D e c e m b e r 2 0 0 7 | W i n t e r I s s u e
Inside
Special Issue on the Chinese Contemporary Art Market
Interviews with Liu Jianhua and Shan Shan Sheng
Dialogue on documenta 12
US$12.00 NT$350.00
Introduction
Located in the hills of La Jolla, a seaside resort community near San Diego, California, the
residence of Chris and Eloisa Haudenschild is home to a major U.S. collection of contemporary
Chinese video art and photography. It includes the work of roughly twenty-eight Chinese artists,
including, significantly, Song Tao’s LifeisWonderful (2003), a large floor-top photo installation;
Honey2 (2003), a video by Hugo Boss Prize-nominated Yang Fudong; and Xu Zhen’s 1999
photomontage Sewer. In addition, the Haudenschild collection includes roughly one hundred
and twenty holdings by ninety artists from the Americas, Europe, and other parts of Asia.
Notable pieces include a triptych from Francis Alÿs’s series of paintings titled TheLiar (ca. 1995),
a photograph of Kristof Wodiczko’s TijuanaProjection (2002), and a painting from Komar &
Melamid’s MostWanted series dated at 2000 by the collector.1
The Haudenschilds began collecting contemporary Chinese video and photography in the late
1990s, when these mediums were beginning to become as widely used and important as they are
today, and just before the beginning of the market’s current boom. Since then, prices for paintings
by a few Chinese artists have topped two million dollars,2 and domestic collectors have entered
After the Market’s Boom: A Case Study of the Haudenschild CollectionMichelle M. McCoy
Yang Fudong, Honey 2, �00�, video. Courtesy of ShanghART Gallery, Shanghai.
Xu Zhen, Sewer, �998, photograph, �0 x ��0 cm. Photo: Monica Jovanovich. Courtesy of the Haudenschild Collection.
6�
6�6�
the market in a significant way.3 In November 2006, for instance, a Chinese collector purchased a
Liu Xiaodong painting at a Beijing auction for $2.7 million, the highest price paid at auction for a
painting by a Chinese artist who began working after 1979.4
The current overall global art market
also finds that contemporary art has, for
the first time, “truly begun to rival the
historically dominant Impressionism
and Modern categories” at auction.5
Evidence to the overall market’s growth,
The FinancialTimes has recently been
publishing how-to articles about art
collecting in general and at least one art
hedge fund has been established. Situated
within this historic global market growth,
expansion into China and other regions is seen as having contributed significantly overall. In
addition to the work having dramatically appreciated, China has a new class of art collectors, with
new levels of wealth among them. In fact, expansion into China and other “new” regions is often
used in the case against the market’s potential crash.
Within this, the private collector maintains
a unique position. On the one hand, as
Britta Erickson writes, “Private collections
are well suited to capturing the life of a
vibrant art movement, driven as they are
by passion, unencumbered by institutional
impedimenta.”6 Not necessarily affixed to
any institution or gallery, today’s private
collector has the flexibility to build a
historically complete collection, so long as
he or she has the means and access to do
so. On the other hand, private collectors
are not under any obligation to remain
loyal to any particular mission. As Lu Jie,
founder and director of the Long March
Project, said, “. . . we’ve observed that many [collectors] started out building a big collection and
ended up selling the artwork in auctions. . . . It really takes time to get to know what the real
agenda is that a collector has.”7 However, there are standards and traditions by which collectors
are judged, which the late Jonathan Napack, former Asia adviser to Art Basel describes: to be
considered a “collector,” one must have a certain amount of commitment and knowledge.8
Chris and Eloisa Haudenschild’s level of commitment and knowledge is evidenced by the way they
support contemporary art beyond collecting. The Haudenschild Foundation supports exhibitions
and sponsors artists’ and scholars’ projects and programs such as symposia and residencies at the
haudenschildGarage. Perhaps their most ambitious project yet was an exhibition entitled Zooming
into Focus: Contemporary Chinese Photography and Video from the Haudenschild Collection,
which took place from 2003 to 2005 and travelled to venues in San Diego, Shanghai, Tijuana,
Singapore, and Beijing.
Cao Fei’s and Pi Li’s presentation at the Political Equator Garage Talk, June �006. Courtesy of the Haudenschild Collection.
Participants in the symposium “Distance—A Discussion on Contemporary Chinese Photography and Video” at the China Art Academy, Hangzhou, March �004. Left to right: Pi Li, Eloisa Haudenschild, Waling Boers, Martina Koppel-Yang, Laura Zhou, Evelyne Jouanno, Hou Hanru, Jonathan Napak, Rudolf Stoert, Anna Haudenschild, Chris Haudenschild, Rita Haudenschild, Gridthiya Gaweewong, Wang Gongxin, Hans Ulrich Obrist, Wang Du, Zhang Peili, and Zheng Shengtian. Courtesy of the Haudenschild Collection.
In her catalogue essay for this exhibition, Erickson addresses the collection’s strengths:
“Representing a personal vision, it has not been expected to present a complete or historic
view of the field. Nevertheless, it has captured a major slice of Chinese photography and video,
representative of a signal moment”9 in the field’s entrance onto the global stage. Scholar Martina
Köppel-Yang recognized it as the first collection of its kind,10 and Tina Yapelli, Director of the
University Gallery at San Diego State University and the exhibition’s organizer, lauded it as “the
most important collection of contemporary Chinese video and photography in the world.”11
Lorenz Helbling, the Haudenschilds’ longstanding dealer, writes, “The collection is a very ‘open’
collection. . . . It doesn’t aim to fix images people should have of China, or to transmit stereotypes
of China. It’s not about ‘signature works’ or ‘trophy pieces’—it’s more about a spirit, about
involvement.” The Haudenschilds, he writes, are “great collectors.”12
The Collection
To date, in addition to work by Yang Fudong, Song
Tao, and Xu Zhen, the Haudenschild collection
consists of works by Cao Fei, Chen Shaoxiong,
Feng Mengbo, Geng Jianyi, Gu Dexin, Hai Bo,
Hong Hao, Hu Jieming, Kan Xuan, Liu Wei, Lu
Chunsheng, Shi Yong, Tang Maohong, Wang Jin,
Wang Youshen, Weng Fen, Xiang Liqing, Yang
Yong, Yang Zhenzhong, Yu Youhan, Zhao Bandi,
Zhao Nengzhi, Zheng Guogu, Zhou Tiehai, and
Zhu Jia. All of the works in the collection are
photography, video/animation or computer
graphics, or photo-based installations, except for
two oil paintings and one print. The photographs
are from editions of one hundred or smaller, with
Eloisa Haudenschild, Laura Zhou, and Ma Shulin (Deputy Director, National Art Museum of China) at the opening of Zooming into Focus, November �00�, National Art Museum of China, Beijing. Courtesy of the Haudenschild Collection.
Yang Zhenzhong, 922 Rice Counts, �000, video (7 minutes). Courtesy of ShanghART Gallery, Shanghai.
64
6�6�
the majority of them from editions of ten or fewer. All of the videos are from editions of fewer
than ten.13
Of these seventy individual works produced by twenty-eight artists, two of the works were
produced by women artists: Cao Fei and Kan Xuan. Three of the artists are thirty years old or
younger, while ten are between thirty-one and forty, fourteen are between forty-one and fifty, and
one artist is over sixty. Most of them are based in Shanghai, with a few based in Beijing, Hangzhou,
Shenzhen, Yangjiang, Guangzhou, and Haikou, Hainan. Only Kan Xuan maintains a residence
both in Beijing and abroad, in Amsterdam.
Eloisa Haudenschild said she is primarily interested in collecting as a way to assist and connect
with emerging artists. She explained that when artists have been recognized and supported by
other collectors, she maintains relationships with them, but her interest shifts from collecting
their work to assisting them in other ways, such as funding projects. With charismatic ebullience,
Haudenschild said she has never sold a work, nor has she bought work by an artist she has not
met. She has never attempted to acquire work from an artist directly and has always used an agent
or dealer. She said she has never asked the price of an artwork. The works have been acquired
through studio visits and meetings with artists, stories she recounts with pleasure. Haudenschild
refers to the first trips in which she began to acquire Chinese artwork as “my love affair.”14
Background
Eloisa Haudenschild, née Rodriguez-Carbornell, was born into an affluent family in Buenos Aires,
Argentina, who were involved in real estate and politics. When asked, she said she probably could
be considered a third- or fourth-generation collector, and keeps some of her family’s paintings and
antiques in the La Jolla estate. She met Chris Haudenschild, an astrophysicst-entrepreneur and
native of Los Angeles, skiing in Portillo in 1973. Chris Haudenschild, who has roots in Iowa and
Indiana, is a first generation collector. Together they have two daughters, Rita and Anna, whose
artwork is also listed in the collection’s catalogue.
Eloisa Haudenschild’s educational background is in psychology. She was involved in dance and
choreography before pursuing her interest in contemporary art. She cut her art-collecting teeth
in the early 1990s with contemporary work from Latin America. At that time, she was president
of the bi-national board of inSite, a network of contemporary art programs and commissioned
projects that map the liminal border area of San Diego and Tijuana.
Haudenschild said, “I travelled with the board and the directors to Mexico City every two months
or so, visiting artists and studios, travelling with them and having fun. That afforded me the
opportunity of meeting some extraordinary artists like Francis Alÿs, a good friend, who together
with other good friends have since become international figures in the art world. There, I really got
a firsthand experience of the situation. I saw firsthand their need of support.”
When Chris Haudenschild, founder and president of CliniComp, a healthcare information
management system, began expanding his business into China, the couple began making regular
trips to Shanghai. As she had done in Latin America, Eloisa Haudenschild sought to investigate the
local art scene in Shanghai.
Approach
Fueled by passion and confidence, she says, they acquired twenty works with their first purchase
of Chinese art. Her husband was very supportive, encouraging her to take those twenty and, in her
words, “double it up—go for forty or fifty.”
Haudenschild recounts the late 1990s as an environment very different from the art world in
the large urban centres of today’s China. “I spent a lot of time looking around,” she said of her
first trips. “My husband and I went to the Shanghai Art Museum and saw a show of work by the
Corsinos, a brother and sister who live in France. I was so moved by the work, and was bummed
about not being able to share it with anyone. It was so nice to see something besides calligraphy
and ink washes. I thought, ‘Somebody did this, some curator—someone has this sensibility,’ but I
didn’t know who it was. So, I saw this guy walking around [the Shanghai Art Museum] who looked
a little like Salvador Dali. I thought, ‘I’m going to ask this guy.’ And of course, it was Dadou.”
Dadou, or Davide Quadrio, founded BizArt, a self-supported non-profit gallery, in Shanghai in
1998. Along with ShanghART, it shares billing as one of the oldest contemporary art institutions in
the city.
“I said [to Dadou], I’ve been coming here for three years, where is the artwork?’ He said, ‘Go to
ShanghART and see Lorenz.’ So, my husband and I immediately caught a cab and went to [the
gallery in] Fuxing Park. As you may know, getting around in those days wasn’t as easy as it is now.”
“I walked into [ShanghART]. Then, I met Laura Zhou,” Mr. Helbling’s partner at ShanghART. “It
was genius from that moment on with Laura. . . . We are very close. She calls me ‘mommy.’”
Previously, Mr. Helbling had been showing work at the Portman Ritz-Carlton Hotel, a massive
hotel, convention centre and residence in Shanghai. “He used to carry paintings around on the
back of his motorcycle trying to sell them, because at that time he didn’t have a space,” recounts
Haudenschild. Since then, ShanghART has moved from its Fuxing Park location and expanded
into three different spaces within Shanghai. A fourth space opened this year in Beijing.
“I loved the continual excitement. The best part was going to studios and apartments to look at the
work,” Haudenschild says. Effusive with praise for Mr. Helbling, she said, “[Lorenz] is so good. If I
wanted something and he wasn’t working with that artist, he’d get it for me. For instance Cao Fei.
He facilitated that . . . . You know, Lorenz wouldn’t sell to just anybody. He’s not as concerned with
making a profit. We work together; he really wants to support the artists.”
She said he has never given her explicit advice, saying, “You know how it is with Lorenz, you never
know [what he’s really thinking]. He’ll listen, smoking, with his coffee. And then he’ll say, ‘Eloisa, I
think it’s time to think.’” Helbling and Zhou did, however, encourage her to look at certain artists.
After that initial trip, Haudenschild says she did a fair amount of research, contacting and meeting
with scholars and curators in the field. She went to Paris and met with Hou Hanru, and exchanged
emails with Britta Erickson. Perhaps in testament to the perceived need for a studied, serious,
aesthetics-based treatment of contemporary Chinese art, Haudenschild said her queries to these
noted curators and scholars—“from me, this little collector”—were enthusiastically received.
Meantime, she continued collecting on her regular trips to China.
66
6767
Collecting Video And Photography
In general, photography and video, like other edition-based media, have traditionally sold for less
than paintings. Despite their lower value within the market, however, these media, as previously
mentioned, are important to contemporary Chinese art and often become vehicles for highly
conceptual projects. Critic and scholar Lu Leiping describes photography and video as the “most
experimental and pioneering media today,” and “the media that more strongly maintain the
Chinese characteristics.”15 Indeed, many artists represented in the Haudenschild collection work
solely in photography and video, and several are now highly sought after in large international
exhibitions and biennials.
Haudenschild describes the process of arriving at the collection’s focus on video and photography
as a product of following her own instincts. “You have to trust your eye,” she said. “I just get what I
like, and the video and photography were what I liked. . . . There’s no one telling me what to do.”
“I did not initially intend to collect video and photography,” she said, asserting that certain works
she selected, such as Yang Fudong’s TheFirstIntellectual photographs, did not initially appear
collectible. When asked why more people don’t collect video, her response was, “I don’t know.
Maybe they just haven’t warmed up to it yet.”
Art: The “Alternative Asset Class”
Mainstream media outlets have described the recent growth in art investment in the overall
market. “Art has emerged as a serious alternative asset class in the past few years, in spite of the
disdain of art lovers and the skepticism of many dealers and collectors,” wrote Deborah Brewster
Yang Fudong, City Light, �000, video (6 minutes). Courtesy of ShanghART Gallery.
in an article about art collecting that appeared in the July 13, 2007 issue of the FinancialTimes.16
She continues:
“Randall Willette, who advises collectors, says: ‘There are increasingly two types of buyer in the market. The idea that you should buy purely because of your passion is becoming less common. More buyers are coming from a financial background and people want to support their buying decisions with financial information. Increasingly, art is part of the balance sheet of private clients.’”17
Indeed, much of the current dialogue surrounding contemporary Chinese art, and contemporary
art as a whole, is in the language of finance.
Texas-based venture capitalist and wildcatter oil tycoon Robert Chaney speaks in such financial
terms about his extensive contemporary Chinese art holdings. On the eve of the current exhibition
of his collection at the Houston Museum of Fine Arts, Red Hot: Asian Art Now, Chaney described
his strategy for “acquiring masterpieces,” using a method that is, in his words, a studied adaptation
of the Warren Buffet model for investing. In the meantime, Chaney invited art dealers to sit on a
panel in conjunction with the exhibition and encouraged Houston galleries to hold concurrent
exhibitions of Asian art. Chaney seems determined to establish himself as an important, involved
collector who also vocalizes his financial interest in the art world.18
Haudenschild, on the other hand, downplays herself as an investor. “I think I am not a good
collector,” she joked, pausing in front of IUsuallyWaitUndertheArchRoofforSunshine, a 2001
photograph by Hong Hao, who is well known for his photographs of densely accumulated objects.
“For instance, the smart collector would’ve gotten [the accumulated object photos]. But me, I liked
this one.”
Mrs. Haudenschild stands apart from
the object-focused connoisseur as
well, giving importance instead to
her relationships with artists and
members of the community. “For me,
the collecting is just a token, a way to
support these young guys . . . . The
reward is that I have the opportunity to
be part of their path.” She affectionately
describes the relationships among the
artists represented in her collection,
noting that they have maintained
their integrity and loyalty to one another as friends in spite of experiencing unequal degrees of
recognition. “You know, there are many collectors who are buying pieces and then putting them
away until they become valuable—they don’t even show the work. And that is such a waste—these
people need exposure,” she said.
Future Of The Market
Speculations on a crash or correction in the global and Chinese contemporary art markets
circulate. Commenting on the market in general, Los Angeles-based billionaire collector Eli
Broad was quoted in the NewYorkTimesin August 2007 as saying, “We’ve seen an unprecedented
Eloisa Haudenschild with Chen Shaoxiong, Yang Zhenzhong, Xu Zhen, Shi Yong, Yang Fudong, and Song Tao, February �00�. Courtesy of the Haudenschild Collection.
68
appreciation of contemporary
art in the thirty-five years that
I’ve been collecting . . . . We’re
bound to have a correction. I
don’t know if it will happen
at the November auctions,
or it will happen next May.”19
Other recent articles have
described the Chinese market
as “bubbly,”20 and the overall
market as “overblown,”21 and
“showing signs of a bubble.”22
Jonathan Napack wrote of a grim future, with a specific focus on China: “The current ‘boom’ in
the Chinese economy is all about positioning and manipulating perceptions to help attain certain
short-term goals. This infects the art world as much as anybody else.” He wrote, “It will one day
crash, when the speculators who are now blindly following their ‘advisors’ realize prices have
started to fall and dump their collections on the market.”23
Echoing Broad’s sentiments about the overall market, Eloisa Haudenschild commented on the
contemporary Chinese art market’s future, saying, “I’m worried about the market. Will there be a
crash or a correction? Hopefully it will be a correction. But [regardless, as a collector,] you either
have integrity or you don’t.”
Questions Remain
Art collected by individuals from a different country than the origin of the artist is now a common
practice. Today, there are numerous galleries dealing exclusively in contemporary Chinese art in
cities around the Western hemisphere. The question of what influence the foreign collector of
contemporary Chinese art has on the globalized art world is a complex one.
Lu Jie put foreign collectors in a positive light, saying, “[the artists] feel more confident to have
their works sent abroad. They respect the international collectors more and believe they are the
real collectors. The local collectors very often use the building of a collection as an introduction or
entry into the market. The artists feel safer with their work in foreign collections.”24
There is also the idea that foreign collectors have helped contemporary Chinese art to be seen as
valuable within China. Haudenschild said that the most important works in her collection have
been shown at the Shanghai Art Museum and the National Museum of China in Beijing because
she knows “how important it was for these young artists to get there.”
“Foreign collectors held out [the] olive branch,” according to critic Lu Leiping, in influencing
the establishment of serious interest in contemporary Chinese new media art such as that in the
Haudenschild Collection.25
Jonathan Napack wrote: “That is not to say that there is no real basis for the current foreign
interest in Chinese art. This huge country, for so long off the map, is producing artists who can
draw on a wellspring of images, concepts, and issues that are totally unique to China and produce
Li Xu (Curator), Zhang Peili (Artist and Director, New Media Department of China Art Academy), Eloisa Haudenschild, Li Xiangyang (then Executive Director, Shanghai Art Museum), and Lorenz Helbling (Director, ShanghART Gallery), Shanghai Art Museum Press Conference and Opening for Zooming into Focus, February �004. Courtesy of the Haudenschild Collection.
69
works that have that elusive ‘local flavour’ increasingly rare in a globalized world.”26 However,
an often-discussed problem is that the possibility for this “local flavour” is diminished once the
artwork is brought to market.
A less-discussed question, whose answer remains to be seen, is, as they become part of the global
art market, how are China and other “new markets” for contemporary art changing it? Will
contemporary Chinese art be subsumed by the same practice seen in the Euro-American art
market of limitation and marginalization of different groups, such as women and minority artists?
Consistent with Western art, works by male Chinese artists generally sell for more at auction than
those of women. Living Han male artists have appeared much more prominently in the exhibitions
of important collections. This also fits with the Western art historical tradition of marginalizing,
ignoring, and dismissing women artists within Chinese art history.27 Just as Chinese art, which
has not reached the heights that Euro-American art does at auction, is marginalized by art world
regionalism, female Chinese artists may be marginalized even more.
Here again, private collections occupy a unique space. Private collections, “driven as they are by
passion, unencumbered by institutional impedimenta” (as Erickson was quoted as saying in the
introduction to this essay), are truly private in nature, and do not fall under the type of public
scrutiny that attempts to address and confront the gender- and ethnicity-based biases about
an artwork’s value that is at work in public collections. In addition, through the funding of
exhibitions, the establishment of art centres, and the lending of artworks, private collections may
indirectly promote the marginalizing practices of the institutional and historical art worlds. On
the other hand, private collections also present the possibility of freely challenging and questioning
such biases, which, as attested to by Lorenz Helbling, is perhaps what Eloisa Haudenschild has
attempted to do.
The impact an individual collector can have on the market is another question. One of the
indicators by which to measure the success of an artist is his or her inclusion in important and
well-known collections. It follows that the larger and more important the collection, the more
influence on the market the collector has. As Napack wrote of the recent inflation, “It prices
younger or novice collectors out of the market, leaving many artists vulnerable to the whims of a
few deep-pocketed collectors.”28
Finally, it remains to be seen how the market’s inflation will affect the artworks themselves. Napack
wrote, “The current infusion of cash into the market brings [first-rate galleries] some short-term
profits, but it is also destructive in the long run. It inflates the expectations of artists and makes
them even more exploitative of their galleries.”29 Marc Spiegler of NewYork magazine wrote,
“Historically bad markets tend to produce better art—there’s less pressure on artists to produce
and fewer temptations to sell out, and they’re dealing only with collectors and galleries willing to
ride out the hard times.”30
Haudenschild stressed that ultimately what remains important to her is having the ability to
support emerging artists and connect people in dialogue. She said, “The inflation of the market
is problematic. When I was starting to collect, it was like these guys could really benefit from my
collecting their work . . . . A lot of bad work has come to auction recently.”
She said, “You know, Chinese art has become this kind of cliché.” Gesturing around the garage
that houses many of the collection’s significant photographs, including Yang Fudong’s TheFirst
70
Intellectual series of photos (2000), Song Tao’sInLoudCrowdsIDreamofHangingMyself (2002),
and Lu Chunsheng’s Water photos (2002), she said, “I’m thankful I was able to get these pieces,
but I know it’s become a little bit like a fashion show.” Expressing an increased interest in funding
projects, she said, “I’m not even sure I want to be a collector anymore. But I have to make a choice
that I can live with.”
Notes1 Plates of much of the Chinese collection can be found in the exhibition catalogue, Zooming Into Focus: Contemporary Photography
and Video Art from the Haudenschild Collection, Shi Yong and Laura Zhou, eds. (Shanghai: ShanghART Gallery, 2005). Images of the Haudenschild’s other holdings may be found at www.haudenschildgarage.com.
2 David Barboza, “In China’s New Revolution, Art Greets Capitalism,” New York Times, January 4, 2007, http://www.nytimes.com/2007/01/04/arts/design/04arti.html.
3 “Chinese art is now beginning to be aggressively collected by the Chinese themselves,” said Boriana Song, manager of the Chinese-owned Beijing Art Now Gallery. ”But now Chinese buyers are hungry for culture, and they see contemporary art as fashionable. The market is maturing, tastes are changing, and more than 60% of our clients are local Chinese.” Pallavi Aiyar, “Modern art scene grabbing investors,” Asia Times Online, April 11, 2006, http://www.atimes.com/atimes/China_Business/HD11Cb05.html.
4 Barboza, “In China’s New Revolution, Art Greets Capitalism.”5 Marc Spiegler, “Five Theories On Why the Art Market Can’t Crash (and Why It Will Anyway),” New York, April 3, 2006,
http://nymag.com/arts/art/features/16542/.6 Britta Erickson, “Zooming Into Focus, Sliding Into History,” in Zooming Into Focus, 14–15.7 Lu Jie, “Contemporary Art in Greater China: Under Pressure, A Discussion at the 52nd Venice Biennale,” Yishu Journal of
Contemporary Chinese Art (September 2007), 8–24.8 Jonathan Napack, “An Art Market With Chinese Characteristics,” Yishu: Journal of Contemporary Chinese Art (March 2006), 16–17.9 Erickson, “Zooming Into Focus, Sliding Into History,” in Zooming Into Focus, 14–15.10 Martina Koppel-Yang, “Compelling Images of a Distant Life, Video as Expansion of Reality,” in Zooming Into Focus, 71–72.11 Erickson, “Zooming Into Focus, Sliding Into History,” in Zooming Into Focus, 14–15. 12 Ibid. 13 Information about the collection provided by the haudenschildgarage.14 Statements by and biographical information about Mrs. Haudenschild based on a conversation at the haudenschildgarage on
September 5, 2007, a telephone conversation on September 12, 2007, and e-mail exchange. 15 Lu Leiping, “When Experiment Encounters Classics,” in Zooming Into Focus, 19–21.16 Deborh Brewster, “Investing in the art market,” Financial Times, July 13, 2007, http://www.ft.com/cms/s/2/a531d0d2-3153-11dc-891f-
0000779fd2ac.html.17 Ibid.18 Kelly Klaasmeyer, “RED HOT: Asian Art From the Chaney Family Collection,” Houston Press, September 13, 2007, http://www.
houstonpress.com/2007-09-13/culture/red-hot-business/.19 Robin Pogrebin, “Volatile Markets? Art World Takes Stock,” New York Times, August 29, 2007, http://www.nytimes.com/2007/08/29/
arts/design/29mark.html, accessed 08/24/07.20 Barboza, “In China’s New Revolution, Art Greets Capitalism.”21 Spiegler, “Five Theories On Why the Art Market Can’t Crash (and Why It Will Anyway).” 22 Sharon Reier, “Contemporary Art: Follow the Money—The Latest Status Investment is Showing Signs of a Bubble,” International
Herald Tribune, January 27, 2007, http://w4.stern.nyu.edu/news/news.cfm?doc_id=6894.23 Napack, “An Art Market With Chinese Characteristics,” Yishu: Journal of Contemporary Chinese Art (March 2006), 16–17.24 Lu Jie, “Contemporary Art in Greater China: Under Pressure, A Discussion at the 52nd Venice Biennale,” Yishu Journal of
Contemporary Chinese Art, September/Fall 2007, 8–24.25 Lu Leiping, “When Experiment Encounters Classics,” in Zooming Into Focus, 19–21.26 Napack, “An Art Market With Chinese Characteristics,” Yishu: Journal of Contemporary Chinese Art (March 2006), 16–17.27 Marsha Weidner, preface to Flowering in the Shadows, Women in the History of Chinese and Japanese Painting, ed. Marsha
Weidner (Honolulu: University of Hawaii Press, 1990), xi–xiv.28 Napack, “An Art Market With Chinese Characteristics,” Yishu: Journal of Contemporary Chinese Art (March 2006), 16–17.29 Ibid.30 Spiegler, “Five Theories on Why the Art Market Can’t Crash (nd Why It Will Anyway).”
7�