越坛素梅香

绍兴小百花艺术中心吕派花旦吴素英凭借越剧《李慧娘》一戏,成功获得第24届中国戏剧梅花奖。当喜讯从5月18日的颁奖晚会上传出后,素迷们奔走相告,吴素英在接受朋友们的祝贺时,也喜极而泣。这是一朵迟开的“梅花”,但她越发显得娇艳夺目。     

Subaltern voices and postcolonial schizophrenia: The political tensions of M.I.A.’s Kala

ABSTRACT

Banned from the U.S. during the “war on terror,” the British/Sri Lankan hip-hop artist M.I.A. responded by recording her 2007 album Kala in multiple locations throughout the global South, collating indigenous musical styles and unorthodox recording techniques. Via a critical/cultural analysis, this paper explores M.I.A.’s work on Kala as subaltern resistance mobilized by “differential movement,” particularly in its mode of production, which operated outside of, and in opposition to, institutional mechanisms designed to expunge or neutralize politically subversive art and artists. Yet M.I.A.’s musical sampling also surfaces conflicts between creative freedom and cultural appropriation, emblematizing “postcolonialist/postmodern schizophrenia” (Vályi, 2011. Remixing cultures: Bartók and Kodály in the age of indigenous cultural rights. In K. McLeod & R. Kuenzli (Eds.), Cutting across media: Appropriation art, interventionist collage, and copyright law (pp. 219–236). Durham, NC: Duke University Press.).     

With all Good Intentions: Jacob Lawrence at the Museum of Modern Art

In the exhibition ‘One-Way Ticket (2015)’, New York’s Museum of Modern Art (MoMA) presented African-American artist Jacob Lawrence’s series Migration (1941). However, despite a curatorial intention to do otherwise, MoMA’s exhibition diminished Lawrence as an artist and his Migration series as art by defining Lawrence as an African-American ‘painterly-historian’, rather than an American artist looking to an international art scene. This article examines ‘One-Way Ticket’ and compares Migration with exhibitions of Otto Dix’s 1924 Der Krieg series to demonstrate the racial bias undergirding even an honest attempt to pay homage to an artist outside of a white modernist mainstream. With the acknowledgement of profound differences in impact and scale, this article contends that there is a parallel between MoMA’s ‘One-Way Ticket’ and the consistent assumption of African-American otherness to a white norm undergirding today’s climate of racial unrest.     

An Economic Analysis of the Droit de Suite

The droit de suite, or resale royalty right, entitles an artist to a percentage of either the price received when her works are resold by their owners. This paper analyzes the effect of this law on the artist's production when early and late works are either substitutes or complements. By giving the artist an interest in the resale price of early works, the royalty provides a credible incentive to maintain value when later production decisions are made. Since the initial sales price capitalizes the stream of future values, the benefit of higher resale prices accrues to the artist.     

Determinants of Prices for Contemporary Art in Dutch Galleries, 1992–1998

We analyse determinants of prices for contemporary art with the help of quantitative data. The focus is on gallery rather than auction prices in the Netherlands. We model the determinants of prices on three different levels: the work of art (size, material), the artist (age, sex, place of residence, institutional recognition), and the gallery (location, institutional affiliation, age). Our main findings are that the size and material of works of art, and the age and place of residence of the artist are strong predictors of price; that differences in size and materials partly ``mask' price differences between artists; and that the variance in prices across galleries is largely explained by characteristics of the artists they represent.     

29年作幅画——画家顾盼和他的代表作

著名油画家顾盼的代表作《1975·5·3》,是一幅前后经历29年,最终于2006年才完成油画作品,其问有这样一段情结。1977年,当时任浙江省美术家协会秘书长的朱琦负责选送浙江美术作品参加全国美展。若干年中,省里没有重大题材的优秀作品可选送晋京,他就找到当年在《工农兵画报》社负责领袖形象修改、加工的顾盼,在那个“政治氛围”极浓的年代里,自然考虑到当时最热门的话题一一毛主席批“四人帮”。     

老外兄弟高唱“我的中国心”

我有蓝色的眼睛/我早已看过《西游记》和《道德经》……我有个中国灵魂／我上辈子一定是中国人／你们叫我老外／我却叫你们同胞们……     

艺术的体验和领悟

浙江兰溪籍著名烫画家胡海明已入选《中国非物质文化遗产通览》一书,他的烫画通过各种形式的展览和交流,已饮誉神州大地及世界。迈入“知天命”之年的胡海明,在人生和艺术的道路上已走出了不同寻常的轨迹,令业内外人士赞叹不已。     

方寸天地中的灵气-草根连环画家董连元

董连元是颇有成果的草根连环画家,在农村文化礼堂建设中,为弘扬中华礼仪、传承道德文明,他常有作品推出,使我十分钦企。日前,浙江省文史馆馆员、书画家方志恩让我结识了董连元。年过花甲的董连元才情满溢,几十年“很接地气”地在方寸天地中追寻着自己心中的“中国梦”。     

郑胜宁雕刀铸真情

今年1月10日至2月10日,在北京中国美术馆举办了中国工艺美术大展。一件题为《孩子,就是老师的生命》的黄杨木雕,被展览艺术委员会作为重点作品进行推介和宣传。一批又_批的观众对创作这件作品的郑胜宁大师“表示敬意”,专家也当着郑胜宁的面赞许道：“你创作的地震中的教师形象是活生生的,有激动人心的思想感情,     

吴捷:十年笋壳梦

吴捷是一个残疾人,追求梦想,为自己的生命注入艺术的斑斓色彩。从另一个角度讲,他的十年笋壳梦,也生动诠释了中国民间艺术是如何丰富如何变得多彩而出人意料。正是有无数像他这样的民间艺术工作者,在田头,在海岛,在大山,在村野,不断探索新的艺术形式,不断创造出新的作     

Demand analysis of hit music in Japan

This study constructed a music demand model with variables representing quality in order to conduct an empirical analysis of popular music in Japan. The demand function was estimated, using the data by title of CDs that appeared on the Top 100 single and album charts in 2007 and 2008. It was found that demand for both singles and albums was inelastic with respect to price. In addition, the estimation results showed that the factors affecting hits differed between singles and albums.     

The ``Death-Effect' in Art Prices: A Demand-Side Exploration

Many factors affect the supply and demand characteristics of artists' output.This exploratory study focuses on a ``supply-induced' demand effect –the death of the artist and the assurance that, from the perspective of thedurable goods monopolist, the output of the artist ends. While not purportingto be a formal test of that proposition, we observe, using U.S. auction data,a clustered rise in artists' values immediately around the time of death andsuggest some possible demand-side explanations using a sample of LatinAmerican artists between 1977 and 1996.     

江南刺绣:丝绸上的艺术绝技简

翻开中国刺绣的编年史,江南民间刺绣,无疑是其中最重要的一页。 清道光年间,寓居无锡的刺绣名家丁佩在《绣谱》里说：“刺绣以针代笔,以绢素为纸,以丝线为朱墨、铅黄。”“取材极约、而用甚广”,为“闺阁中之翰墨。”     

The impact of the <Emphasis Type="Italic">Droit de Suite</Emphasis> in the UK: an empirical analysis

The Droit de Suite, known in the UK as Artists’ Resale Rights, provides an artist with the inalienable right to receive a royalty based on the resale price of an original work of art. This paper provides an empirical analysis of actual changes in the UK auction market for art that is newly subject to the Droit de Suite (DDS) because of a change in law. All changes are measured relative to changes for art not subject to the DDS and relative to changes in the auction markets for art in countries where there has been no change in law. We do a difference-in-difference analysis, differencing price growth and sales growth across market segments and across countries over the period 1993–2007. Our results suggest that the introduction of the DDS has not had a consistent negative impact on the UK art auction market during the period of study.     

Moral rights protection for the visual arts

Beginning in 1979, certain states extended extra copyright protection, known as “moral rights” protection, to visual artists. Moral rights protection, which was incorporated into U.S. copyright law in 1990, ensures that works cannot be altered in a manner that would negatively impact the reputation of the artist. Using difference-in-differences regression strategies, we compare artists and non-artists in states with moral rights laws to those in states without these laws, before and after the laws are enacted. This enables us to test the impact of the laws on the behavior of artists, consumers, and policy makers. Our analysis reveals that the average artist’s income falls by around $4000 per year as a result of moral rights legislation, but we find no impact of the laws on artists’ choices of residence or on state-level public spending on the arts.     

Financial returns,price determinants,and genre effects in American art investment

Past studies on art investment generally have found that returns are low and risk is high. In this study we find that the return to art investment is more in line with traditional investments and thus the cost for consumption associated with art seems fairly small. Employing a large sample of paintings by 66 American artists sold at auction between 1971–1992, average returns are found to be over 9 per cent and 3 per cent in nominal and real terms, respectively. The model employs a log linear price regression estimated by pooled cross section and time series data, and allows rates of return as well as hedonic values for various painting and auction attributes to be estimated. These include size, media, age of execution, authenticity of the work, and auction month and house. In addition, rates of return are differentiated by artist, time period of investment, price range and genre of the painting. The findings indicate significant sensitivity of rates of return to these data stratifications.This paper was presented at the 9th international conference of the Association for Cultural Economics, held in Boston, May 8–11, 1996.     

Rap as a Social and Political Revealer: Diam's and Changes in French Value Systems

Abstract

In 2006, a young female rapper named Diam's released an album that became the best‐selling CD in France: her CD and its reception is treated as a social phenomenon and examined against the backdrop of political arguments which developed in France in 2006–2007. Musical analysis shows that the sonic backgrounds of Diam's rap illustrated the importance of combinations and hard work in the symbolical production of a new order. Her texts manifested new combinations of social values which brought into the public debate changes in value systems that were just becoming developed enough to be taken up by political organisations and leaders. This is why the main themes in Diam's CD converged with topics engaged by the two main candidates in the French 2007 presidential election. This paper, combining the resources of musicology, literary analysis and political sociology analyses how Diam's put in aesthetic and emotional forms combinations of values that had been brewing underground for the past 30 years. It invites a reconsideration of the interpretation of rap as an expression of rebellion, or even as an element of counter‐culture, and apprehends it as a ‘social revealer’ that brings new values and representations into public debate and stimulates discussion around them. Diam's album was an ‘unidentified political object’ that shed original light on the way politics and politician are perceived by ordinary citizens, or specific groups among them, such as the youth.     

Specificities of the artistic cultural labor market in Brazilian metropolitan regions between 2002 and 2010

This paper analyzes the singularity of artistic cultural sector workers in the Brazilian metropolitan labor market, considering the job satisfaction of artists that Throsby proposes in his work preference model of artist behavior (1994). We also examine the effect of public expenditures on the income of workers in the cultural sector. Using 2002 to 2010 data from the Monthly Employment Survey (PME) and administrative records from Finance of Brazil (FINBRA), we estimate a probit model and a wage equation. In our model, we estimate wages as a function of: (1) sociodemographic characteristics of workers, (2) a variable for informal jobs, (3) the number of working hours, (4) a variable for the worker having another job, (5) per capita expenditures on culture interacted with a dummy for artistic cultural workers, (6) interactive binary variables involving place of residence and artistic cultural workers and (7) the predicted probability obtained by the probit model. This probability is estimated based on the likelihood of working in a creative activity, considering both workers from the cultural sector and other workers, controlled by: (1) sociodemographic characteristics of workers, (2) characteristics of their jobs, (3) dummies for the metropolitan regions and (4) willingness of creative workers to work additional hours interacted with the number of hours worked. Our results show that workers in the cultural sector are likely to work longer hours when compared to workers in other sectors. For our wage equation, the results suggest that women earn relatively less than men and blacks earn less than whites. Furthermore, earnings increase with age and the level of education. Formal workers obtain higher earnings when compared to informal ones. Finally, an increase in the per capita public expenditure on the cultural sector raises the income of workers in artistic cultural occupations.     

Age–price profiles for Canadian painters at auction

We conduct an empirical analysis of the effect on the auction price of a Canadian painting of the age of the painter at the time of creation of the painting. We consider over two hundred artists, active over the entire history of Canadian art, who are pooled in the estimation of a hedonic regression in which a polynomial function in age enters as a regressor along with several other control variables. We consider the possibility that the age–price relationship has changed over time by: (a) estimating separate age–price functions for three generational groups of artists—those born before 1880, between 1880 and 1920, and after 1920 and thus coming of age in the world of post-war ‘contemporary art’ and (b) estimating a parameterization where the shape of the age–price profile is permitted to change continuously depending on the year of birth of the artist. Our principal result is that artists born more recently tend to ‘peak’ earlier in their careers than those of previous generations.