Sponsorship In The History Of Art In China During The Last Three Decades- Retrospection And Conception

The main purpose of this thesis is to discuss the developing process, influence, significance as well as the direction that we should have today and in the future in the three decades of Chinese contemporary art history. Firstly, I would make a deep sorting out for some critical exhibitions that could represent its own decade in the thirty years history of Chinese contemporary art with the approach of Haskell in his"Patrons and Painters"that"write a stage of art history through the analysis and research on the historical materials of patronage and sponsors", thus to raise the two problems exist in the sponsorship in Chinese contemporary art history during the last thirty years, which are: 1, the problem of Chinese contemporary context, 2, the problem of standardization. The contemporary context of China is a background that cannot be avoided by Chinese contemporary art and its development. It's destined that we cannot copy the western model, and then in this thesis, the aim is to discuss the characteristics of Chinese contemporary context as well as the model of sponsorship that is needed by this context and can benefit its development. Of course, against the overall background of globalization, while we pay attention to Chinese context, we should also have an international vision and view that pay attention to the whole world. As for the problems of standardization, they were shown in several very important Chinese contemporary art exhibitions in the history, for example, the lawsuit appeared after the 1992 Guangzhou Biennale of Arts was raised by the insufficiency of standardization in the sponsorship relationship. I would like to discuss the problems lie in standardization of Chinese art sponsorship as well as the limits it bears which came from the system and strategy of our country on the foundation of the examples including 1989 Modern Art Exhibition that represents the 1980s, 1992 Guangzhou Biennale of Arts that represents the 1990s as well as the sponsorship of the first non-profit museum of art in China, Today Art Museum that represent the new achievement after 2000, in order to sort out what we should do to help Chinese contemporary art to go on the way to perfection as well as the most proper standardized model in today's context of China.In one word, I believe that the research on sponsorship is critically important for both the study of Chinese contemporary art history and the exploration into the status quo as well as the future of Chinese contemporary art. Therefore, in the Chinese context today, to look for a standardized sponsorship model proper for Chinese contemporary context is necessary.