Chinese Art and the Market in the 1990S

2 1 CHINESE ART AND THE MARKET IN THE 1990S ( 1996 ) efficient source of raw materials.” When this [now] obsolete relationship between | | By Wang Lin and Ye Yongqing supply and demand was exposed and became public after 1989, it underwent two important changes. Namely, overseas galleries as well as important domestic galleries Market-Oriented Oil Painting Fads and art institutions stepped in, and collectors began to offer much higher prices than As it entered the 1990s, the world of Chinese art was no longer under the impact of what had been demanded by professional artists ( take the Masterpieces exhibition for New Wave art or the confusion brought about by Western modernist art. Instead, it instance, the price of purchase for the gold, silver, and bronze medalists were 10,000 confronted changes in artistic concepts and values engendered by the commercializa- RMB [yuan], 5,000 RMB, and 3,000 RMB, respectively ). [The collectors] are cautious tion of art within a commodity economy. A few years earlier, popular topics in the art in placing their bets. In selecting domestic artworks, they mainly rely on their own world included style, artistic expression, art philosophy, and ontology. At the time, taste and the name recognition of the artists in China. Various institutions and galleries people grappled with questions about art from inside the art system. This led to the organized exhibitions to meet the needs of the overseas market and promoted high- emergence of various art schools, art groups, and symposia. Today, even if these ques- quality, realist, commercial oil paintings ( this also included a few artists working with tions have yet to be theoretically or practically resolved, the focus of attention has more sophisticated realist styles ). Chinese oil paintings later auctioned in Hong Kong shifted outside of art itself to the market, pricing, and venture opportunities. Thus, the mainly came from the string of exhibitions organized by the large-scale, state-run gal- most representative features of today’s art world are found in the various exhibitions lery Beijing International Art Salon ( Beijing guoji yiyuan ) as well as the Annual Exhibition and promotions aimed at selling art. of Chinese Oil Painting ( Zhongguo youhua nianzhan ) organized by the Oil Painting Art Chinese art since 1989 has undergone a series of fundamental changes. The naïve, Committee, and the Oriental Oil Painting Gallery’s specialized Refined Oil Painting impulsive idealism and humanistic fervor [of the 1980s] have been thwarted as reality Exhibition ( Fengqing huazhan ). These exhibitions became sites for displaying and sell- muted artists into dormancy. In October 1990, the first unabashedly commercial exhi- ing artworks by young artists. Art flowed from these galleries to overseas secondary bition, Masterpieces of Chinese Oil Painting ( Zhongguo youhua jingpin zhan ), broke the markets. International art dealers also used agents inside of China to conduct their silence in this ambiance of depression and seemed to have found a new point of entry business, or directly organized exhibitions to tour overseas. The channel also expanded into reality. The exhibition attracted immediate popular attention and interest in the from Beijing and coastal cities to the inner provinces. There are two prominent fea- Chinese art world. Held at the Zhejiang Academy of Fine Arts ( today’s China National tures in this market operation. First, because the buyers are international, artworks are Academy of Fine Arts ), co-sponsored by the Chinese Artists’ Association, and financed dictated by overseas collectors’ tastes, regardless of where and in what name the exhi- by the Japanese Chiyoda Club, this exhibition provided a model for market operations bitions are held. Second, the inevitable result of this is the dealing in professional for subsequent official and private exhibitions. The exhibition required participating paintings, which became a significant component of the art market. artists to follow international standards in determining the dimensions for their can- Among the variety of exhibitions held in China, “national exhibitions” possess vases; solicited artwork from across the country through advertisements; elected gold, their own significant cultural stature — for many years, they set the benchmarks for the silver, and bronze medalists for outstanding work; and purchased these works in the genesis and growth of numerous artistic styles. On the one hand, “national exhibi- name of the sponsors. Works consisted, without exception, of the classical, realistic, tions,” such as the sixth and the seventh editions [of the National Fine Arts Exhibitions], pastoral, and ethnic subject matters that were favored by overseas art galleries in the and the Seventieth Anniversary Exhibition of the CCP ( Jiandang qishi zhounian meizhan ), preceding period. Apparently, standards adopted by the overseas art market and inter- all observed the standardized requirements of upholding thematic elements from national patrons became the actual “academic yardstick” to measure the quality of the important political events, policies, and commemorative dates. In terms of the partic- works. Inadvertently, these standards furthermore became the invisible hand that ular operational mode and artistic styles of the artworks included, these national exhi- steered the direction of Chinese oil painting. This example shows that the art market bitions tried to incorporate new art developments and academic pursuits, unperturbed for Chinese oil paintings originated from the trade in “professional paintings” ( hang- by any commercial considerations. What emerged since the 1990s has been the break- hua ). The term hanghua refers to paintings that are low in artistic quality but require down of this type of national exhibition. In the Annual Exhibition of Chinese Oil Painting certain artistic skills and are appreciated for generic aesthetic enjoyment. This type of held in late November 1991, a new exhibition model relying heavily on classical and painting basically has no collecting value. But, because its subject matter includes realist styles started to arise. This was distinct from the previous “thematically domi- nudes, romantic landscapes, portraiture, and still lifes, it is suitable for interior decora- nated” art exhibitions. In recent years, after more than seventy years of development tion and is well received by middle-class families with an ordinary intellectual level. since the introduction of oil painting in China, realism has become the established Overseas art dealers purchase this type of painting mostly to serve this specific market mainstream style in oil painting in the Chinese art world. With oil paintings catego- niche. People with a modicum of artistic taste can critique the level of painting, and rized according to painting technique, after the mid-1980s, realism emerged as the can tell that the only basic requirements [for these professional paintings] are that the most mature and influential style. In the wake of the Open Door policy, China was pleasantness, demeanor, quality of materials, and measurements are in accordance flooded with Western art dealers. Western commercial galleries focusing on realism, with internationally accepted standards. For low-income Chinese artists who have such as the Hammer Galleries, the Hefner Gallery, and the Hawk Gallery, promoted acquired skills through academic training, this type of oil painting constitutes an classical and realistic styles. The news of Chinese oil paintings entering the Western important source of income. Owing to the drastic discrepancy in living standards market and fetching good prices spread instantly in the art world. The classical-realist inside and outside China, foreign art dealers can pay extremely low prices and satisfy style mushroomed, and within a few short years, a prominent group of artists the artists. They purchase Chinese oil paintings “at cost and resell them in the overseas emerged. However, except for a few artists who produced serious artwork, the vast art market. In this sense, the so-called [Chinese] art market is nothing but a cost- majority suffered from “anemia” in spite of their painting techniques. There even emerged artists who specialized in Native Soil art, images of ethnic minorities, still life, invigorated Taiwan, where after 1987 the authorities terminated thirty-eight years of 4 | 3 | or landscape, mainly catering to Western exoticism [toward China]. It was against this martial law. As restrictions on foreign currencies relaxed and the stock market soared, backdrop that the 1991 Annual Exhibition of Chinese Oil Painting was held. Its inclusion Taiwanese buyers were able to freely enter the international art market. For instance, of a larger number of classical and realist artworks made works of such styles indis- the total sales of Chinese ceramics to Taiwanese collectors in 1988 jumped tenfold pensable components for future Chinese oil painting exhibitions. The status quo of compared with the previous year. Taiwan all of a sudden became a strong competitor being manhandled by overseas commercial standards foregrounds the problems with Hong Kong in this respect. In October 1989, subsequent to a depressed market underlying Chinese art with regard to the increasingly entrenched influence of the for ink paintings and calligraphy, Taiwan China Trust Corporation successfully bid on market economy. Whether through proactive acceptance or negative influence, and an Impressionist painting

Load more