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台灣美術社會結構中藝術家與收藏家之探析

Inquiry and Analysis of Artists and Collectors in the Construction of Taiwan's Art Society

摘要


藝術社會之發展與經濟息息相關。台灣的美術社會發展即由於1980年代,社經結構大環境的急遽變化下產生了快速的發展。筆者即認為1980-2000年是台灣美術社會發展的黃金時期,在此期間,美術社會成員,諸如藝術家、收藏家、產業界、藝術評論、媒體、、、等等都得以形成並發展發揮其功能,台灣豐富多元的美術社會才得呈現。其中,藝術家與收藏家,一方為生產者,一方為接受者,兩者是美術社會重要的主體。而1980-2000年間的台灣美術社會如前所述,是在一個快速發展的階段,因此,在發展過程中自然會發生一些不成熟的現象,如雙方在藝術與商業觀念間之變化,以及彼等與中介媒體-產業界間的關係等等都值得探究。本文主要在就1980-2000年間美術社會發展中該兩者之角色作一探析,台灣美術社會發展時程不長,過程不免種種狀況產生,研究中發現雙方因大環境的教育、各自心態觀念等等問題而生杆格,但最終在多方努力改善下仍能朝向正面而穩定之發展前進。

並列摘要


The development of art society is closely related with economy. Due to an upheaval of the socio-economic formation in the years of 1980's, Taiwan's artistic society developed very quickly then. On my opinion, from 1980 to 2000 is the golden age of the development of Taiwan's society of art. In the meantime, all members of artistic society such as artists, collectors, industrial circle, critique of art, intermediary media... etc. have grown up and extended their functions properly, so that the flourish of an abundant and multivariable artistic society could be arisen. Artists and collectors, one as a producer, another as an acceptant are both important subjects of a artistic society.As above-mentioned point of view, the years from the 1980 to 2000, Taiwan's art market developed rapidly in twenty years, accordingly there were many inchoate phenomena in the processes of development inevitably. For example, the change of conception of art and business between artists and collectors, and the relation between them and intermediary media-industrial circle, the two points are worth researching. On this article, I attend to research on the roles how artists and collectors played at the society of art during the years from 1980 to 2000. In fact, the history of development of Taiwan's society of art is not so long, consequently, it is unavoidable that there were many kinds of status remains to be improved. After the research, we found that due to the differences in education, attitude and concept and so on, so that many communicative troubles between artists and collectors might have happened. Yet under the various efforts to improve, they still can achieve to a positive and stable development in the end.

被引用紀錄


鄭夙雅(2014)。面對他者:談藝術家的恐懼〔碩士論文,國立臺北藝術大學〕。華藝線上圖書館。https://doi.org/10.6835/TNUA.2014.00193

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