本文以北京798 艺术区作为研究对象，探讨它如何为中国当代艺术进入公共视野提供平台，并提出了艺术作为都市生产力的问题。本文根据时间顺序将其发展分为三个历史阶段，即1951-1993 年的718 联合厂时期、1995-2005 年的民间艺术社区、2006-2011 年的官方创意产业园区；并从三个方面展开讨论。首先，798这一空间本身的身份经历了两次转变--从工业生产的空间到以艺术创作为基础的创意社区；再到后来为政府收编，成为城市建设文化范本。本文为此历史发展做系统性研究。其次，798 的转型体现了建筑、族群与城市身份间的关系，一方面，民间自发改造工业遗留空间，另一方面，城市政策的制定与规划也对798产生直接和间接的影响；第三，本文重点讨论798 从民间自发形成的创意社区到政府收编后变身为文化创意产业区的过程中，艺术（包括艺术家）与经济（资本家和商业化）、与政治这三者之间的关系和张力。本文指出，此互动过程把798发展成一个创意产业园区，以798 为中心，向周边地区辐射，形成集生产、创作、展出、贩卖为产业链的艺术交易区域，即「泛798 区域」，798 成功地引起人们关注中国当代艺术，并从体制层面思考其未来的发展该如何与经济、政策相互平衡，同时798 作为一个个案，也提示我们关注有关城市文化用地的相关问题。 / This article takes Beijing 798 Art District as its research subject. It focuses on how 798 provides the platform for the Chinese Contemporary Art to enter the public view, and it proposes that art can be productive power to urban development as well. This thesis is divided into three sections according to its historical development: the 718 joint factory period from 1951 to 1993, the folk art community from 1995 to 2005, and the official Creative Industrial district from 2006 till 2011. My discussion mainly focus on three aspects. Firstly, as a space, 798 has been transformed twicse, from an industrial space to an arts community, and then to an official cultural paradigm for other cities to follow. Secondly, the transformation of 798 embodies the relationship among people's living, business operation, and city's identities. For one thing, the artists transformed the space to a facilitate their creation; for another, the policy of the urban planning has influenced 798's development as well. Thirdly, the thesis discusses the tensions among art, capital and politics. The result of their negotiation is that 798 becomes a creative industrial district, in which the original 798 site occupies the centre position, its radiating its influences and coordination to the surrounding areas, and they form the industrial chain which is now generally called the "Greater 798 Zone". 798 brings public attention to Chinese contemporary art, which helps us to relate arts and industry, to understand the difficult balance of contemporary art development between capital and policy. 798 also calls our attention to the relationship between culture and land. / Detailed summary in vernacular field only. / 張媞. / "2012年9月". / "2012 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 132-137). / Abstract in Chinese and English. / Zhang Ti. / 目录 --- p.3 / 引言 --- p.4 / Chapter v --- 研究背景 --- p.4 / Chapter v --- 研究目的及内容 --- p.6 / Chapter 第一章： --- 718联合厂时期（1951-1993） --- p.13 / Chapter v --- 近代北京工业建筑的历史 --- p.13 / Chapter v --- 718 联合厂：从筹备施工到投入生产 --- p.15 / Chapter v --- 工人阶级的「集体身份」--集体生产和集体生活 --- p.24 / Chapter v --- 一去不复返的「集体生产」和「集体生活」新时期旧厂房 --- p.33 / Chapter 第二章： --- 从生产的空间到创意社区(1995-2005) --- p.35 / Chapter v --- 90 年代的北京「城市化」进程 --- p.36 / Chapter v --- 从「地下」到「地上」：中国当代艺术史的简短梳理 --- p.38 / Chapter v --- 用于展览的空间被展览的空间：闲置工厂空间的转生 --- p.43 / Chapter v --- 798 艺术区的形成：创意阶层的萌芽和身份的建立 --- p.53 / Chapter 第三章： --- 创意社区的夭折创意产业园区大行其道（2006-2011） --- p.79 / Chapter v --- 创意社区VS 文化创意产业区 --- p.80 / Chapter v --- 园区规划和管理 --- p.94 / Chapter v --- 泛798 区域VS 文化用地 --- p.115 / 结语 --- p.125 / 参考书目 --- p.132 / 参考网站 --- p.134

<p> The purpose of this thesis is to explore how the contemporary art gallery model has been adapted in order to suit a post-2008 global recession marketplace. Using Culver City as a case study, I have analyzed how three local gallerists have changed their business practices made in response to a rapidly changing economic environment as well as the demands of the current "Knowledge Age" and also demonstrated how these adaptations follow from historical developments in American gallery culture. My findings suggest the degree to which socioeconomic changes inspired shifts within the design of the current gallery business model, which enabled galleries in Culver City to survive the most challenging economic recession of their time. Findings from this study can benefit future gallerists, collectors, artists, or historians engaging in the contemporary art marketplace.</p>

<p> In this thesis, I strive to expose societal rules and regulations that constrict and restrict our social interactions in a way that promotes prejudice and xenophobia. Through interacting with the series of sculptures, viewers are given the opportunity to question these societal norms and start a process of self-reflection to truly understand the freedom that comes without prejudice. Interaction is the main element that ties the series of works together, to form a seamless journey of self-discovery. The following artists are discussed in relation to this series of work: Niki de Saint Phalle and Bj&ouml;rk Gu&eth;mundsd&oacute;ttir. Their art works share the same spirit of liberation and social revolution.</p>

This thesis aims to document and discuss the role and legacy of the Italian antiquario Alessandro Contini Bonacossi (1878-1955) in the international secondary art market for Old Master paintings during the first half of the twentieth century. Grounded in the discovery of primary archival evidence and set against the major historical events that unfolded during his lifetime, this work presents its findings by following a research process adopted to answer the following research questions: who was Contini Bonacossi, what was his business network (where was he buying paintings, at what prices, and who were his clients), what was his modus operandi for selling and marketing his work, and what is his legacy. To answer these questions, I made extensive use of primary sources, the vast majority of which are unpublished or have never been used before in this context, framed by a contextualized analysis of their historical background. The archival investigation has brought to light, for the first time, documentary evidence of Contini Bonacossi's transactions and business ties with other European dealers such as Duveen Brothers, Heinemann Galleries, Colin Agnew, Colnaghi, Böhler, Steinmeyer, and Kleinberger Galleries; with scholars such as Wilhelm von Bode, Roberto Longhi, and Bernard Berenson; as well as previously unknown connections Contini Bonacossi had with members of the Harvard museum community and the Boston cultural elite such as Paul Sachs (1878-1965), Edward W. Forbes (1873-1969) Denmann Ross (1853-1935); and offers new details regarding his relationship with the Kress Brothers, their gifts of artworks to the new National Gallery of Art in Washington DC, and the Kress Foundation's Regional Program that endowed museums across the US. Ultimately, this work adds to our knowledge important sources for the study of the history of private and public collecting during its crucial years in the formation of American museums. More broadly, in documenting Contini Bonacossi's case, this study strives to rethink the role of art dealers, to look at them not solely as market professionals engaged in the dynamics of supply, demand and profit, but first and foremost as bearers and sellers of culture, whose activities were fully embedded in the socio-political environment of their time and so to acknowledge and extend knowledge about their active role in the international dissemination and interpretation of cultural heritage.

Abstract The purpose of this research is to explore the issue of organizing work for creative individuals, particularly to explore the influence of creativity on emergence of creative companies and to understand the way of managing creative individuals from those companies. The emergence of creative companies is investigated from the motivational perspective, especially the intrinsic motivation and inner drive. The management aspect is studied from the perspective of both managers and employees. Prior literature on creativity demonstrates that creativity has become an important element of human existence. Most of the creativity research has been done on individual creativity, organizational creativity, creative processes, motivation and social influences on creativity. Despite the recent tendency to study creativity from various perspectives, few scholars have approached this phenomenon from the perspective of emergence of creative companies. This study examines that and explores the motivational aspects of creativity seen from the angle of the paradox between art and business. Creativity and motivation in creative companies are contemplated with a case study method. The empirical context of the research is creative industries: games, films, visual and performing arts. The results of this study show that motivational features of creativity (love and passion to create, curiosity, desire to create, choice to be creative) have an influence on creative individuals from the perspective of emergence of new creative companies. The analysis further indicates the importance of acknowledgement of creativity and creative work of individuals in games industries. The new concept of ”the need to be creative” is introduced in this research in the context of a new product or idea being created. In addition, this research concludes that there is a paradox between creative freedom and control when managing creative individuals. This study shows that both of those elements are critical managing practices in the creative companies. Based on theories of creativity and management combined with empirical analysis of film companies, this research also suggests that managing of creative individuals is focused on allowing creative freedom at work while providing control by the manager as well as providing the right work-life balance in creative work settings. / Tiivistelmä Tämän tutkimuksen tarkoituksena on tarkastella luovuuden vaikutusta luovien alojen yritysten syntymiseen sekä ymmärtää luovien yksilöiden johtamista. Luovien yritysten syntyä tutkitaan motivationaalisesta, erityisesti sisäisen motivaation ja -halun näkökulmasta. Johtamista tarkastellaan sekä johtajan että työntekijän näkökulmasta. Aikaisempi luovuuskirjallisuus osoittaa, että luovuudesta on tullut tärkeä ihmisyyden ja olemassaolon osa-alue. Suurin osa luovuustutkimuksesta on tehty yksilön luovuudesta, organisatorisesta luovuudesta, luovista prosesseista, motivaatiosta sekä sosiaalisten tekijöiden vaikutuksista luovuuteen. Vaikka luovuustutkimusta on tehty viime aikoina monista eri näkökulmista, harvat tutkijat ovat lähestyneet ilmiötä luovien yritysten syntymisen näkökulmasta. Tässä tutkimuksessa tutkittiin luovuuden motivationaalisia elementtejä taiteen ja liiketoiminnan ristiriidan näkökulmasta. Luovien yritysten luovuutta ja motivaatiota tarkasteltiin käyttäen tapaustutkimusmenetelmää. Tämän tutkimus on tehty luovien alojen, kuten peli-, filmi-, visuaalisen- ja esittävän taiteen kontekstissa. Tutkimustulokset osoittavat, että luovuuden motivationaalisilla piirteillä (kuten intohimo luomista kohtaan, uteliaisuus, halu luoda ja olla luova) on vaikutusta luoviin yksilöihin luovien yritysten syntymisen näkökulmasta. Analyysi osoittaa myös, että peliteollisuudessa on tärkeää tunnistaa yksiön luovuus ja luovan työn merkitys. Tämä tutkimus esittelee uuden ”tarve olla luova”- käsitteen kontekstissa, jossa luodaan uutta tuotetta tai ideaa. Tämän lisäksi tutkimus osoittaa, että johdettaessa luovia yksiöitä luovuuden vapaus ja kontrollin tarve ovat ristiriidassa. Tutkimus kuitenkin osoittaa, että molemmat elementit ovat kriittisiä johtamiskäytäntöjä luovissa yrityksissä. Johtamisen- ja luovuuden teoriat sekä tutkimuksen empiirinen analyysi osoittavat, että luovien yksilöiden johtaminen perustuu luovuuden vapauden mahdollistamiseen, riittävään kontrolliin sekä työelämän tasapainoon.

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