西方现当代艺术家个人品牌经营策略研究
摘要
在19世纪中后期,西方的艺术赞助形式从由主要教会、国家和贵族进行长期赞助的体制转变为主要由匿名的艺术市场的客户,即收藏家和商业顾客赞助的形式,因此对作品独创性的要求被强调,艺术家的作品必须能满足市场的需要才能建立和维持其名声。本论文认为,艺术家的营销能力和个人品牌经营能力是艺术家成功的关键,在现当代艺术家中的成功者大都是精于市场营销和个人品牌经营的商才。本论文回顾了西方艺术家与艺术市场关系的简要历史,说明了西方的著名艺术家从“耻言利”到公开自己的经营策略的历程。论文阐述了现代艺术市场兴起的过程以及艺术家应对艺术市场的策略,包括艺术家的创新策略,艺术的自律性问题和艺术场的诞生与消亡,机械复制时代以后“灵韵”的问题和艺术从手工业变迁为工业化生产,以及成功的艺术家从工匠转变为企业家的历程。论文重点分析了现当代艺术家中较善于经营个人品牌的概念性艺术家的营销策略,着重研究了具有杰出企业家才能的艺术家安迪·沃霍尔、杰夫·昆斯等人的个人品牌经营策略,给出了艺术家个人品牌的定义和特点,并总结出了西方现当代艺术家个人品牌经营能力的策略,强调了概念性艺术家对独特定位、有效沟通以及塑造个人品牌形象这些主要策略的理论和实践,对艺术家的艺术营销和个人品牌经营实践,以及其他创意产业工作者提供了有益的启迪。
In the late19th century, the form of sponsorship shifts from the long-term sponsorship system in which major sponsors are the church, the nation and the aristocracy to the art market, in which the major sponsors become collectors and commercial systems, who are anonymous clients. Thus the originality of the art works has begun to be emphasized, and the artist's work must be able to meet the needs of the market in order to establish and maintain its reputation. This paper argues that the artist's marketing ability and personal brand management ability is the key to the success of the artist, the big winners among modern and contemporary artists are entrepreneurial talents who are good at marketing and personal brand management. This paper reviews the brief history of the relations between Western artists and the art market, covering the course from that artists are ashamed to talk about profits to proclaiming their marketing strategy openly. This paper describes the course of the rise of modern art market and the strategy of artists dealing with the art market, including the strategy of originality of the artists, the issue of "self-disciplined art", the birth and demise of "the Art Field", the issue of "aura" dating from the age of mechanical reproduction, and the course of transformation of art from handicraft to industrialized making of art, and the course of transformation of the successful artists from craftsmen to entrepreneurs. This paper focuses on the analysis of marketing strategy of conceptual artists among modern and contemporary artists who are good at personal brand operations, among them the entrepreneurially talented ones such as Andy Warhol and Jeff Koons are the locus. This paper stipulates the definition and the features of personal brand of artists, summarizes the strategy of personal brand management of modern and contemporary Western artists, emphasizing the theories and practices of the major strategies such as unique positioning, effective communication and shaping of personal brand image. This paper provides a useful inspiration to the practice of arts marketing and personal brand management of the artists, as well as other professionals of creative industries.
In the late19th century, the form of sponsorship shifts from the long-term sponsorship system in which major sponsors are the church, the nation and the aristocracy to the art market, in which the major sponsors become collectors and commercial systems, who are anonymous clients. Thus the originality of the art works has begun to be emphasized, and the artist's work must be able to meet the needs of the market in order to establish and maintain its reputation. This paper argues that the artist's marketing ability and personal brand management ability is the key to the success of the artist, the big winners among modern and contemporary artists are entrepreneurial talents who are good at marketing and personal brand management. This paper reviews the brief history of the relations between Western artists and the art market, covering the course from that artists are ashamed to talk about profits to proclaiming their marketing strategy openly. This paper describes the course of the rise of modern art market and the strategy of artists dealing with the art market, including the strategy of originality of the artists, the issue of "self-disciplined art", the birth and demise of "the Art Field", the issue of "aura" dating from the age of mechanical reproduction, and the course of transformation of art from handicraft to industrialized making of art, and the course of transformation of the successful artists from craftsmen to entrepreneurs. This paper focuses on the analysis of marketing strategy of conceptual artists among modern and contemporary artists who are good at personal brand operations, among them the entrepreneurially talented ones such as Andy Warhol and Jeff Koons are the locus. This paper stipulates the definition and the features of personal brand of artists, summarizes the strategy of personal brand management of modern and contemporary Western artists, emphasizing the theories and practices of the major strategies such as unique positioning, effective communication and shaping of personal brand image. This paper provides a useful inspiration to the practice of arts marketing and personal brand management of the artists, as well as other professionals of creative industries.
引文
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165
166 Damien Hirst and Gordon Burn, On the Way to Work(New York:Universe Publishing,2002), p.55.
167
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173 Damien Hirst and Gordon Burn, On the Way to Work(New York:Universe Publishing,2002), p.85.
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185 村上隆,《艺术战斗论》,长安静美译,时代文艺出版社2011,p120
186 莎拉·桑顿《艺术世界的七天》,何云朝译,中国人民大学出版社2011,75页
187 村上隆《艺术战斗论》,何云朝译,时代文艺出版社2011,p120
188 夏皮罗《论风格》,来自沈语冰编《艺术学经典文献导读·美术卷》,北京师范大学出版社2010
189 章利国，《艺术市场学》,中国美术学院出版社2005，p37
190 凡勃伦,《有闲阶级论》,蔡受百译,商务印书馆1964
191 村上隆《艺术战斗论》,长安静美译,时代文艺出版社2011
192 埃利亚斯,《论文明、权力与知识》,刘佳林译,南京大学出版社2005
193 克莱门特·格林伯格《现代主义绘画》,选自沈语冰编《艺术学经典文献导读书系——美术卷》250页
194 村上隆《艺术战斗论》长安静美译,时代文艺出版社2011,35页
195 村上隆《艺术战斗论》,长安静美译,时代文艺出版社2011,5页
196 奥斯汀·哈灵顿《艺术与社会理论》,周计武,周雪骋译,南京大学出版社2010，p133
197 概念性艺术家的定义见论文第三章第一节。
198 肯特·沃泰姆《形象经济》,刘舜尧,中国纺织出版社2004
199 席勒《审美教育书简》,张玉能译,译林出版社2009
200 约翰·赫伊津哈《游戏的人》何道宽译,花城出版社2007
201 维克多·特纳《象征之林》徐洪峰译,商务印书馆2006
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2 詹明信《晚期资本主义的文化逻辑》,张旭东译,三联书店1997
3 转引自曹意强《艺术与历史》中国美术学院出版社2001,15页
4 曹意强《艺术与历史》中国美术学院出版社2001,30页
5 贡布里希《名利场逻辑-在时尚、风格、趣味的研究中历史决定论的替代理论》(The Logic of Vanity Fair, Alternatives to Histo ricism in the Study of Fashions, Style and Taste)
6 皮埃尔·布尔迪厄《艺术的法则——文学场的生成与结构》,刘晖译,中央编译出版社2011
7 诺贝特·埃利亚斯《论文明、权力与知识》,刘佳林编,南京大学出版社2005
8 奥斯汀·哈灵顿《艺术与社会理论——美学中的社会学论争》,周计武,周雪骋译,南京大学出版社2010
9 理查德·凯夫斯《创意产业经济学》,孙绯译,新华出版社2004
10 迈克尔·菲茨杰拉德《制造现代主义》,冉凡译,广西师范大学出版社2010
11 Margot and Rudolf Wittkower, Born Under Saturn, (New York Review of Books, 2007)
12 萨拉·桑顿《艺术世界的七天》,何云朝译,中国人民大学出版社2011
13 Don Thompson, The $12 Million Stuffed Shark, Aurum Press 2012
14 伊丽莎白·科瑞德《创意城市——百年纽约的时尚、艺术与音乐》,陆香译,中信出版社2010
15 露丝玛丽·贾斯基《明星是这样制造的》,彭霞媚译,中国城市出版社2004
16 Margot and Rudolf Wittkower, Born Under Saturn, (New York Review of Books, 2007) pp.9-11
17 Leon Battista Alberti, On Painting(London:Penguin,1991), p.64.
18 Francis Haskell, Patrons and Painters:A Study in the Relations Between Italian Art and Society in the Age of the Baroque,Yale University Press 1980
19 Harrison and Cynthia White, Canvases and Careers (Chicago:University of Chicago Press,1993), p.13.
20 Vincent van Gogh, Complete Letters of Vincent van Gogh, Vol.3 (London:Thames and Hudson,1958), p.543.
21 Virginia Woolf, Roger Fry (San Diego:Harcourt Brace Jovanovich,1968), p.159.
22 Joan Miro, Selected Writings and Interviews(New York:Da Capo Press,1992), p. 71.
23 迈克尔·菲茨杰拉德《制造现代主义》,冉凡译,广西师范大学出版社2010,p4
24 Adolph Gottlieb, "The Artist and the Public," Art in America, Vol.42, No.4 (1954), p.267.
25 Barnett Newman, Selected Writings and Interviews,(Berkley, University of California Press,1992) p305
26 Greenberg, Collected Essays and Criticism, Vol.2, p.170.
27 Harold Rosenberg, The Tradition of the New(New York:Da Capo Press,1994), p. 267.
28 Meyer Schapiro,Modern Art(New York:George Braziller,1982), pp.224-26.
29 Andy Warhol and Pat Hackett, POPISM, the Warhol Sixties (Orlando,:Harcourt 1980), p22
30 安迪·沃霍尔,《安迪·沃霍尔的哲学》,广西师范大学出版社2011,135页
31 罗伯特·休斯,《安迪·沃霍尔的崛起》,新世界出版社《一个战时审美主义者的肖像》
32 David Bourdon,Warhol(New York:Harry N. Adams,1989), p104
33 David Bourdon, Warhol(New York:Harry N. Abrams,1989), p.108
31 Harold Rosenberg, Art on the Edge (University of Chicago Press,1983), p102.
35 David Sylvester, Interviews with American Artists(New Haven:Yale University Press,2001), p.334.337.
36 Jeff Koons, The Jeff KoonsHandbook(New York:Rizzoli,1992), pp.33,37,12.
37 Damien Hirst and Gordon Burn, On the Way to Work (New York:Universe Publishing,2002), pp.16,63,84.
38 Damien Hirst and Gordon Burn, On the Way to Work (New York:Universe Publishing,2002), pp.30,153
39 Pierre Bourdieu, The Field of Cultural Production(New York:Columbia University Press,1993), p.79.
40 Robert Hughes, Nothing If Not Critical (New York:Penguin,1990), p.237.
41 Peter Schjeldahl, The "7 Days" Art Column,1988-1990(Great Barrington, Mass.. The Figures,1990), pp 88-93.
42 Alan Bowness, The Conditions of Success(New York:Thames and Hudson,1990), pp.9-11.
43 David Galenson, Artistic Capital(New York:Routledge,2006), p.50.
44 Francis Haskell, Patrons and Painters:A Study in the Relations Between Italian Art and Society in the Age of the Baroque,Yale University Press 1980
45 E.H. Gombrich, The Early Medici as Patrons of Art In "Norm and Form" London 1966
46 Meyer Schapiro, Modern Art(New York:George Braziller,1982), pp.25.
47 The Journal of Eugene Delacroix, trans. Walter Pach (New York:Viking Press, 1972),p.322.
48 Letters ofGustave Courbet, ed. Petra ten-Doesschate Chu (Chicago:University of Chicago Press,1992), p.70.
49 修拉仅在1883年有一幅素描被沙龙选中。在他参加“独立艺术家群展”以后,没有再送作品去沙龙。
50 P. Mainardi, The End of the Salon (Cambridge:Cambridge University Press,1993), pp.18-19.47.
51 参看T. J. Clark's The Absolute Bourgeois (London:Oxford University Press,1971) and The Image of the People (London:Oxford University Press,1973).
52 Letters of Gustave Courbet, p.63.
53 See Robert Jensen, Mar-keting Modernism in Fin-de-Siecle Europe, Princeton University Press,1996, pp.197-25.
54 Manet and His Critics (Now York:W.W. Norton,1969), p.107,
55 John Rewald, History of Impressionism,Museum of Modern Art,1973,p.320
56 Bourdieu, The Field of Cultural Production, p.251.
57 保罗·史密斯,《印象主义》,张广龙译,中国建筑工业出版社,12-13页
58 保罗·史密斯,《印象主义》,张广龙译,中国建筑工业出版社,33-35页
John Rewald, The History of Impressionism, p.313
60 郭宏安,《波德莱尔美学论文选》,人民文学出版社,1987
61 Mainardi, The End of the Salon, p.165
62 万后芬,《市场营销教程》,高等教育出版社,p36
63 Vincent van Gogh, The Complete Letters of Vincent van Gogh, second ed., Vol.2 (Greenwich, Ct.:New York Graphic Society,1959), p.515.
64 纪尧姆·阿波利奈尔,《阿波利奈尔论艺术》上海人民出版社,2008,p75
65 迈克尔·菲茨杰拉德《制造现代主义》,广西师范大学出版社,2010,第一章
66 Alan Bowness, The Conditions of Success(New York:Thames and Hudson,1990), p51
67 迈克尔·菲茨杰拉德《制造现代主义》,广西师范大学出版社,2010,第一章
68 Jack Flam, Matisse on Art(Berkeley, University of California Press,1995), P.54
69 Brassai, Conversations with Picasso (Chicago:University of Chicago Press,1999), p.55.
70 William Rubin, Primitivism in 20th Century Art, Vol.1 (New York:Museum of Modern Art,1984), p.10.
71 Virginia Button, The Turner Prize:Twenty Years(London:Tate Gallery 2003)
72 Wittkower, Born Under Saturn, pp40,278
73 John Berger, The Success and Failure of Picasso(New York:Vintage Books,1993), p.3.
74 Brassai, Conversations with Picasso (Chicago:University of Chicago Press,1999), p.34.
75 Hughes, Robert, Nothing but Critical, p56
76 Neal Gabler, Life the Movie (New York:Alfred A. Knopf,1998), p.135.
77 Arthur Danto, After the End of Art (Princeton:Princeton University Press,1997), p137.
78 Damien Hirst and Gordon Burn, On the Way to Work (New York:Universe Publishing,2002), p.86.72.
79 哈特,内格里《帝国》,杨建国译,江苏人民出版社2003
80 Carol Duncan, Civilizing Ritual, Inside Public Museums, Routeledge 1995
81 Clement Greenberg, The Collected Essays and Criticism Vol.4 (Chicago: University of Chicago Press,1993), p.300
82 Louise Bourgeois, Destruction of the Father, Reconstruction of the Father (Cambridge:MIT Press,1998), p.166.
83 Harold Rosenberg, The Tradition of the New (New York:Da Capo Press,1994), p. 37.
84 郭宏安,《波德莱尔美学论文选》,人民文学出版社,1987
85 Arthur Danto, Embodied Meanings (New York:Farrar, Straus and Giroux,1994), p. 85.
86 K. S. Malevich, Essays on Art,1915-1933, Vol.1 (London:Rapp and Whiting, 1969), p.89.
87 Harold Rosenberg, Discovering the Present (Chicago:University of Chicago Press, 1973), pp.111-18.
88 Alan Bowness, The Conditions of Success(New York:Thames and Hudson,1990), pp.7,11,16.
89 Walter Sickert, The Complete Writings on Art (Oxford:Oxford University Press, 2000), p.253.
93 David. W. Galenson, Robert Jensen, Young Geniuses and Old Masters, NBER Working Paper 8368
James Breslin, MarkRothko (Chicago:University of Chicago Press,1993), p.427.
Calvin Tomkins, Odd the Wall(Harmondsworth:Penguin,1981), p.185.
96 奥斯汀·哈灵顿《艺术与社会理论》,周计武,周雪骋译,南京大学出版社2010
97 克莱门特·格林伯格《现代主义绘画》,选自沈语冰编《艺术学经典文献导读书系——美术卷》250页
98 皮埃尔.布迪厄《艺术的法则一文学场的生成与结构》,刘晖译,中央编译出版社2011
99 奥斯汀.哈灵顿《艺术与社会理论》,周计武,周雪骋译,南京大学出版社2010
100 朱其,《当代艺术理论前沿-新批评史批评与理论》,江苏美术出版社2009,p50
101 克莱门特·格林伯格《前卫与庸俗》,选自沈语冰编《艺术学经典文献导读书系——美术卷》313页
103 克莱门特·格林伯格《前卫与庸俗》,选自沈语冰编《艺术学经典文献导读书系——美术卷》313页
104 鲍德里亚《象征交换与死亡》,车槿山译,译林出版社2006
105 费迪南·索绪尔《普通语言学教程》,高名凯译,商务印书馆1980
106 卡尔·马克思《1844年经济学哲学手稿》人民出版社2000
107 安迪·沃霍尔《安迪·沃霍尔的哲学》,卢慈颖,广西师范大学出版社2010
108 弗雷德里克·詹明信,《晚期资本主义的文化逻辑》,张旭东译,三联书店1997
109 Svetlana Alpers, Rembrandt's Enterprise (Chicago:University of Chicago Press, 1988), p.102.
110 Toshiharu Nakamura, ed., Rubens and his Workshop(Tokyo:National Museum of Western Art,1994), p119
111 Krisztina Passuth, Moholy-Nagy (London:Thames and Hudson,1985), pp.31-32.
112 Francoise Gilot and Carlton Lake, Life withPicasso(New York:Doubleday, 1964), pp.220-21.
113 Sidra Stich, Yves Klein (Stuttgart:Cantz Verlag,1994), pp.173-77.
114 肯尼斯·戈德史密斯《我将成为你的镜子——安迪·沃霍尔访谈精选》,任云莛译,三联书店2007,p307
115 克莱门特·格林伯格《前卫与庸俗》,选自沈语冰编《艺术学经典文献导读书系——美术卷》313页
116 Carol Duncan, Civilizin,Ritual, Inside Public Museums, Routeledge 1995
117 居伊.德堡《景观社会》,王昭风译,南京大学出版社2007
118 TJ 克拉克《再见了,现代主义》,选自沈语冰编《艺术学经典文献导读书系——美术卷》71页
119 雅克.阿塔利《21世纪词典》,梁志斐,周铁山译,广西师范大学出版社2004
120 保罗·约翰逊《知识分子》,杨正润译,江苏人民出版社2000
121 约翰·伯格《毕加索的成败》,连德诚译,广西师范大学出版社2007
122 菲茨杰拉德《制造现代主义》第二章,广西师范大学出版社2010
123 David Galenson, Artistic Capital(London:Routledge,2006), p.78.
124 Francoise Gilot and Carlton Lake, Life with Picasso (New York:Doubleday, 1964), pp.225.
125 来源为BBC纪录片《Modern Masters-Picasso》 2012
126 斯坦·劳里森斯《达利的骗局》,朱子仪,北京十月文艺出版社2008
127 来源为BBC纪录片《Modern Masters-Dali》2012
129 Pierre Cabanne, Dialogues with Marcel Duchamp (New York:Da Capo Press, 1987), p.95.
130 Arthur Danto, Embodied Meanings (New York:Farrar, Straus and Giroux,1994), pp.213-14.
131 Harold Rosenberg, Art on the Edge (Chicago:University of Chicago Press,1973), p.17.
132 Pierre Cabanne, Dialogues with Marcel Duchamp (New York:Da Capo Press, 1987), p.125.
133 Irving Sandler, Art of the Postmodern Era(New York:Harper Collins,1996), p. 88.
134 《新艺术哲学：约瑟夫·波伊斯》四川美术出版社编译2010
135 《新艺术哲学：约瑟夫·波伊斯》四川美术出版社2010,120页
136 安迪·沃霍尔,《安迪·沃霍尔的哲学》,卢慈颖译,广西师范大学出版社2011
137 Sozanski, Edward J. (1994), "Andy Warhol goes Home,"Chicago Tribune, June 19,13:18-20.
138 Skenazy, Lenore (1987), "Andy Warhol, VIP.,"Advertising Age, March 2, p72.
139 安迪·沃霍尔，《安迪·沃霍尔的哲学》，卢慈颖译,广西师范大学出版社2011
140 David Bourdon, Warhol(New York:Harry N. Abrams,1989), pp.128
141 来源为BBC纪录片《Modern Masters-Warhol)) 2012
142 Skenazy, Lenore (1987), "Andy Warhol, VIP., "Advertising Age, March 2, p72.
143 Hackett, Pat (ed.) (1989), The Andy Warhol Diaries, New York:Warner.
144 Pomeroy, Ralph (1971), "The Importance of Being Andy, Andy Andy, "Arts & Artists, (February), p14-19
145 Jonathan Flatley,'Warhol Gives Good Face:Publicity and the Politics of Prosopopeia', in Jennifer Doyle, Jonathan Flatley and Jose Esteban Munoz (eds.),PopOut:Queer Warhol (Durham:Duke University Press,1996), p.113.
146 Victor Bockris, Warhol (London. Penguin Books,1990 [1989]), p.230.
147 Grant McCracken, Big Hair:A Journey into the Transformation of Self (London.Indigo,1997), p.97.
148 涂尔干《宗教生活的基本形式》,渠东译,商务印书馆2011
149 Kenneth Goldsmith, ed., I'll Be Your Mirror(New York:Carroll and Graf, 2004),pp.14-15.
150 Kenneth Goldsmith, ed., I'll Be Your Mirror-(New York:Carroll and Graf, 2004),p16.
151 Kenneth Goldsmith, ed., I'll Be Four Mirror (New York:Carroll and Graf, 2004),pp.17-18.
152 Andy Warhol, The Philosophy of Andy Warhol, Penguin2007, p112
153 David Cottington, Modern Art, Oxford University Press,2005
154 Hackett, Pat (ed.) (1989), The Andy Warhol Diaries, New York:Warner.
155 Andy Warhol, The Philosophy of Andy Warhol, Penguin2007, p132
156 Andy Warhol, The Philosophy of Andy Warhol, Penguin2007, p56
157 Bourdon, David (1971), "Warhol as Filmmaker," art news,59(3), p48-53.
158 Jeff Koons,The Jeff Koons Handbook(New York:Rizzoli,1992), p.58.
159 来源：2012年3月21日杰夫·昆斯在中央美术学院报告厅做的讲演
160 Jeff Koons, The Jeff Koons Handbook, p15.
161 2012年3月21日杰夫·昆斯在中央美术学院报告厅做的讲演
162 2012年3月21日杰夫·昆斯在中央美术学院报告厅做的讲演
163 Irving Sandler, Art of the Postmodern Era(New York:Harper Collins,1996), p. 494.
164 Arthur Danto, Unnatural Wonders(New York:Farrar, Straus and Giroux,2005), pp.286-87.
165
166 Damien Hirst and Gordon Burn, On the Way to Work(New York:Universe Publishing,2002), p.55.
167
168 Clement Greenberg, The Collected Essays and Criticism, Vol.2 (Chicago: University of Chicago Press,1986), p.215.
169 参看David W. Galenson, "The New York School versus the School of Paris,' Historical Methods, Vol.35, No.4 (Fall 2002), pp.141-42. (Chicago:University of Chicago Press,1983).
170 Damien Hirst and Gordon Burn, On the Way to Work(New York:Universe Publishing,2002), p.86.
171 David Cottington, Modern Art, Oxford University Press 2005
172 Andy Warhol, The Philosophy of Andy Warhol, Penguin2007, p15
173 Damien Hirst and Gordon Burn, On the Way to Work(New York:Universe Publishing,2002), p.85.
174 Damien Hirst and Gordon Burn, On the Way to Work (New York:Universe Publishing,2002), p.19.
175 Marjorie May Haight, Value in outsourcing labor and Creating a Brand in the Art Market:The Damien Hirst Business Plan, The American Economist
176 Julian Stallabrass, High Art Lite (London:Verso,1999), p.47.
177 Hirst and Burn, On the Way to Work, p.169.
178 Louisa buck, Moving Targets 2, Tate Gallery, p20
179 Matthew Collings, Blimey! (Cambridge:21 Publishing Ltd,1997), pp.36-38
180 David Cottington, Modern Art, Oxford University Press 2005
181 Matthew Collings, Art Crazy Nation (London:21 Publishing,2001), p.168.
182 David Cottington, Modern Art, Oxford University Press 2005
183 村上隆,《艺术创业论》,江明玉译,中信出版社2011,p55
184 村上隆,《艺术创业论》,江明玉译,中信出版社2011,p83
185 村上隆,《艺术战斗论》,长安静美译,时代文艺出版社2011,p120
186 莎拉·桑顿《艺术世界的七天》,何云朝译,中国人民大学出版社2011,75页
187 村上隆《艺术战斗论》,何云朝译,时代文艺出版社2011,p120
188 夏皮罗《论风格》,来自沈语冰编《艺术学经典文献导读·美术卷》,北京师范大学出版社2010
189 章利国，《艺术市场学》,中国美术学院出版社2005，p37
190 凡勃伦,《有闲阶级论》,蔡受百译,商务印书馆1964
191 村上隆《艺术战斗论》,长安静美译,时代文艺出版社2011
192 埃利亚斯,《论文明、权力与知识》,刘佳林译,南京大学出版社2005
193 克莱门特·格林伯格《现代主义绘画》,选自沈语冰编《艺术学经典文献导读书系——美术卷》250页
194 村上隆《艺术战斗论》长安静美译,时代文艺出版社2011,35页
195 村上隆《艺术战斗论》,长安静美译,时代文艺出版社2011,5页
196 奥斯汀·哈灵顿《艺术与社会理论》,周计武,周雪骋译,南京大学出版社2010，p133
197 概念性艺术家的定义见论文第三章第一节。
198 肯特·沃泰姆《形象经济》,刘舜尧,中国纺织出版社2004
199 席勒《审美教育书简》,张玉能译,译林出版社2009
200 约翰·赫伊津哈《游戏的人》何道宽译,花城出版社2007
201 维克多·特纳《象征之林》徐洪峰译,商务印书馆2006
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