This term paper explores the increasing presence of Chinese collectors of contemporary Chinese art. It is driven by the idea that collectors ‘produce’ or cultivate meaning in the larger canon of art history. Based on Belk’s analysis of collecting as a consumption activity (1991), the motivations of these collectors and the resulting implications for contemporary art are investigated. The development of patronage and art appreciation throughout China’s tumultuous past, and the current barren cultural landscape have given rise to a collector who differs greatly to the traditional model. At the same time, it is hypothesized that there exists a more deeper-lying uniquely Chinese altruism next to the amalgam of social refinement, identity, nationalistic and financial motives. On the basis of this, is suggested that whereas the current nature of collecting contemporary art in China does not yet demonstrate the high level of critical thinking and sophistication that would be beneficial for the development of the contemporary art scene, there nevertheless lies potential for a more healthy development in the years to come.
Inhaltsverzeichnis (Table of Contents)
- Introduction
- Setting the Stage
- Times are changing: the Rise of the 'new Chinese' collector
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This paper aims to explore the emergence of a new generation of Chinese collectors within the rapidly expanding Chinese contemporary art market. By analyzing the motivations and characteristics of these collectors, the paper seeks to understand their impact on the development and future of the Chinese art scene.
- The role of collectors in shaping the meaning and value of art.
- The shifting dynamics of the Chinese contemporary art market.
- The impact of Western collectors and the emergence of a new generation of Chinese collectors.
- The distinction between patronage and investment in art collecting.
- The potential for a healthy development of the Chinese contemporary art scene.
Zusammenfassung der Kapitel (Chapter Summaries)
The first chapter introduces the concept of collectors as producers of meaning in the context of Chinese contemporary art. It highlights the rapid growth of the Chinese art market and the influence of both Western and Chinese collectors. The chapter examines the case of Guy Ullens and his collection of Chinese contemporary art, highlighting the significant impact of collectors on the value and appreciation of art.
The second chapter, "Setting the Stage," delves into the historical context of collecting Chinese contemporary art, outlining the role of Western collectors in shaping the market and the emergence of a new generation of Chinese collectors. The chapter discusses the motivations and approaches of prominent collectors like Guy Ullens, Uli Sigg, Kent and Vicki Logan, and Chris and Eloisa Haudenschild, emphasizing their influence on the development of the art scene.
The final section of the chapter, "Times are changing: the Rise of the 'new Chinese' collector," explores the increasing prominence of Chinese collectors in the contemporary art market. It discusses the shift from a primarily Western-driven market to one increasingly influenced by Chinese collectors. The chapter highlights the motivations of this new generation of collectors, including their interest in expressing their character and taste through contemporary art.
Schlüsselwörter (Keywords)
This paper focuses on the themes of Chinese contemporary art, collectors, patronage, investment, the Chinese art market, and the impact of the 'new Chinese' collector on the art scene. It explores concepts of meaning-making in collecting and the role of collectors in shaping the future of the art world.
- Quote paper
- Patrizia Koenig (Author), 2012, New Kids On The Block: An Exploration into ‘The New Chinese’ collectors as Producers of Meaning in Chinese contemporary art, Munich, GRIN Verlag, https://www.grin.com/document/208327
