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*1243281716* Leverage Memo "Contemporary Art Business"
<a href="http://www.amazon.co.jp/gp/product/4048700022?ie=UTF8&tag=nishiohirokaz-22&linkCode=as2&camp=247&creative=7399& creativeASIN=4048700022">Contemporary Art Business</a><img src="http://www.assoc-amazon.jp/e/ir?t=nishiohirokaz-22&l=as2&o=9&a=4048700022" width="1" height="1" border="0" alt="" style="border:none !important; margin:0px !important;" />I read the leverage memo
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Art is inherently free
An asset that can be shared by everyone living in the same era.
Japanese art industry is closed
Gallerist work that finds value in what no one has seen before.
Define new values beyond the traditional X framework
Behind every work of art there is always a flesh and blood human being How to sell to nurture artists: Sunma and Hakura
Gallerist: In a broad sense, a gallerist is an art dealer who owns an exhibition space (gallery) and plans and exhibits his/her own works.
When a work of art is sold at a contemporary art exhibition, half of the proceeds go to the gallery
I was amazed at the number and variety of galleries in the U.S., including one that dealt exclusively with sailboat paintings.
Works that make you wonder, "How can something like this sell?" are selling right before your eyes.
Even in fields other than art, there are people who buy cheap or inferior products. If exchange is established for any kind of work, a market is created and a flow of money is generated.
Gramercy=Art Fair A hotel room is used as a gallery At the first overseas art fair I attended, ordinary people (grandmothers, student couples, etc.) bought works by Japanese artists they had never seen or heard of. The overseas market is freer and more layered than I expected.
Gallerist, "Exhibition Space," "Artists," "Press Activities."
Price to sell rather than price to sell. Sell to people you like.
It is important to sell your work at your first solo exhibition, even if it is at a slightly lower price. First of all, it is meaningful to leave your work on the market.
Creating an Archive Working to Historicize Art Making History by Recording Making History by Recording Practicing Historicism Consciously
The Gallery is not a charity, but a profit-making business
It does not end with the creation of the work, but how to present the finished work and how to brand the image of the work.
Mr. Murakami puts the concept first, rather than his own hands-on creation.
DOB-kun: The reputation of your debut was mixed. The mainstream of contemporary art in Japan at the time was abstract expressionist style painting.
Miss ko2: Deepening the gap with the Japanese market, but gaining a much better reputation overseas.
It's important to know how the work fits into the history of art.
It is important that history and concepts are reflected. For example, it is important that "otaku culture," which did not exist only 100 years ago, was taken out of the past and made into a page of history.
Cultural level of acceptance of art Japanese market is not mature "I despair of Japan" (Murakami)
Murakami: "What do you think of copywrite?" Art is usually material, copywrite is a formless image Bringing copywrite into art is revolutionary
The strength of the copyright does not equal the strength of the work of art.
How are your drawings different from your illustrations? I only paint what I want to paint.
Art is essentially a free domain where "anything goes." Somewhere dogmatic thinking is prevalent, and there is a narrow-mindedness that does not accept anything other than that.
Mr. Nara is very academic. He understands composition, color, and what makes a painting a painting.
How to present art in a way that influences its value
What context to create?
Distance or collusion with commercialism: Mr. Nara distances himself from commercialism (refuses advertisements), while Mr. Murakami, on the contrary, tries to create added value by colluding with commercialism.
Who is the "good work" for: The basic premise is to create a good work for oneself. In the market, the evaluation of "good artwork" is converted into money.
Look at yourself objectively: instead of immersing yourself in what you produce, take a step back and criticize yourself
The important meaning of the first solo exhibition is to experience that there are people who like and buy your paintings.
Ability to judge the good and bad and the courage to cut down on the bad.
There is a phenomenon that primary works are suddenly put into the secondary market: it is necessary to take steps to increase the number of people who see the work and think it is good (according to the author's opinion).
Branded art: easy-to-recognize icons that continue to produce similar images
Brands are consumed I am not comfortable with branding art There are contradictions between brands and art
Marketing is not possible for art." (Kenji Nishimura) Art is valuable because it is unique in this world, and it loses its value when it becomes mass-produced.
The more established the brand, the more valuable it becomes as a product, but what about its value as a work of art?
Art is a work of art before it is a commodity Skeptical about buying artwork for speculative purposes
Art online shopping Targeting young women 70% of the respondents are men in their 30s and 40s
Affordable prints are popular
It is helping to tap into a young market that galleries are missing out on.
Self-addictive, self-satisfied, not connected to the contemporary society.
The work should be free, whether modern or contemporary, "an expression of man."
Buy young works when they are cheap, enjoy them fully, and sell some of them when they become more expensive.
According to museum attendance data, two of the ten best exhibitions in 2006 were held in Tokyo. Japanese people visit art museums frequently.
Art is both a culture and an industry Art is both a work of art and a commodity.
Foreign currency dropped by tourists to New York City is $28 billion, about half of Tokyo's general account budget. New York City's tourism resources are a group of museums
Art is a national resource that won't be depleted by over-mining or destroyed by overexploitation.
American Abstract Expressionist Painting Government Backed New York City Gets Artists and Money, Half a Century Later
The Independent Administrative Institution National Art Museums Law Makes it Hard for Japanese Museums to Purchase Only Works Already Highly Acclaimed Important Works by Yoshitomo Nara and Takashi Murakami Will Be Sent Out of Japan
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I heard that there is a complex of many galleries in Kiyosumi, so let's go see it soon.
*1243354873*[SVG]Convert SVG to TIFF
I used batik-rasterizer, which is included in batik.
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$ java -Xmx2G -jar ~/batik-1.7/batik-rasterizer.jar -m image/tiff tmp.svg
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More options here: <a href='http://jpfop.sourceforge.net/jaxml-batik/html-docs/svgrasterizer.html'>Batik - SVG Rasterizer</a>
When I output the SVG, I calculated how many pixels I would get if I output the image at 360 DPI on A3 size and specified it in pixels, but the rasterizer option "-dpi <resolution>. Output image resolution", so maybe the correct way is to write the paper size in mm or something and specify the dpi.
<hr>
I'll have to zip it.
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-rw-r--r-- 1 nishio staff 5593875 5 27 00:58 tmp.png
-rw-r--r-- 1 nishio staff 6804789 5 27 00:51 tmp.svg
-rw-r--r-- 1 nishio staff 100229118 5 27 01:11 tmp.tif
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I compressed it and it says deflated 96% and it's 3.5MB!
*1243359280*"Executable pseudo code"
In a chat room somewhere, there was a discussion about how <del>Ruby is an executable pseudo code</del> in yugui's book, and <ins>they were talking about it as if it was an original Ruby expression</ins>, so I told them it was not. (Note: I corrected it because it was hard to understand what I was talking about.)
In 1998, Python developer Guido wrote a position paper <a href='http://www.python.org/doc/essays/omg-darpa-mcc-position.html'>Glue It All Together With Python</a>.
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Python's Strengths
Syntactically, Python code looks like executable pseudo code. Program development using Python is 5-10 times faster than using C/C++, and 3-5 times faster than using Java.
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He writes.
"<a href='http://www.artima.com/intv/rubyP.html'>The Philosophy of Ruby</a>" is a hit when searching for "executable pseudo-code," though,
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Yukihiro Matsumoto: Yes, so they can concentrate on the problem itself. Sometimes people jot down pseudo-code on paper. If that pseudo-code runs directly on their computers, it's best, isn't it? Ruby tries to be like that, like pseudo-code that runs. Python people say that too.
Bill Venners: Yes, Python people do say that Python is executable pseudo-code.
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In other words, as early as 2003, when this was written, Matsumoto-san knew that Pythonista was saying that "Python is executable pseudo code," and it was well known enough that his listener Bill Venners agreed.
It's true that Ruby is more productive than C, but so is Python. It is true that Ruby runs on top of Java VM, but so does Python. Python was created 4 years earlier than Ruby, and Python was implemented on Java VM 4 years earlier than Ruby. Don't think that Ruby is the original for everything.
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PS, I was pointed out that it could be taken to mean that "yugui-san is claiming that 'Ruby is the original'", and I would like to add that of course that is not true.
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<username>TOKOROTEN</username>
<body>http://www.amazon.co.jp/dp/4625684064<br>Then I recommend id:ohnosakiko's artist syndrome</body>.
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<username>nishiohirokazu</username>
<body>Wahaha W<br><br>The desire to "be an artist" is not a solitary determination to separate oneself from the secular world and devote one's life to art. It is not a sickly desire to create works of art. It is, after all, the "desire to be recognized," to be called an artist. <br><<</body>
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<username>shou</username>
<body>You're right, I misread it too until I read line 9. </body>
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Hatena Diary 2009-05-26
This page is auto-translated from /nishio/Hatena2009-05-26 using DeepL. If you looks something interesting but the auto-translated English is not good enough to understand it, feel free to let me know at @nishio_en. I’m very happy to spread my thought to non-Japanese readers.