China's cultural industry yearbook

Date of publication:2012-6   Press: The Yearbook Committee of China's cultural industry, Huang Lin, Zheng Hong, Chen Lifang Anhui scienc   Author:China's cultural industry yearbook.  

2010 was the last year of the Eleventh Five-Year Plan period and the crucial year for the formulation of the Twelfth Five-Year Plan. In this year, cultural industries became the new forces driving local economic growth, and gradually turned to be the pillar industries of the national economy of the country. In addition, spurred by the support of state leaders and relevant policies, the development of cultural industries entered into a new era when dramatic breakthroughs would be made, and the cultural industries would have an unprecedentedly far-reaching influence on the future of the country.
Catalogue of books

Chapter 1 National Overview Chapter 2 The Local Survey Chapter 3 Statistics and Data Chapter 4 Parks and Bases Chapter 5 Planning and Items Chapter 6 Theoretical Studies and Publications
Chapter excerpt

The copyright page illustrations: 1.Increasing Capital Investment Taking: International Gallery such as Pace International in Beijing's 798 Art Zone as anexample, preparation was made to counter international financial crisis.In 2010, capital investmentwas increased, aiming at long term management and fostering new market demand positively. 2.Differentiation of Gallery Content Differentiation of content is conducive to reflect the diversity of China's art creation statusquo.Some international galleries insist on promoting first class artists and develop their owncharacteristics in managing artworks of Chinese artists with international fame.For instance, Pace Beijing held an exhibition of "the Great Performance", collecting works of over 30 contemporary Chinese artists, covering video, device, painting, photography, etc., and from the perspective of "behavior" traced China's artistic creation since 1990s.Domestic galleries represented by galleriessuch as Beijing Commune, PIFO New Art Studio, Star Gallery and Boers-Li focused on t Hepromotion of new artists groups. 3.Positively Selecting Artistic Resources, emphasizing the cooperation between artists and exhibition organizer To select art resources consciously is one of FEatures of China's gallery industry growing mature.In 2010, domestic galleries became more prudent with the cooperation between artists andexhibition organizers.Besides the concern of artwork's value and the market potential, selectingstandards such as cooperation extent, professional extent and personal style have become important.Further more, faced with fierce competition, domestic galleries have realized the necessity of beingthe sole agent for specific artist.Therefore, they have strengthened cooperation with artists, especially those outstanding and young ones.Through regular operation and management, thosegalleries have tried to explore potential or rising artist groups. 4.Value-added service capability being boosted Some domestic galleries have been supported by art institutions and co-worked with art critics.They held art seminars and forums during exhibitions, raising the market price of artwork by theacademic value; some galleries have tried to guide art collection and provide professional servicessuch as a RT market analysis, artwork price analysis and Artwork Collection training for collectors andart lovers.They also positively interacted with art collectors for the expansion of the art collection group.
Editor recommends

"Chinese Cultural Industry Yearbook (2011)" is the detailed record and reflect the national culture industry development status of large-scale comprehensive, authoritative, annual statistics of large information capacity, is also the research field of culture industry in China, information index, for long-term preservation and repeatedly check tool.
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