台灣青年藝術家躋身藝術產業之環境條件研究

The study of environmental conditions of young Taiwanese artists advancing into arts industry.

吳佳霖(Chia-Lin Wu)

指導教授 ： 吳介祥

元智大學/人文社會學院/藝術與設計學系/藝術管理碩士班/碩士(2011年)

https://doi.org/10.6838/YZU.2011.00013

摘要

台灣藝術界的發展，近年來逐漸形成一股年輕世代潮流，青年藝術家在剛畢業或未畢業時就已經開始面對藝術市場的考驗，青年創作者對於自身未來的創作生涯抱著既期待又怕受傷害的心理狀態。青年藝術家擁有豐沛的創作力，藝術產業界欣賞他們創新的創作能量，紛紛以經紀、代理和展覽的方式鼓勵這些藝術新血投入藝術市場中，這股青年藝術家的熱潮，影響著台灣藝術界和藝術產業的發展。

一位成功的藝術家，在年輕時期發展階段是需要很多資源的幫助，青年藝術家擁有豐沛的創作力，但在創作生涯資歷與經濟資源處於弱勢的狀況，政府基於文化贊助的原則，以各項型式的補助計畫來獎助青年藝術家，讓他們在創作過程上獲得心理上的鼓舞，同時亦希望連結與產業界的關聯，讓青年藝術家未來的創作生涯上能獨立自足。台灣的畫廊產業在經營年輕藝術家時會產生不穩定的憂慮，年輕創作者的心態是否成熟到能進入市場的競爭，青年藝術家面對藝術產業下的積極競爭，會產生心理矛盾以及猶豫的狀態，因此與畫廊合作應謹慎思考。

本研究內容分為四章，第一章為緒論，第二章以加拿大、澳洲的藝術銀行和英國青年藝術家的興起為例子，第三章討論台灣政府針對青年藝術家補助的計畫進行分析，第四章以台灣的藝術產業為重點，探討畫廊經營青年藝術家的方式，結論綜觀政府、畫廊產業以及青年藝術家三方面的關係，期望台灣的青年藝術家能獲得政府以及藝術產業界更多資源關懷與助益。

關鍵字

青年藝術家 ； 文化贊助 ； 藝術產業 ； 畫廊

並列摘要

In recent years, young Taiwanese artists, regardless of those who just graduated or those that are still in schools, are all facing challenges in the art market. They are having high hopes on their own artistic careers while at the same time they are also afraid that they may not survive in the high-competitive market. Young artists are rich in creativity, a powerful energy that the arts industry admires most. The industry welcomes these new talents with different approaches. Some serve as their brokers or agents while others invite these young artists to exhibit their works in exhibitions. The import of the young artists’ enthusiasm is having major impact to Taiwanese art and the development of Taiwanese arts industry.

It takes a lot of resources for a young artist during his or her budding stage in order for them to be successful one day. Even though they are rich in creativity, without financial support and experience, they are venerable at the early stage of career. The Government, as the principle of cultural sponsorship, provides many sponsorship programs to encourage these young artists in their creation. In addition, the government hopes young artists can work closely with the arts industry so that the younger generation can be financially independent on his or her own in the future. Taiwan's gallery industry worries about young generation’s instability in their creation. They are not sure if the young artists are mature enough to enter the competitive industry. At the meantime, young artists who face tough competitions in art market will have doubts about themselves as well. Therefore, these artists are encouraged to be more careful in making the decision on whether they should work with galleries or not.

This study is divided into four chapters: the first chapter is the introduction; the second chapter states some examples of the young artists in the Art Banks in Canada, Australia, and the Young British Artist; the third chapter analyses Taiwan government’s subsidy projects to local young artists, and the fourth chapter focuses on art galleries’ cooperate with young artists in Taiwan. The conclusion combines views from three parties: from the viewpoints of the government, art galleries and the young artists, and the correlations between the three sides. It is done to convey the idea that Taiwan's young artists and arts industry deserve more resources and attentions from the government.

並列關鍵字

Taiwanese Artists ； cultural sponsorship ； arts industry ； gallery

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