艺术管理纵横谈

艺术管理是个很庞杂的知识体系,其中包含艺术中介管理、艺术行政管理、艺术经济管理等几大类。     

试论艺术管理学科建设问题

随着近些年文化市场的繁荣,社会文艺事业也日益壮大,尤其是在产业化发展的推动下,艺术管理专业的人才紧缺问题越发明显,艺术管理学科建设也被提上日程,很多院校也已经开始尝试或者已经建成。而艺术管理学科的建设需要解决这样三个问题：艺术管理学的研究对象、艺术管理学的学科体系、研究方法,本文着重介绍这三个问题。     

交流与融合——敦煌艺术在影视艺术中的时代体现

敦煌艺术品在艺术形态、创作方式上表现出明显的时代风格。本文通过敦煌艺术与当代影视艺术表现形式关联的分析,论述了敦煌艺术在为影视艺术所借鉴时呈现出的形式、寓意、创作思路的时代特征,并指出了敦煌艺术与影视艺术从艺术形态、表现形式、创作方法等多方面的时代融合与交流。     

论艺术监督中的创新

艺术管理是一门综合性的学问,在社会分工日益精细化的今天,艺术管理已经从单纯的艺术领域扩展到其他领域,在社会管理中的作用越来越突出。本文首先分析艺术管理的相关基本理论,艺术监督以及艺术策划是艺术管理的重要内容,本文重点分析艺术监督、艺术监督的重要性以及艺术监督在我国的发展现状,最后提出创新艺术监督的建议。     

艺术产业管理现状研究

艺术产业在市场经济环境下占有重要的地位,发展和繁荣艺术产业是繁荣现代经济的必由之路,本文从艺术产业的论述着手,通过艺术产业及其管理现状的分析,提出完善我国艺术产业管理的建议。     

探讨艺术管理在艺术的发展和传播中的作用及其影响

艺术的发展和传播收到多种因素的综合影响,而艺术管理工作的优劣更是对其具有基础性的作用,因此有必要有针对性的提升艺术管理工作的水平。在这种背景下,本文首先从多个方面入手,分析了艺术管理对艺术的发展和传播的重要意义,从而揭示出艺术管理在艺术的发展和传播中的作用及其影响,并进而给出了提升艺术管理水平的措施,以求能为艺术类组织更好的开展各项艺术管理工作,促进艺术的发展和传播提供必要的借鉴于参考。     

以景观规划设计为例浅谈艺术与科学的关系

景观规划设计学是一门关于景观的分析、规划布局、设计、改造、管理、保护和恢复的科学和艺术。是一门建立在广泛的自然科学和人文与艺术学科基础上的应用学科。本文以景观规划设计这一门科学艺术为角度出发,谈论艺术与科学之间的关系。一、景观规划设计景观设计是一门关于如何安排土地及土地上的物体和空间来为人创造安全、高效、健康和舒适的环境的科学和艺术。它     

艺术管理与监督在艺术发展中的重要性研究

艺术是文化的一种表现形式,艺术能够有效的满足人的精神需求,随着人们生活品味的提高,人们日益重视艺术欣赏品味的培养。本文首先对艺术作简要的介绍,然后阐述艺术管理与监督的基本理论,最后论述了艺术管理与艺术监督在艺术发展中的重要作用,并提出完善我国艺术管理与艺术监督模式的建议。     

关于监督艺术与策略探讨

艺术管理是一门综合性很强的学科,艺术管理的重要内容是艺术监督和艺术策划,本文通过对艺术管理的分析,进而论述艺术监督以及艺术策划并对其策略进行分析,最后提出完善我国艺术监督的建议。     

浅谈动画技术的发展历程

作为影视艺术中的独特表现形式,动画艺术自从诞生之日起,自身的发展便与制作技术的进步结下了不解之缘。本文主要从动画技术的发展历程入手,分析了动画技术的发展给动画艺术带来的影响及其动画艺术中技术与艺术的关系。     

明末清初江南艺术市场与艺术交易人

明末清初,江南地区商业经济的繁荣,催生出艺术市场的繁荣,徽商收藏家和书画交易人的活动空前活跃。一时间,苏州、嘉兴、杭州等地成为江南地区艺术品集散的重要地区。尤其徽州地区,由于经济实力的增长,至明末及清初形成了较为成熟的艺术市场。艺术市场的繁盛,自然催生出了一批徽商收藏家,也由此诞生了一批书画交易人。江南地区的有些书画交易人同时也是北方鉴藏家的眼目,这样也使得南北艺术品交流逐渐频繁起来。     

The artist’s resale right revisited: a new perspective

This paper revisits the debate concerning the legal provisions of the artist’s resale right with the aim of providing some new perspectives. Using recently released empirical studies, the paper argues that while resale right payments may be concentrated on established artists in value terms, small amounts will be paid to a large number of relatively unknown artists, particularly in the European market where lower value transactions are large in number. By drawing on the non‐economic literature on pricing art in the primary art market, the paper suggests the rationales of the resale right, often seen as invalid in the past, may actually be valid. Art dealers will be faced with complex economic impacts as the resale right is legislated.     

Provinciality and the art world: the Midland Group 1961–1977

This paper takes as its focus the Midland Group Gallery in order to, first, make a case for the consideration of the geographies of art galleries; second, highlight the importance of galleries in the context of cultural geographies of the 1960s and third, discuss the role of provinciality in the operation of art worlds. In doing so, it explicates one set of geographies surrounding the gallery—those of the local, regional and international networks that are connected to produce art works and art space. It reveals how the interactions between places and practices outside of metropolitan and regional hierarchies provide a more nuanced insight into how art worlds operated during the 1960s, a period of growing internationalism of art, and how contested definitions of the provincial played an integral role in this. The paper charts the operations of the Midland Group Gallery and the spaces that it occupied to demonstrate how it was representative of a post-war discourse of provincialism and a corresponding re-evaluation of regional cultural activity.     

Modern Őmie Women: Virtual Indigeneity and Intimations of Empowerment

The women of ?mie Artists, a cooperative that produces original bark cloth paintings for the global indigenous art market, are described in contemporary ethnographic publications as ranked into a hierarchy of chiefs on the basis of their ‘wisdom’ which is expressed in their paintings. This depiction of the ?mie, who comprise a marginalized population of less than 2000 in Oro Province of Papua New Guinea, is dramatically different from what was known of their culture several decades ago. An assessment of the likelihood of this virtual depiction reflecting the social empowerment of ?mie women is undertaken. Although the impact of missionization and entry into capitalist markets is recognized, it is the interpellation of the art market of the ‘indigenous artist’, working within a traditional mystical tie with the land and the ancestors, which must be seen as precipitating what appears in virtual form an amplification and cultural embellishment of women’s traditional knowledge and practices. This process is foregrounded against the historical change in valuation of women’s cultural contributions by the discipline and the art world.     

Burning Images: A Critical Review of Rock Art Conservation in Zimbabwe

Rock art is the most easily accessible of archaeological material. In Zimbabwe, there are thousands of sites, mostly in open-air environments which can be accessed and enjoyed by many people without any restrictions. Yet, rock art is also easily damaged and therefore requires conservation. Social, political and economic challenges in the last two decades have had profound effects on the conservation status of this particular cultural heritage. This paper examines the state of conservation of rock art, conservation approaches and challenges in Zimbabwe. It also discusses possible solutions especially as the country is making frantic efforts at international re-engagement. The story of rock art conservation in Zimbabwe is similar to what is happening in many neighbouring developing countries such as Kenya, Uganda and South Africa. Therefore, the discussion in this paper also informs on general issues in rock art management and conservation in Africa.     

Quantification and the Scientific Study of History

Abstract

A survey of the illustrations in art history textbooks reveals that the most important Modern American painters, including Pollock, Johns, and Warhol, failed to produce individual paintings as famous as the masterpieces of a number of major French artists, such as Picasso, Manet, and Seurat. Analysis of the textbooks reveals that art historians do not consider the American artists to be less important than their French predecessors or judge the Americans' innovations to be less important. The absence of American masterpieces instead appears to be a consequence of market conditions. as changes over time in the primary methods of showing and selling fine art reduced the incentive for artists to produce important individual works. This study demonstrates that the study of markets is essential to a full understanding of the development of Modern art.     

民俗学艺术论题的转向——从民间艺术到支撑人之“生”的艺术(vernacular艺术)

民俗学研究中关于艺术的讨论通常是在民间艺术或民俗艺术概念之下展开的。然而,这类议论往往深受传统与历史性的束缚,普通人在生活世界里所制作的平凡作品很少有机会能被视作"艺术"。要使这样略失偏颇的论题实现在现代社会中的转向,vernacular艺术这个概念应能发挥效用。它所指的,是并不自许为"艺术家"的普通人受难以抑制的创作冲动所驱使而作成的艺术;是在那原本与正统艺术世界的制度、权力或权威无涉的世界里,自学习得艺术技能与知识的人们苦心巧思而成的艺术。它是呈现在普通人生活现场与路上的艺术,有时亦是支撑人生、充实生活的艺术,是寻回新生、填补生命的艺术。在民俗学中采用vernacular艺术这一视点时,艺术本身并不是真正需要我们考察的对象。我们应当考察的是艺术背后人们千姿百态的生活形象与方式,是他们别具特征的人生观与人性,这些都是极好的研究材料。另外,将"艺术家"的个人史与其生活社会的当代史加以描述,从中亦能生长出研究的良材。     

Removal of Rock Art Affected by the Raising of the Clanwilliam Dam Wall,Western Cape Province,South Africa: Techniques and Procedures

The commissioning by South Africa’s Department of Water and Sanitation of a new and higher wall for the Clanwilliam Dam will increase dam storage and provide additional water for emerging and existing commercial farmers. But there is a cost to South African heritage. The raising of the wall will flood 27 rock art sites as well as other archaeological and historical resources. In partial mitigation of this impact on heritage the removal of particular pieces of rock art was approved by Heritage Western Cape, the provincial heritage agency. This report focuses on the removal process and techniques used to cut out three pieces of rock art under the management of PGS Heritage between 18 April 2016 and 7 May 2016 from the sites designated CDE02 and CDW10. Publication of the techniques used and the procedures followed will add to the sparse literature on rock art removal and increase the accessibility and availability of information about the removed stones.     

Outsiders? A sociological study of Norwegian artists with minority background

Why are there relatively few successful artists from a migrant background in Norway? Based on a study of artists of known migrant backgrounds, we explore this question from the artists’ points of view. We analyze both their social and cultural background, and the mechanisms of exclusion and inclusion at work in Norway’s art world, and especially the interaction between the two. We have concentrated on the dramatic arts: theater and dance. The article presents a theoretically informed analysis of the qualitative material using the sociology of art on the one hand and the sociology of migration and ethnic relations on the other. Further, the empirical analyses are in constant dialog with other Norwegian studies of the art field and the artists themselves. The article presents original findings on the relationship between barriers in young migrants’ backgrounds and impediments to entering and navigating at the field of dramatic arts.     

中国艺术考古学的奠基

艺术考古学作为一门在考古学与艺术学的边缘地带产生的交叉学科,其形成和确立顺应了考古学与艺术学学科发展的必然趋势;同样,考古学与艺术学理论的发展也为艺术考古学的建立奠定了理论和实践上的坚实基础。