China’s still-young art market has huge potential, but how does it compete in today’s winner-takes-all global art economy?
Chinese pet owners are increasingly spending money on products and services to improve the lives of their beloved animal companions. Pampered pooches have become beloved members of many Chinese families, and the pet care industry is booming as a result.
Joe Schott, President and General Manager of Shanghai Disney Resort discusses how the resort has adapted to resonate with Chinese consumers.
In this wide-ranging discussion, Schneider discusses the complex impact Chinese and other Asian art collectors are having on the global art market, and ways in which smaller Chinese galleries can survive Western competition.
Is Art’s New Silk Road a One-Way Street? In this four-part series, we look first at the rise and evolution of China’s art market over the past four decades; next, at ways in which Chinese collectors may now be reinforcing market dynamics that reduce sales for Western and Chinese artists; and third at possible strategies […]
When Chinese collectors and dealers began buying Western art in the late 90s, they confronted a market dominated by an oligopoly of auction houses and dealers that were concentrated in New York and London. Twenty years later, not much has changed.
People have been making art in China for at least 4000 years, but the modern era of China’s art market dates from the early 1980s, when the government opened the economy to private enterprise and the country began to recover from the ravages of the Cultural Revolution (1966-1976), a period when most art, new and old, was derided as decadent and counter-revolutionary.
Tattoo culture has exploded in China in the last few years, as the country’s younger generations abandon centuries-old prejudices against the practice and embrace it as an expression of individuality. Chinese millennials are getting tattoos in record numbers, but some are being forced to keep them hidden.
Learning how to please Chinese audiences without alienating moviegoers in the US is becoming crucial for Hollywood as box office receipts stagnate in home market but explode in China. Quarterly ticket revenues in China surpassed those in North America for the first time ever in the first three months of 2018, with Chinese cinemas netting $3.15 billion compared to $2.85 billion in Canada and the US. Those figures were boosted by massive takings during the Lunar New Year holiday, always a peak time for Chinese cinemas, but China could become the world’s largest film market in whole-year terms in 2019.
Few people have had the opportunity to watch the rise of video games as an economic and cultural force as closely as Jordan Mechner, who began making video games while in high school in the 1970s. He had his first hit, Karateka, in 1984 while he was still in college, and later went on to create the Prince of Persia franchise, which to date has sold over 20 million copies. In a wide-ranging interview over Skype from his office in Montpellier, France, Mechner, who is also a successful screenwriter and graphic novelist, talked about the evolution of game design and where games might head next.