全球拍賣前十藝術家 07世界藝術品市場盤點

來源：《收藏投資導刊》

每一年，Artprice都會制作一個根據每個藝術家作品公眾銷售總額得出的一個排行榜，而巴勃羅?畢加索在市場中總是排行第一。但是在2007年情況有所不同：經過差不多十年的奮鬥，現代藝術家的桂冠被流行藝術之王安迪·沃霍爾摘取。沃霍爾在2006年排行第二，而在2007年，他成為了全球市場的領頭人。

這不僅僅是一個名字取代了另一個名字的問題，這一“事件”其實反映了拍賣世界中名副其實的劇變。在上世紀90年代，藝術市場的王座屬于印象派畫家，尤其是奧古斯特?雷諾阿還有克勞德?莫奈；然後到2000年以後，輪到了現代藝術的畢加索和古斯塔夫·克裏姆特；今天，很有可能會持續一段時間，市場把當代藝術推到了金字塔的塔尖。

在2006年，排名前十的藝術家中只有沃霍爾、裏奇特斯坦和威廉姆·德·庫寧是屬于當代藝術的，他們分別代表了流行藝術以及美國抽象表現主義。在2007年，隨著弗蘭西斯·培根、馬克·羅斯科和吉恩·米切爾·巴斯奎特的進入，當代藝術提高了相當大的份額。而因為在這一年沒有主要的名作出現在拍賣場上，古斯塔夫·克裏姆特和埃貢·席勒都意外地滑出了前十名之外。

在2007年，前十位的藝術家的收益加起來超過了18億美元，這一數據與前一年相比上升了50%！這種暴漲的局勢絕對是由安迪·沃霍爾和弗蘭西斯·培根推動的，他們的作品比2006年多賣出4億美元！價格急劇上漲，隨之而來的是進入前十名的入場券與2006年相比上升了44.8%。確切地說，這意味著在2007年每個藝術家必須賣出至少8699萬美元才能進入前十，而在之前的一年，這個標準只是5900萬美元。

　　安迪·沃霍爾：4.2億美元

2007年，安迪·沃霍爾從排行榜第二躍升到第一，鞏固了其藝術市場明星的地位。與前一年相比，他畫作的銷售額增加了2200萬美元，而他的基本價格指數在十年間上升了450%。在2006年，沃霍爾就已經有43幅畫作銷售超過百萬美元，也就是比市場巨匠畢加索還要多出四幅。但是與2007年相比，這完全算不上什麼。在2007年，他有多達74副售價數百萬乃至數千萬的作品賣出，這些是他從上世紀60到80年代的作品。之前的8年，他作品的最高紀錄是《橙色瑪麗蓮》，價格是1575萬美元。但是在2007年5月，他的《綠色車禍（綠色著火的車I）》在紐約佳士得的拍槌下拍出6400萬美元，而此前這幅作品的估價是2500- 3200萬美元！這一類的通貨膨脹正在加速市場的轉手率，而有一些很幸運的作品所有者在很短的時間之內就獲得了豐厚的收益。比如說，2007年11月，演員休·格蘭特在佳士得以2100萬美元的價格賣出了一張沃霍爾的《莉斯》（1963年拍的伊麗莎白·泰勒的肖像），而他在六年前購買這幅作品的時候只花了 325萬美元，而且同一係列的一張《莉斯》在2005年的蘇富比拍賣中只賣出1125萬美元。

巴勃羅·畢加索：3.19億美元

2007年，畢加索畫作賣出的最高價格是2750萬美元——《蹲著的穿土耳其服裝的女人（傑奎琳）》。雖然這個數額很巨大，但是相對于他在2004年憑借《拿煙鬥的小孩》拍出的9300萬美元的價格，這個價格真的差得太遠了。《拿煙鬥的小孩》是畢加索粉色時期（1905年）的一幅難得的佳作。然而，2007年畢加索賣出的作品中，最引人注目的不是他的畫作，而是一座青銅雕塑，名字是《女人的頭像：朵拉·馬爾》。該作品在去年11月蘇富比紐約的拍賣中以2600萬美元拍出，佔據了全球藝術市場雕塑價格最高的地位。《女人的頭像》是畢加索第一件超過1000萬美元的雕塑作品，並且這一價格把雕塑銷售的總數從2007年的八位數推到了九位數（2006年是6位數），這反映了現代雕塑的強大勢頭——現在顯現出比同期繪畫作品更大的價格上漲——價格指數在十年間上升了100%以上。雖然售出了45件高于百萬美元的作品，就是說比2006年多出 10件，畢加索的年度銷售額在2007年下降了2000萬美元。而這並不代表他已經不流行了：要記住，他2006年的年度銷售額飆升了116%，這明顯是由《朵拉·馬爾與貓》8500萬美元的天價帶起來的。所以，這個前十名中第二的位置並不代表他的市場價值有所縮減。畢加索作品售出數百萬價格的比之前更加常見，但是他的年度銷售額只是因為市場上他的主要作品越來越少而變得有限。

弗蘭西斯·培根：2.45億美元

培根作品中那些痛苦的軀體並沒有把買家嚇跑！恰恰相反的是，藏家們非常喜歡他作品強烈的感情，以至于他的價格指數在十年間翻了三倍。從2006年的19位，他憑借著2007年的年度銷售額提高了2億美元躍升到了前十名的第三位。7場銷售描畫了這一引人矚目的進程：有七幅畫在2007年2月到11月之間每張售出超過1000萬美元。這一係列的作品中包含了弗蘭西斯?培根作品的新價格紀錄：《無辜的X之研究》在 2007年5月15日蘇富比紐約的拍賣中售出4700萬美元。在這次銷售六個月以後，他的《鬥牛研究一號第二版》（1969）再次在蘇富比紐約的拍槌下以4100萬美元拍出，鞏固了其價格急速上升的地位。對培根作品的追捧促使很多藏家售出他們手中培根的作品。這使市場上有了豐富的供給，在2007年，總共有13張他的油畫進入拍場，相比之下，在1997年到2006年期間，年度平均水平是2到7張。

　　馬克·羅斯科：2.07億美元

馬克?羅斯科躍升至前十位更加促進了現在正慢慢顯現出來的美國對這個排名的掌控地位，而且也表明了戰後藝術價格上漲的勢頭。事實上，他在1950年創作的《白色中心》在一次拍槌的敲定下，成為了拍賣市場上最昂貴的戰後藝術作品，同時也是那一年的銷售冠軍，《白色中心》在蘇富比5月的拍賣中售出6500萬美元，高出沃霍爾的價格紀錄100萬美元。羅斯克此前的價格紀錄是2005年11月在佳士得賣得2000萬美元的《彩色場，向馬蒂斯致敬》（1954），而《白色中心》的售價比這一紀錄翻了三倍還多。在2007年，我們看到了比以前更多的羅斯克的作品售出數百萬美元的價格：在一年以內，6件羅斯克的作品每一件售價都超過1000萬美元（在2007年5月到11月之間），相比之下， 2000年到2005年只有四件。他最受歡迎也是最昂貴的作品是他在上世紀50年代創作的大版的繪畫：色彩繽紛的冥想空間。然而，上升至七八位數的售價使得之前很少人問津的作品走進市場，比如他畫在紙上的作品，或者是他1969年的黑色和灰色的《無題》。另外，在2007年，還有一張他在更加灰暗的時期的《無題》,第一次越過了1000萬美元的門檻（11月14日，蘇富比）。

克勞德·莫奈：1.65億美元

作為法國印象派最耀眼的明星之一，克勞德·莫奈並不是第一次出現在這份名單之中。 2004年，他的作品銷售額為8000萬美元，佔據了第二位，排在了畢加索之後。但是，在2007年，這個分數在蘇富比和佳士得在倫敦短短兩天（7月 18、19日）的銷售中就被擊敗了，在這兩天，他一係列的主要作品售出接近4500萬英鎊（8400萬美元）。這個夏季拍賣的焦點是《雲霧中的滑鐵盧橋》，在假釋的拍賣會的第一天就以1600萬英鎊（3170萬美元）賣給了一位美國藏家，這個價格是前擁有者17年前購買價格的10倍。作為回擊，第二天蘇富比以1650英鎊賣出與《雲霧中的滑鐵盧橋》同年創作的《睡蓮》。克勞德·莫奈因此保持著作為安全投資的地位。他的作品在穩健的藝術品市場中很明顯是有利可圖的，2007年，他的27件作品售價超百萬，而此前的一年這個數目是16件。更樂觀的是，相對于1990年的投機泡沫的高峰（23場銷售超過百萬），他的作品在2007年售出了更多上7、8位數的價格。

亨利·馬蒂斯：1.14億美元

2007年，亨利·馬蒂斯的三件主要作品打破了此前他創下的紀錄：兩幅宮女繪畫和《椅子上的舞女》。在之前的那年，馬蒂斯憑借《露背的裸女》在蘇富比紐約拍出1650萬美元創下了新高。一年以後，還是同一個拍賣行，對《宮女，灰色調》（1925）寄予更高的期望，估價高達2000萬美元。該作品最終以1310萬美元售出，甚至沒有達到最低估價。但是在2007年10月的佳士得拍賣中，《宮女，藍色調》的叫價一直攀升到令人眩目的3000萬美元，比估價高出1000萬美元。這樣，這兩張宮女以及舞女售價就比2006年12張油畫、4個雕塑還有差不多60張素描的總銷售（5970萬美元）還要多。事實上，2007年的銷售使馬蒂斯在我們的前十名排名中上升了三位，同時創下了他自己年度收益的新紀錄。

　　吉恩·米切爾·巴斯奎特：1.02億美元

這位前十名中最年輕的藝術家同樣有著讓人印象深刻的增長：2007年，他的價格指數在十年間上升了480%。巴斯奎特並不是第一次出現在名的排名中，在2005年他就出現在第九的位置，當年他的總銷售額超過了3500萬美元，包括11 件作品售出100萬美元以上。但尤其出色的是2007年的成績更加引人注目：他的作品兩次超過百萬美元以上的銷售額，而這一年的銷售總額比2006年的三倍還多。這一急速上漲的價格趨于加速市場上藝術品的轉手。比如說《武士》，在2005年11月蘇富比的拍賣中賣出160萬美元，而在同一拍賣行，這件作品再次在拍槌下成交，售價高于500萬美元（250萬英鎊）。2007年百萬美元的作品中排名第一的作品是一幅1981年的多技巧的作品，以超過1000萬美元的價格大大的打破了該藝術家此前的紀錄。這件作品估價在600至800萬美元之間，而在蘇富比紐約5月15日的拍賣中賣出了1300萬美元。在秋拍中，巴斯奎特鞏固了其前所未有的上升勢頭，他的大幅畫作《電椅》（Electric Chair）售得1050萬美元，這一次，還是在蘇富比紐約的拍賣。

費爾南德·雷捷：9200萬美元

費爾南德·雷捷在2006年跌出了前十名，但是在2007年他爬回到第八位，這是他在2005年佔據的位置。他的作品在5月還有11月在紐約的成功拍賣為這位藝術家創下新的紀錄。五月份的奠基石是《工廠》（1918）。這幅作品描述了雷捷最喜歡的主題，基本的色調還有自然的互補排列得色彩繽紛。這幅作品在蘇富比的拍賣中，叫價從估價500到700美元一直飆升到1275美元。六個月以後，佳士得以1050萬美元的高價售出其佳作 (1950)。同一天，佳士得推出《外形對比繪畫（第二部分）》，這是一張立體派時代的佳作，畫在一張米色的紙上的黑白水粉畫。該作品創作于1913年，最終以驚人的4200萬美元成交。這標志著雷捷作品的最高紀錄。

馬克·夏卡爾：8900萬美元

雖然馬克·夏卡爾相對于2006年滑出了前三名的位置，但是雖然他的作品供給減少了，他的繪畫銷售額依舊穩固。2007年，有62幅油畫被拍出，比2006年差不多100幅的數量有所下降。然而夏卡爾是一個極其高產的藝術家，而且，由于他的大量知名的平版畫和蝕刻版畫，他是排在巴勃羅·畢加索後面，第二位被拍作品最多的藝術家。他其他作品的銷售佔到了他本人總交易額的85%；差不多 400件作品在2007年被拍賣。一件售價超過1000萬美元的佳作使他依然能夠留在今年前十名的位子上。這是一幅三米多寬的馬戲團表演的畫，在5月蘇富比紐約的拍賣中售得1225萬美元。但是這個高價並沒有能打破保持了17年的紀錄，這幅《生日》 (1923)同樣是在蘇富比拍賣，在1990年投機泡沫的頂峰時期拍得1350萬美元。盡管他標志性的作品越來越少，這位藝術家作品的市場還遠未達到沉寂的時候：他的作品的價格指數在2006年1月到2007年底之間幾乎上升了80%。

　　保羅·塞尚：8700萬美元

2006年是塞尚逝世100周年，而去年他作品的年度銷售額上升了50%以上。塞尚被畢加索譽為現代藝術之父，但是在近年他一直無緣于這個排行榜的前十位，這主要是由于缺乏他能夠售出上百萬的主要作品。在2002到2006年期間，他的年度銷售額都沒有超過4300萬美元（2007年水平的一半），而事實上他也只有一幅繪畫作品售價超過了這一水平。這件作品在蘇富比1999年被拍賣，惠特尼的藏品《簾子、罐子、盤子》是一幅1893到1894年的靜物作品，以5500萬美元在拍槌下成交。雖然最近有很多他其他的靜物作品賣出數百萬美元的價格，但是這件作品創下的塞尚作品的紀錄至今未被打破。比如說在2006年的拍賣中，蘇富比拍賣了他的巨作《靜物：水果與姜壺》，這是一幅他的成熟畫作，創作于大約1895年，售得3500萬美元。在2007年，塞尚沒有其他比這個質量更好的作品出現在拍賣會。這一年最貴的作品依然是一幅靜物畫，但這幅畫創作時期較早（1877年）且並不是很受重視，不過《水果盤與小碟餅幹》依然在11月6日紐約佳士得的拍賣中賣出1125萬美元的價格。

作者：禤光毅　

Bryan Appleyard on art on the web

From The Sunday Times

January 20, 2008

Tired of pop, porn and celebrity prattle online? That’s not all the web is good for. From Bach to Beckett, it’s now a gold mine for lovers of highbrow art, too

Bryan Appleyard

Go to town.hall.org/radio/HarperAudio and click on Wallace Stevens. Click on the first file. You will hear the voice of Stevens in old age reading The Idea of Order at Key West, one of the most perfect poems of our time – no, of any time. A shiver ran down my spine when I first did this. I’d never heard Stevens’s voice before.

Not into poetry? Okay, go to YouTube and put “Picasso” in the search box. Click on the video entitled “Picasso is painting . . .” You will see a scene from a French documentary, showing a wry, half-naked Picasso dashing off a very odd picture. You prefer the history of ideas? Input “Foucault Chomsky”. The first video shows Michel Foucault and Noam Chomsky debating on Dutch television – well, not so much debating as conducting competing monologues. As dated and absurd as a tank top, this, nevertheless, is the authentic sight and sound of two deluded giants of postwar thought attempting to make history. Or put in Heifetz and watch that great violinist play the Bach Chaconne. Or put in Samuel Beckett and watch Jeremy Irons perform Ohio Impromptu. Or – superb, this – put in “Lee Marvin John Ford”. The first video will show you the actor explaining how Ford got the best out of his cast in The Man Who Shot Liberty Valance, a sublime movie.

The internet is now 19 years old – dating its inception as a mass medium from Tim Berners-Lee’s invention of the world wide web in 1989 – and it is finally growing up. Popularly, and more or less correctly, it is still assumed to be dominated by geeks, porn, stoned students and assorted hucksters. It is also correct to assume that it is, not to put too fine a point on it, “full of crap”. Bonkers blogs, corporate/political hype and the whole undifferentiated melee of bad pop, worse television and inane celebribabble still make surfing the net a slightly less culturally respectable activity than watching The Big Food Fight on Channel 4. But something has changed. Basically, this is because of the techie phenomenon known as Web 2.0 – more interactivity, more user-generated content – and the failings of mainstream media. The first we can take for granted; the second may be less immediately obvious.

In an important article, Alex Ross, music critic of The New Yorker, observed: “Between 1980 and 2000, classical music more or less disappeared from American network television, magazines and other mainstream media, its products deemed too elitist, effete or esoteric for the world of pop.” The same applies to all expressions of high culture. Over the past 20 years, the increasing power of marketing and advertising over editorial has driven the mainstream ever further downmarket. I know, in the midst of this decline, we get quality pop products such as The Simpsons and so on, and I know there are plenty of specialist outlets. But that is not the point. Much that should be routinely available is excluded from the mainstream, crowded out by the short-term demands of the bottom line. The fear is that this crowding-out will lead to a severe case of what Clive James calls “cultural amnesia”: starved of popular acceptance and in a climate of perpetual novelty, high art will simply be forgotten.

Riding to the rescue is, first, an economic theory. The phrase “the long tail” was coined by Chris Anderson, editor-in-chief of Wired magazine. Order an obscure book from Amazon and, with luck, it will arrive the following day. This is worthwhile to Amazon because there are millions of obscure books, and, even if there is only one customer for each, that is still millions of customers. In other words, technology makes it possible – Amazon needs only a web page, not a shop – to profit from the previously ignored “long tail” of the sales graph. It is thus no more difficult to buy Claire Guimond’s recording of Telemann’s Fantasias for Flute Without Bass on iTunes than it is to buy the latest by Arctic Monkeys. There are many arguments about the significance of the long tail, but I was once told by a Waterstone’s executive that it was nonsense, so it must be true.

The second saviour of high culture is an aspect of Web 2.0: interactivity. People put comments on YouTube videos. One clip on it is a reading of Stevens’s The Snow Man – there seems to be some dispute over whether this is Stevens’s voice or not – over shots of a snowbound landscape. Here is one of the comments: “There are a certain very few things [sic] in this world that keep me alive, almost compel me to live just by popping into my mind at the very last moment, in spite of the most unbelievable suffering that I cannot put into words: the poetry of Wallace Stevens is one of these things.” I’m with you, franco6719, aged 40, from Italy.

The point here is that the consumers of the long tail are no longer alone. This often produces the most gratifying results. I mentioned the novelist Marilynne Robinson on my blog once. A writer in LA immediately asked me what he should read. A couple of hours later, he came back to tell me he’d bought her novel Gilead and read a few pages. I was right, he said: she is a genius. Or try a site called The Garden of Forking Paths (gfp.typepad.com/the_garden_of_ forking_pat ). This is a philosophical discussion blog, largely about free will. I got involved with this for a while, then had to stop, realising I would have to devote most of my days to keeping up. Then again, why not? There are many such blogs. Find them by visiting Technorati.com. It’s slow, clunky and poor on updating, but it scans most of the almost 100m blogs of the world.

Interactivity gives the long-tailers two huge benefits. First, it frees them from the prison of the mainstream and having, for example, to wait for years to see a television documentary on Wallace Stevens or Jascha Heifetz. Now they can find the material whenever they like. Second, it gives them what they need most if they are to survive – community, a sense of belonging to something other than the culture of mere distraction.

The final and most obvious boost to seriousness on the net is scale. Download speeds are now fast enough to make streaming video and audio easy. More important, the net itself is now so vast that, to a rough approximation, everything is there somewhere. This transforms the nature of knowledge and expertise. Say that a few words from a poem come into your mind. Type them into Google and you’ll have the whole poem in a fraction of a second. Ten – or even five – years ago, you would have been clutching your head for hours. Apply this to the visual arts and we can get rid of those awful headphone sets galleries provide. Much more can be learned about a painting by simply firing up your iPhone while standing in front of it. All the gallery need do is provide WiFi: not much to ask.

We risk drowning in this info-ocean, however. Knowing everything is not much different from knowing nothing. Judgment, therefore, rather than brute fact-finding, is the key. The trick is to narrow your focus, to decide exactly what you want to know and to refine your sense of what is serious and what is not. This is not easy. It takes time. You can lose hours taking nonsense seriously.

So, here are a few serious net delights – there are millions of others. The contemporary visual arts are, predictably, well served: the net is, after all, primarily a visual medium. Frieze is now as much of an online presence as it is an art fair. Frieze.com tells you more than you need to know about contemporary art. Should this inspire you to become an artist, you can register at Saatchi Online and instantly expose your work to the world. Failing that, the site is an extraordinary glimpse into what people, rightly or wrongly, think is art these days. With Banksy, the site becomes the art; banksy.co.uk is studiedly cool and offhand, but funny.

Music is now sensationally well served. The record label Naxos (at www.naxos.com ) is challenging the iTunes download model with a subscription system that gives access to its entire catalogue for $19.95 (£10) a year. Alex Ross pointed me to two amazing sites, www.schoenberg.at, an exquisite shrine to the composer – I love the idea of his work being available on a web “jukebox” – and keepingscore.org, the site of the San Francisco Symphony. This gives web, radio and even pages where you can follow the score of the music being played bar by bar.

Right, now you want to learn the violin. You can at theviolinsite.com . Once you’re getting good, check your progress at music-scores.com – all the sheet music, and what it sounds like.

Literature, thanks in part to Amazon, was the art that first took off on the net. There are thousands of good book sites and blogs. Books, Inq is a blog produced by Frank Wilson, the literary editor of The Philadelphia Inquirer, which assiduously points you in the direction of countless literary links. Jenny Diski (jennydiski.typepad.com ) and Susan Hill (blog.susan-hill.com ) produce good examples of writer’s blogs, though the latter recently made the rooky blogger’s mistake of including pictures of her cats. And there are thousands of highbrow literary fan sites and blogs. To stay with Stevens, try The Dao of Wallace Stevens. I recently found, to my amazement, that there was a blog devoted entirely to the great Edwardian literary agent JB Pinker (pinkertheliteraryagent.blogspot.com ). And there are two big literary sites that work as guides to the book net (complete-review.com and readingtheworld.org ).

I could go on, but the point is clear: it’s all out there, from a video of Heidegger on YouTube to all the sheet music you’ll ever need for your euphonium at music-scores.com. The web is what you make it, the long tail is what matters, and all you need to make sense of it is what Stevens called a “blessed rage for order”. And you don’t have to take my word for it – you can hear him say it now.

The Warhol tradition: The many faces of Stella Vine

Diana, Kate Moss, Delia Smith ... all have been portrayed by an artist whose work chronicles our celebrity-obsessed times. Now she is the subject of a retrospective

By Arifa Akbar
Tuesday, 17 July 2007

Packing in her job as a stripper and signing up for part-time art classes paid off for Stella Vine when Charles Saatchi sauntered into her gallery, above a butcher's shop in east London, to take a look around.

A large portrait of the late Princess Diana in a state of emotional distress with paint dripping from her blood-red lips, calling on her butler Paul Burrell for help, originally priced at £100, caught Saatchi's eye and he bought it for £600. Like so many of Saatchi's purchases, it propelled Vine, not least because of the controversy surrounding the painting and her subsequent works of the princess, of Rachel Whitear, a teenage drug addict whose painted image so offended her grieving parents and of Kate Moss's alleged drug use.

The iconic painting of Princess Diana has lost much of its shock value as it hangs at Vine's first major British retrospective, opening today at Modern Art Oxford. But there are other "shockers" that may make up for its now anodyne effect.

Controversy has remained Vine's calling card. While she is still in the process of painting the prostitutes who were murdered in Ipswich last year, it is the images on display - including Princess Diana's car wreck, a portrait of the missing Manic Street Preachers band member, Richey Edwards, with a razor-slashed torso, and the model Lily Cole sitting in a tub of red paint - that are bound to raise eyebrows and cultural debates on the cult of celebrity and the ethical boundaries of the artist.

Other pieces in the exhibition of 100 works, incorporating Vine's trademark drips of paint falling from the lips and chin of her famous subjects, include images of Pete Doherty, Nigella Lawson with a chocolate cake and Courtney Love taking her knickers off in the back of a taxi, as well as an entire series around flame-haired supermodel Cole.

A painting of the Celebrity Big Brother stars, Samuel "Ordinary Boy" Preston and Chantelle Houghton, which was used as the invitation to their wedding, also features in the show, although the couple have since split.

Vine, born Melissa Jane Robson in 1969, has been dividing critical opinion for as long as she has been painting and this comprehensive show is bound to reinvigorate the same hostilities and adulation as previous works. Her examination of celebrity culture has been described as coming from the same tradition as Andy Warhol, the founder of pop art.

Andrew Nairne, director of the Modern Art Oxford, defended Vine's work as highly emotional and bold. "She looks at the mix of who society considers to be important, who we revere and respect. The paintings seem to be made with love and although they seem to have an incredible naïvety in style, they are actually very sophisticated with a great emotional power behind them," he said.

The "Lily Cole" series highlights many of the themes Vine seeks to explore. In the collection, she shows the model holding a pink telephone with the text "Lily breaks up with her boyfriend in Bulgari, Marc Jacobs and Still by J-Lo", while in another, she is shown swooning alongside some tablets with the caption, "Lily overdoses in Marc Jacobs". Mr Nairne said it is the inclusion of an "emotional" life given to the model that gives the work such force.

Germaine Greer is another Vine fan. In her introduction to the catalogue accompanying the show, she writes: "As a woman paints her face every day, Stella Vine paints the painted face, the mask behind which celebrity females take cover even as they flaunt themselves. Paint cannot lie. Every brushstroke threatens disintegration. The mascara runs. The rouge stands out on the cheeks like a bloody bruise. The eyes glitter with unshed tears or is it terror? Or rage? The paint wells and dribbles like the blood of the self-wounded. The surface heaves and slips. Underpainting grins through."

Mr Nairne said the wit in her work is marked by paintings such as Jose and Leya, featuring the Chelsea football club manager, Jose Mourinho as a matinee idol, alongside his dog and accompanied by the text, "I will always love you". The painting is inspired by Mourinho's arrest this year over a dispute about his dog's quarantine status. It was alleged that the Yorkshire terrier was taken out of the country and returned without going into quarantine.

Nairne argues that those who criticise Vine's work for being celebrity obsessed have missed the point. Her work is not only about celebrities, he says, but also about herself. For example, portraits of Moss and a young Princess Diana, both of whose sometimes tumultuous personal lives she identifies with, bear a resemblance to Vine. He said: "She is open to the idea these paintings are about her, that they are self portraits, and that they are actually about her, and by extension, they become about all of us and how we relate to our own self worth".

But others have written Vine off as a tasteless trickster whose shocking subject matter crosses the line into moral reprehensibility. David Lee, the editor of The Jackdaw, has called her a "brainless rotten painter" , while her painting Hi Paul Can You Come Over was nominated as one of the 10 worst paintings in Britain. A portrait of Princess Diana, Murdered, Pregnant and Embalmed, which was bought by George Michael for £25,000, was also condemned as "sick" by the red-top tabloids.

Vine has never appeared perturbed by the criticism. She has likened the commercial art world to the sex industry of which she had some knowledge in her former life. She once said: "The art world is exactly the same as the sex industry: you have to be completely on guard, you will get shafted, fucked over left, right and centre."

And for Vine's supporters, there is a suspected agenda against the former stripper and single mother who is regarded as an establishment outsider. "A few critics insist that she is not a real artist, but just trying it on," said Greer, adding, "They think her work is somehow fake, not seeing that it is about faking it, faking everything, from virtue and innocence to orgasms."

安迪沃荷名作 在朱銘美術館

聯合報／記者周美惠／台北報導 2007.03.06

安迪沃荷一件巨幅的毛澤東肖像，去年在佳士得秋拍創下逾五億元台幣成交的佳績，讓這位普普藝術大師再度廣受世人矚目。想親炙安迪沃荷風采，走一趟朱銘美術館，便可一飽藝術盛宴。

藝術家朱銘不但是國內雕塑界翹楚，也是位收藏家，朱銘美術館除了典藏朱銘個人作品，有一部分典藏品即來自朱銘的早期收藏，如：畢卡索、亨利摩爾、畢費、張萬傳、洪瑞麟…等國內、外知名藝術家的作品。從他收藏中，可以窺見他對普普藝術的熱愛，朱銘美術館現正展出一組十幅的「毛澤東」及一幅「瑪麗蓮夢露」肖像畫，這些作品皆為安迪沃荷的限量版畫，價值不凡。

1972年，前美國總統尼克森歷史性訪問中國，與毛澤東、周恩來等密談，安迪沃荷在當年即創作出一系列毛澤東肖像；此外，他為性感艷星瑪麗蓮夢露所作的肖像也是安迪沃荷最為世人熟知的傑作之一。朱銘收藏的毛澤東及瑪麗蓮夢露肖像，各為一組十件，每組印有250版，前者為全套版畫，後者只有一張，每張市值約百萬台幣，即日起在朱銘美術館第一展覽室展至4月1日。