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中国艺术市场的第三次风潮让近现代大师齐白石挤入了世界艺术市场史上“最为昂贵”艺术大师三甲之列,而2011年嘉德春拍让这个排名也彻底发生变化:本以5000万美元的差额在毕加索之后屈居第二位的安迪·沃霍,在2011年为齐白石让出了亚军宝座,然而如若我们抛开4.225亿元的数字之后,齐白石无论是在均价上还是在拍卖总额的数字上距离前两位都不占优势,只除一项:赝品数量。以印象派、当代艺术为首的西方拍场中的“硬通货”画作,一般都会有以艺术家命名的艺术委员会或者基金会代表其鉴定权威,“一言堂”于艺术市场的好处就是客观上减少了一定的赝品数量,而相对运营健康、历史悠久的上述机构在作品真伪问题上的态度也很是严谨,一定程度上解决了藏家的后顾之忧。一旦这样的机构出现了鉴定偏差,对国际艺术市场而言就等同一场灾难,想必那些已然作古的大师们即便在天堂得知,也会烦恼不已。这其中就包括伟大的安迪·沃霍。而我们转引“大师烦恼”的目的,就是为今天中国艺术市场上,雨后春笋般林立的各色×××艺术委员会、×××基金会们提上一醒:对于已故艺术家最大的尊重,不是以权威的姿态影响甚至是垄断其作品的鉴定、收藏、捐赠、展览等活动,而是真正意义上地给社会和公众,艺术家的作品更广泛更真实更正确的认识。
The third wave of the Chinese art market has brought Qi Baishi, a modern master, into the world’s art market in the history of the “most expensive” top three masters of art, and in 2011 CapitaMalls to make the rankings have changed completely: the 50 million Andy Warhol, who finished second with Picasso after the difference between the U.S. dollar and the United Arab Emirates, gave Qianyaishi a second place finish in 2011. However, if we put aside the figure of $ 425.5 million, The figure on the total distance from the first two are not dominant, except for one: the number of fake. In the “hard currency” paintings in the western auction house headed by Impressionism and Contemporary Art, art commissions or foundations named after the artists generally represent their appraisal authority. The advantage of the “one word court” in the art market is objectively Reduce the number of counterfeit goods, and the relatively healthy operation and the long history of the institutions mentioned above are very strict in the authenticity of the works, to a certain extent, solve the worries of collectors. Once such a body has been identified biased, for the international art market is equivalent to a disaster, presumably those who have mastered the masters even know in paradise will be troubled. This includes the great Andy Warhol. The purpose of our quotation from “Master Troubles” is to remind the XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX It does not influence or even monopolize the identification, collection, donation, exhibition and other activities of his works in an authoritative manner. Rather, it realizes a wider, more real and correct understanding of the works of society, the public and artists in a truly sense.