Impacts,Measurements, and Art Policy: Starting the Change Process

The author discusses a survey of companies with art collections in German-speaking countries—Germany, Austria, and Switzerland. Drawing on the data collected in the survey, he highlights the differences between two groups of curators currently responsible for corporate art collections, the "new professionals" and the "management administrators." First, organizational changes in corporations that occurred during the "founding boom" of the 1990s had a significant effect on the roles of corporate art managers, introducing the art-educated "new professional" into the process, which before then had been controlled by the corporate-trained "management administrators." Second, the nature, content, and styles of current corporate art collections reflect specific "corporate cultures." Third, the "new professional" corporate art curators purchase contemporary art for their collections at art fairs, a reality that has significant impact on the art market. The author concludes with an analysis of the relationship between these new professional corporate collectors and the contemporary art market by highlighting significant changes in pre- and post-1990 corporate art collections.     

The Changing Business of Aboriginal and Torres Strait Islander Art: Markets,Audiences, Artists,and the Large Art Fairs

ABSTRACT

This article analyzes the relationship between the growth of large Australian Aboriginal art fairs and shifts in the fine art market and state policies; audience and art insiders' experiences; and the implications of art fair participation for artists and art centers. In contrast to the traditional gallery model, the art fairs draw buyers and artists together in regional centers, along with families, managers, curators, commentators, administrators, and politicians. Using the assemblages concept, we analyze the emergence of a new engagement that prioritizes social, cultural, and interpersonal aspects of art making and where buyers consume “relational goods” linked to their purchasing context.     

影响当代中国工艺美术的设计性因素解析

单就设计性因素考察,中国当代工艺美术及其设计,除了受中国传统关学及中国传统设计思想的影响外,还有着与西方设计思潮互动的历史。进入工业时代,艺术与技术的融合成为一种必然,但随着设计美学由现代向后现代的转换,艺术自身的生命力与渗透力也不容小视,激进主义、材料美学、设计艺术的商业化倾向等,都对中国当代工艺美术设计产生了深刻影响。     

社会转型期的群众文化建设：“下里巴人”的重建

在社会转型阶段,群众文化艺术形式发生了深刻的变化,形成了多元混合的格局：既有传统的＂下里巴人＂——民族民间传统文化艺术形式,又有新的＂下里巴人＂——市场经济条件下的大众文化艺术形式,还有主流价值观的＂下里巴人＂——代表先进文化前进方向的主导文化艺术形式。现阶段的群众文化建设,面临三种形态的＂下里巴人＂相互分割,发展不平衡以及群众文化工作与群众文化脱节,群众文化活动式微等困境。应根据文化大发展大繁荣的时代需要和群众生活方式变化的实际情况,通过文化空间、文化内容、城乡文化、民族文化的整合,实施对＂下里巴人＂的重建,实现群众文化的转型和繁荣。     

论专利申请人之现有技术披露义务

问题专利产生了严重的社会后果,提高专利授权质量具有迫切性。高质量的现有技术检索是提高专利授权质量的前提,这在专利申请数量巨大的背景下显得尤为重要。专利申请人及其代理人在专利审查过程中,应向专利审查部门依诚信原则披露其所知悉的、对申请案之可专利性具有关键性价值的参考资料。建立具有法律效力的现有技术披露义务符合专利制度的立法目的和利益平衡原则,节约现有技术检索的社会成本,从而保障专利审查中现有技术检索的质量。我国《专利法》第36条规定了该义务,但没有规定相应的法律后果。我国应通过立法和司法两方面来完善申请人的现有技术披露义务。     

El Templete and Cuban Neoclassicism: A Multivalent Signifier as Site of Memory

In this article I explore the production and reception of El Templete, a nineteenth‐century memorial erected to commemorate the founding of Havana. This symbolically rich monument participates in the aesthetic traditions of architecture, sculpture and painting, and is a paradigmatic example of the multivalence of public, monumental art in the late colonial classicism of Latin America and the Caribbean. Rather than representing strictly an aesthetic discourse of Spanish colonial power, El Templete underwent a process of local assimilation, whereby classical forms and academic aesthetics were adapted to the self‐representation of a heterogeneous colonial city.     

现有技术抗辩现行规定的不足与完善

现行法关于现有技术抗辩的规定仅适用于在先产品抗辩。对于在先文献抗辩,其成就条件应修订为:被告产品具备在先公开文献记载的现有技术的全部技术特征,在先文献所载技术具备原告专利权保护范围的全部技术特征。对在先专利之外的其他在先文献记载的现有技术范围的界定,应当遵循一定的规则。     

Contemporary art and unconditionality: ‘the genus of art’ in the art criticism of Chiba Shigeo

This article examines art criticism of the 1980s that sought to address the context and continuity of postwar Japanese avant-garde art. The emphasis is placed on the notion of ‘the genus of art [rui to shite no bijutsu]’, which the art critic Chiba Shigeo discussed in his Gendai bijutsu itsudatsushi (1986). Chiba argued for an autonomous current of postwar Japanese art separate from Western art history but the argument has been largely overshadowed by his ostensible nihonjinron. The term ‘the genus of art’, therefore, has not yet received an adequate critical treatment. The article rephrases this notion as a call for a more inclusive definition of art designed to challenge the conditions that regulate non-Western art. Rather than simply being a nationalist polemic against Western art history from a marginalized place, Japan, ‘the genus of art’ was intended to revitalize and redefine the aims of the avant-garde within the context of ‘contemporary art’. By fleshing out the textual details of ‘the genus of art’ and situating the notion within a larger discourse that interrogated the semiotic role of ‘Japan’ in a global exhibition context, the study repositions Chiba's writing as a potential argument for unconditional acceptance, or unconditionality, as one important ethical contribution of contemporary art.     

孔子的军人价值观思想及现代启示

孔子的军人价值观是一个以武德之仁为核心的思想体系。在这一思想体系中,足兵是实现军人价值之基、治国安邦之本;教民尚武、寓兵于民和培育军事人才是提高军人内在价值的基本途径;安国、济民、匡天下是军人的最终价值理想,执干戈以卫社稷、为保卫父母之国而献身是军人的最高的价值实现和最大的荣誉。孔子培育军事将才的武德实践及亲自运筹和指挥夹谷会的胜利,是其军人价值观理论与实践相结合的重要体现。     

广西十三年文艺发展的理论政策基础

广西十三年文艺实现了较快的发展,根本原因是马克思主义文艺理论指引,并得到新时期党和国家文艺政策和法规的引导和保障。