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English Summary/英文概要： Collecting the Now offers a new, in-depth look at the economic forces and institutional actors that have shaped the outlines of postwar art history, with a particular focus on American art, 1960–1990. Working through four case studies, Michael Maizels illuminates how a set of dealers and patrons conditioned the iconic developments of this period: the profusions of pop art, the quixotic impossibility of land art, the dissemination of new media, and the speculation-fueled neo-expressionist painting of the 1980s.
This book addresses a question of pivotal importance to a swath of art history that has already received substantial scholarly investigation. We now have a clear, nuanced understanding of why certain evolutions took place: why pop artists exploded the delimited parameters of aesthetic modernism, why land artists further strove against the object form itself, and why artists returned to (neo-)traditional painting in the 1980s. But remarkably elided by extant scholarship has been the question of how. How did conditions coalesce around pop so that its artists entered into museum collections, and scholarly analyses, at pace unprecedented in the prior history of art? How, when seeking to transcend the delimited gallery object, were land artists able to create monumental (and by extension, monumentally expensive), interventions in the extreme wilds of the Western deserts? And how did the esoteric objects of media art come eventually to scholarly attention in the sustained absence of academic interest or a private market? The answers to these questions lie in an exploration of the financial conditions and funding mechanisms through which these works were created, advertised, distributed, and preserved.
Chinese Summary/中文概要： 《收藏当下》提供了一个新的、深入的视角，来审视塑造战后艺术史轮廓的经济力量和制度参与者，特别关注了1960-1990年的美国艺术。迈克尔•梅索斯通过四个案例研究，阐明了一批经销商和赞助人是如何影响这一时期的标志性发展的：流行艺术的丰富性、土地艺术的不切实际、新媒体的传播，以及20世纪80年代由猜测引发的新表现主义绘画。
这本书解决了一个对艺术史来说至关重要的问题，该问题已经得到了大量的学术调查。我们现在对为什么会发生某些演变有了清晰而微妙的理解：为什么流行艺术家打破了美学现代主义的界限？为什么陆地艺术家进一步反对物体形式本身？以及为什么艺术家在20世纪80年代回归（新）传统绘画？但值得注意的是，现存的学术界忽视了这一点的问题。流行音乐周围的环境是如何融合在一起的？以至于其艺术家以前所未有的速度进入博物馆收藏和学术分析？当试图超越限定的画廊对象时，艺术家是如何能够在西方沙漠的极端荒野中创造出具有纪念意义的（进而是极其昂贵的）干预措施的？在持续缺乏学术兴趣或私人市场的情况下，媒体艺术的深奥对象是如何最终引起学术界关注的？这些问题的答案在于探索作品创作、广告宣传、分发和保存财务条件和资金机制。(ZY)
Awards/获奖情况： “《收藏当下》是一本关于当代艺术市场基础的必读读物。梅索斯这本经过深入研究但易于阅读的书提供了丰富的见解，揭示了推动该行业最近崛起的一些巧妙的商业实践，并为这一切的意义提供了一些急需的历史视角。”——诺亚•霍洛维茨，《交易的艺术：全球金融市场中的当代艺术》的作者
“梅索斯填补了与早期艺术历史范式相关的研究与当代艺术市场研究之间的空白，证明了金融创新与美学声誉之间的共生关系。”——戴维•乔瑟利特，哈佛大学艺术、电影和视觉研究教授
“我认为梅索斯的见解和轶事是正确的。对于我们来说，这是一本很好的读物。”——阿舍•埃德曼，国际收藏家和金融家
“《收藏当下》引起了许多共鸣。这是当今艺术市场的一种标准资源，对这种高度复杂的环境提供了最具原创性、学术性和洞察力的分析。我曾与书中描述的许多人合作，如弗吉尼亚•德万和迈克尔•海泽，他们的激进作品《双重否定》带我来到了洛杉矶当代艺术博物馆（MOCA），我发现这本书很受欢迎，提醒我们伟大的艺术家、策展人和收藏家，他们的创造力和奉献精神使我们许多重要的文化活动成为可能。向梅索斯先生致敬。”——理查德•考沙莱克，1979-2000年洛杉矶当代艺术博物馆馆长，2009-2013年史密森学会赫什霍恩博物馆和雕塑园馆长
“梅索斯带领我们踏上了当代艺术崛起的快节奏之旅，提供了违反直觉的见解、破除了神话、揭示市场的经济原则，这个市场比表面上看起来更理性。”——埃文•比尔德，Masterworks执行副总裁，美国银行前艺术服务董事总经理
“《收藏当下》是一本罕见的书，因为梅索斯使用了案例研究，为读者提供令人信服的细节以及金钱和艺术世界如何以令人惊讶的方式在创新中交织在一起的全貌。”——姆克提•凯尔，康奈尔大学科技校区与康奈尔SC约翰逊学院实践教授
“《收藏当下》提供了自20世纪60年代以来令人兴奋的幕后视角，揭示了决定艺术展览、写作以及最终被艺术史推崇的金融机制。”——约书亚•香农，马里兰大学当代艺术史与理论教授
“Collecting the Now is a piercing must-read account of the foundations of the contemporary art market. Maizels’ thoroughly researched yet accessible book offers a wealth of fresh insights, revealing some of the deft business practices fueling the industry’s recent ascent and offering some much-needed historical perspective on what this all means.”—Noah Horowitz, Worldwide Head of Gallery Private Dealer Services, Sotheby’s, and author of Art of the Deal: Contemporary Art in a Global Financial Marketplace -- Noah Horowitz
“Maizels has occupied the gap between patronage studies, associated with an earlier art-historical paradigm, and contemporary art market studies to demonstrate the symbiotic relationship between financial innovation and aesthetic reputation.”—David Joselit, Professor of Art, Film, and Visual Studies, Harvard University -- David Joselit
“Having been there, I think Maizels’ insights and anecdotes are right on target. A great read for those of us who were there and those of you who were in diapers.”—Asher Edelman, International Collector and Financier -- Asher Edelman
“Collecting the Now strikes many chords. This is a standard-setting resource in today’s art market, providing the most original, scholarly and insightful analyses of this highly complex environment. Having worked with many of the people profiled in the book, such as Virginia Dwan and Michael Heizer—whose radical work, Double Negative, came to The Museum of Contemporary Art, Los Angeles (MOCA) under my leadership—I also find the book a welcome reminder of the great artists, curators, and collectors whose creativity and dedication made many of our most important cultural events and institutions possible. Kudos to Mr. Maizels.”—Richard Koshalek, Director, The Museum of Contemporary Art, Los Angeles, 1979-2000; Director, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 2009-2013 -- Richard Koshalek
“Maizels takes us on a fast-paced journey through the rise of contemporary art—offering counterintuitive insights, dispelling myths, and revealing the economic principles of a market that is ultimately more rational than it appears.”—Evan Beard, EVP at Masterworks and former Managing Director of Art Services at Bank of America -- Evan Beard
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