of contemporary art.Art fairs are the direct outcome of a consumption-driven socio-economical development. In the context of market economy, they are a form of industry and of market, while the spiritual property of art itself adds a new dimension to the products and to the type of production. The emergence of such art market behavior not only displays economic traits, but more importantly it also entails a social character and a spiritual influence of practical significance. Given these very features, art fairs differ from other types of exposition for their relevance to the construction of an academic approach to art. This paper takes as object of research the history and issues connected to the academic construct of China’s art fairs. The topic is analyzed and investigated from the following four perspectives:first, by giving an accurate account of the invention and development of China’s art fairs, and by investigating and interpreting their role in the context of China’s market economy today; second, by offering a systematic review of the development of their academic construct and by highpghting and analyzing aspects and issues emerging from art fairs; third, by appraising the value of contemporary Chinese art fairs in consideration of confpctual relations such as those between academics and market, those within market itself and those of markets propagating art; fourth, by suggesting reapstic strategies for an academic construct of contemporary Chinese art fairs on the basis of the review and analysis given above and in connection with international standards and the development patterns of a mature industriapzation. It could be said that how art fairs face competition (that is a healthy challenge to their development) in a globapsed economy and how they exert positive effects and influences on society a

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