| In the study of art history, the relationship of art dealer and art history has often been hidden, because artists, artwork or style, genre have been researched as the main object in the field, but this research of approach that social and economic system, characteristics of the times has been ignored often makes the study of art history shows a "vacuum" state. This dissertation from one viewpoint that the relationship between art dealers and art history. It’s a study of object that the art dealer Leo Castelli as the roll booster of contemporary American art. Attempt to render modern art dealers is how to intervene and influence the construction of art history, thus promoting the artistic process of canonization in the market economy.The role of art dealers gradually becomes apparent for the construction of art history with the social, economic and political policy changes of the times. Art dealers are determined what the possibility of communication between consumers and producers in artistic production. They are directly linked to the artists, public and private collections with the capital as the axis and port, and they can through the promotion of artists, art works, exhibitions and other activities to plan for the reputation and interests of the artists, thus reap greater profits. At the same time, they will help artists enter into the art market, international exhibitions, public collections or private collection system that get to status with "great" and "phenomenal success", by promoting the development of art to intervene and influence the construction of art history, and make art being classic.This dissertation has divided into four parts:"Leo Castelli and Capital Logic of Art History", "Star or Idol:Made in Leo Castelli", "Create the Myth:Symbiotic Relationship between Galleries, Collectors and Museums ", "Galleries of Friendship: Castelli Established in the Gallery Community". In the first, it describes that Leo Castelli how to enter in the American art world, then, analyzing the role of "capital" in the artistic production and art history of construction. The second part takes Rauschenberg, Johns and Andy Warhol as example, discussing the Pop Art and "Americanness". Meanwhile, supplement the 32nd Venice Biennale’s case, analyzes of art dealers how to promote the artists were selected to in the art history standards. The third, in the view of authority and power to the symbiotic relationship between galleries, collectors and museums in the construction of the art history. The fourth, Leo Castelli established of the "global cooperation gallery mode" as an example, it’s the analyze he as a dealer that how to make promotion of American art, and the American art how has been "internationalization" in Europe by promotion in the art market, thus, pushing back discussions this way in the impact of art history of construction.Although it is about the art dealer Leo Castelli as a case study, it is the nature that belong to the scope of art history. As an art dealer for the American Contemporary Art, Leo Castelli especially the promotion of Pop Art is a very classic case. Those artists, collectors, gallerists, curators and someone who was around him and boosting his success. In research methods, it is necessary by art patron mechanism to link art history. So, these are becoming the attractive topics that the art dealers are how to run a business to help artists get recognized, they are how to get involved in art history through capital construction, and how to make art being classic.So, this dissertation involved in art theory, art economics and management, sociology and other disciplines in the expansion theory, it will probably lead to deviate from the art theory as the main study. There must seek to the main purification in the boundary of expansion to discuss the issue of the writing problems of art dealers and art history in a wider range. |
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