《The $12 Million Stuffed Shark》的读后感年夜全

话题：The $12 Million Stuffed Shark 

　　《The $12 Million Stuffed Shark》是一本由Don Thompson著作，Palgrave Macmillan出版的Hardcover图书，本书定价：USD 26.00，页数：272，特精心从网络上整理的一些读者的读后感，希望对大家能有帮助。

　　《The $12 Million Stuffed Shark》精选点评：

　　●故事新闻形式讲述欧美艺术品市场和收藏的内幕。从每个故事和历史的点点滴滴你会体会到国外艺术市场的成熟之处

　　●从Damien Hirst的shark入手，深入浅出分析contemporary art市场的运作，很practical，同时也有很多经济学sense，文笔也挺幽默的，推荐！

　　●信息量极大的科普, art world必读

　　●这大概是一本讲真话的书。讲的是拍卖行，艺术品商人及其他行业比如对冲基金是如何把美国当代艺术品推向到这么高的价位的

　　●全面，通俗

　　●a must～read for everyone involved in the art world～

　　●被书名吸引，没想到是一本非常不合格的方便面读物。可能是我对contemporary art态度本来就有些消极，不喜欢很多当代艺术作品过分追求的概念和呈现方式的创新，而丧失了最基本的本该真诚的探索和表达。

　　●艺术江湖险恶

　　●终于看完了。

　　●還蠻真實的。藝術在資本市場只是一個重重包裝過的商品，包裝得越好大家買得越嗨，關鍵是contemporary art的持有門檻也不高。

　　《The $12 Million Stuffed Shark》读后感(一)：金钱，艺术，前卫

　　The Curious Economics of Contemporary Art。 副标题涵括了所有内容。非常好的一本当代艺术市场入门读物，详细分析了拍卖行，经纪，收藏家，和艺术家在整个市场的作用，而且写得生动有趣。

　　《The $12 Million Stuffed Shark》读后感(二)：读了一部分了

　　入手这本外文书，一是自己喜欢艺术品，二是熟悉熟悉英文。

　　原味的英文还是对胃口的，可毕竟和汉语读物不同，看了外文理解起来不难，但是记住看了什么事情不太容易。所以要一章一章的扎扎实实地看。

　　内容很丰富，只是开始对这些艺术品大亨不了解，看人名和现代艺术的作品很是晕乎，（本人喜欢古典的艺术，对新艺术不懂）自然对价位什么的也不是很有感觉。除了沃霍尔和几个人名，其它都不是很了解。但是涅，大亨的影响力和手段倒是看出来了，基本上是权力财力都是一等一的高手，画家不爽提点意见都可以被封杀，从此画廊里再无那个人的画作。

　　艺术品市场的确凶险，是大人物利用大量资金炒作的对象。对于普通人买个喜欢的就好，这浑水不是那么好蹚的。

　　书中写的不是艺术哲学，而是着重写艺术市场运作。对美术上有纯粹追求的人可以不看。

　　《The $12 Million Stuffed Shark》读后感(三)：Contemporary art market

　　Definitely very informative. 前几章关于拍卖行的各种骚操作看得我云里雾里，真的挺复杂。不过整体来说take away是艺术与金钱的关系自艺术诞生的那天起就是一种复杂的entanglement，而在21世纪当financial market更加成熟同时wealth concentration也更加严重之后，这种机制变得更加复杂，但同时也更不容易crash。Auction and art fairs become events in their own right, entertainment and public display for the ultra-rich. 艺术的价值极少由本身的美学价值决定。同时也解释了艺术世界中的不同角色，branded dealer, auction house specialist, museum curator, art critic, and collector（顺序根据对于市场的重要性由高到低排列）在这个生态圈中所扮演的角色。

　　同时还挺有趣的几点是，如果不由市场机制决定，艺术品的价值是否有更好或supposedly更公正的alternative定价机制？还有一点是既然美术馆suffer from financial sustainabilty, 为什么不出租70%放在storge里面落灰的馆藏？这一点后来Guggenheim的franchise practice看起来倒不是个坏的例子。

　　然而这对艺术家尤其是年轻艺术家来说有什么指导意义呢？如果想要在市场上能够获得一定地位，那么与其devote your energy and time to craftsmanship or skills, 不如去努力做 work that is big on creativity, innovation, or shock value. 再来就是contemporary art as an investment is a bad idea, unless you can afford the top 10 percent pictures on the market and hold them for a long period time. 总而言之当代艺术市场似乎说到底是给那些ego无处安放的ultra rich和bold player的游戏场。就希望市场大浪淘沙之后，这个时代依旧会有despite market value也能令人尊重和感动的真正的杰作吧。

　　《The $12 Million Stuffed Shark》读后感(四)：Reading Response to The $12 Million Stuffed Shark

　　Venice Biennale, the oldest international exhibition of its kind, is considered to be one of the most prestigious platforms in international art scene. To Sarah Thornton, the author of Seven Days in the Art World, it is not only a "goliath exhibition that is meant to capture the global artistic moment", but also a "holiday opportunity" to satistify the social needs of people in the art world. To Drew Hammond, a freelance writer for The Art Economist, it is more than that.

　　In his recent article The Creature from the Black Laguna (Hammond, 2011), he described Venice Biennale as a window display for the actual transactions that happen elsewhere. This assertion was buttressed by a Roman art publisher who has attended every Biennale since the 70's, "You have to understand what Venice is really about. You think that because nothing is for sale there that it is not about money. But in fact, it is all about money. And everything is for sale, just not officially. The real action is the week before the opening, even before the VIP preview. That's when the guys and girls with the big yachts are cutting all the deals with the galleries for the artists showing at the Biennale. They agree on terms, and the money actually changes hand at Art Basel two weeks later."

　　At a lot of times, art market has little to do with art per se. Don Thompson discusses the art business and art market in his book The $12 Million Stuffed Shark, from the view of an economist and a business school professor. Don Thompson teaches marketing and economics in the MBA program at the Schulich School of Business at York University in Toronto. From personal profile, he seems less professional or sophisticated than art world veteran Sarah Thornton. However, he constructs an interesting overview of the world of auctions, dealers, art fairs and artists with the language of Economics and Psychology.

　　The first point that I learn from Thompson is branding. To him, contemporary art collecting is more about branding than aesthetic value or personal taste. The purchase of a $300,000 spot painting by Damien Hirst is not essentially different that of a Louis Vuitton handbag - which is also mentioned by Sarah Thornton. "Very often, the way the purchase decision for contemporary art is made not just about art, but about minimizing art buyers' insecurity," Don Thompson introduces the concept of insecurity in the first chapter, which is similar to the concept of "ambiguity" in Economics. Contemporary art always overlaps with everyday objects and even art schools and critics can not agree on the merit of a work. It is not surprising that collectors might lack confidence in their own judgement. Resistance to insecurity leads to collectors' reliance on branding. They patronize branded artists, buy from branded dealers, bid at branded auction houses and visit branded art fairs. To consumer products such as Coke, Nike or Gucci, branding is a way to add personality, distinctiveness, and value to a final product or service. A Louis Vuitton handbag offers the buyer the reassurance of prestige and taste of fashion. Branded art operates the same way. According to Wallstreet Journal (Crow, 2011), Pace and Gagosian artists dominated 62% of the overall offerings in the first-half 2011 auction sales.

　　How to build a art brand？ Thompson argues that,"Branding is the end result of the experiences a company creates with its customers and the media over a long period of time." The second point in his book in that art brand can be built and reinforced through clever marketing and public relations. Galleries and auction houses always do a lot of advertising in art magazines, not so much to attract customers as to reinforce the brand and keep the artists and the institutions in the public eye, a clever practice of the theory of reinforcement in Psychology. In Chapter three - Branded Dealers, Thompson talks about Leo Castelli, the legendary art dealer who discovered Jasper Johns, Robert Rauschenberg, Cy Twombly, Claus Oldenburg and Jim Dine. Castelli successfully marketed everyday objects as art and art as daily purchase. In 1960, Willem de Kooning said of Castelli, "That son of a bitch, you could give him two beer cans and he could sell them." In a lot of cases, the successful dealer becomes the brand itself. After Castelli died in 1999, his gallery remained open, but several top painters, such as Ed Ruscha and James Rosenquist left. Gagosian is another inevitable name. A bold pioneer and a speculative risk lover, Larry Gagosian has initiated a lot of innovative attempts. In January 2007, Gagosian pre-sold a Tom Friedman show only by placing digital images of Friedman's work on a private section of Gagosian gallery's website which could be accessed only by password. The show was sold in less than a day, only based on online images. This echos Gagosian's passionate participation in 2011 VIP Art Fair, billed as "the world's first exclusively online art fair.