| 摘要: | 藝術家從年輕到成熟的個人風格養成，是一段漫長的鍊金過程，需要經過時間歲月的粹鍊，並需要來自外在力量的幫助，如畫廊業者經紀行銷、公私收藏家青睞典藏、國家提供藝術贊助措施等，以獲取基本上之生活費用及支付個人創作上的開銷。從藝術市場的交易情況觀之，剛起步的年輕藝術家於世界各地都不容易崛起，國外先進國家如加拿大與澳洲先後成立藝術銀行，透過公部門購買作品的方式來資助、鼓勵和典藏新生代的藝術文化；在台灣方面，文建會參考自法國文化部所施行的當代藝術購藏基金（F.N.A.C.），制定「青年藝術作品購藏計劃」並交由公立典藏機構執行計劃，其政策的出發點則與藝術銀行相同皆意在贊助青年藝術家、將其豐富多元的創作推廣給社會大眾欣賞，而藉由政策購藏具有未來發展潛力的青年藝術家之創作，亦是國家為後代子孫累積台灣當代藝術的公共文化財手段之一。 本論文採取質性研究中的「文獻分析法」、「問卷訪談法」和「個案研究法」，選擇以「青年藝術作品購藏計劃」此一國家公共典藏政策作為研究之主題，試圖從藝術贊助決策者、視覺藝術產業者立場和青年藝術家觀點三方角度切入，探討國家為何出面贊助台灣當代青年藝術家、公共典藏政策能否提供青年藝術家從事創作的實質上幫助、以及如何扶植視覺藝術產業界和提升藝術市場景氣等問題。 本論文共分為五個章節： 第一章緒論，說明本文研究之動機和目的、研究範圍與限制、所採行之研究方法和訪談對象、相關文獻的回顧以及關鍵名詞釋義等。 第二章重點在於國家公共典藏政策之探討，第一節為公立美術館制定典藏政策的考量，及分析北美館與國美館之典藏政策和典藏內容；第二節論述青年藝術作品典藏的必要性，並以加拿大和澳洲藝術銀行之運作機制與「青年藝術作品典藏計畫」進行比較；第三節從公立典藏機構採購藝術品的作業流程、「青年藝術作品典藏計畫」購藏作品的方式，和前述兩種購藏方式的分析中，研究公共典藏政策與視覺藝術產業之互動關係。 第三章針對文建會制定之「青年藝術作品購藏計劃」，首先論述整個計劃的各辦理年度（民國92年至94年）之作業內容，其次為對辦理計畫之公開徵件要點的各項規定和購藏價格進行分析，再者延伸探討計畫之相關議題，包括藝文媒體的報導、「E術誕生－台灣藝術新秀展」、「ART TAIPEI 2005台北國際藝術博覽會」等三大方面。 第四章歸結上述兩章，並自筆者訪談研究對象－計畫業務承辦人、青年藝術家和畫廊協會秘書長之內容穿插印證，檢視目前「青年藝術作品購藏計劃」之施行現況，並探討獲得購藏的青年藝術家之相關問題，在末節則分析計畫對視覺藝術市場產生之影響。 第五章結論則將整篇論文的重點及看法作一綜整，並提出筆者研究「青年藝術作品購藏計劃」後的五項研究結果，以及對作品購藏計畫之政策辦理方面的兩點執行上之建議。
The cultivation of an artist from professional training to the development of particular styles is a long course and its accomplishment depends on sponsorship from art galleries, public or private collectors and governmental grants among other supports. The difficulties young artists are facing are similar all over the world, and governmental policies are expected to help artists establish their career by relieving their burdens. In Canada and Australia, the Art Bank systems encourages artists through public collection, and in Taiwan, the Council for Cultural Affairs has implemented a Public Collection Project of the Artworks of Young Taiwanese Artists equivalent to the F.N.A.C in France. In addition to the encouragement of young artists, public collection aims to enrich the collections of public museums and the cultural asset of a society. This thesis applies Citation analysis, questionnaire, interview and case study to explore: the contextual formation of policy-making, the standing of visual art industry and the points of view of young artists regarding the Public Collection Project. It discusses the substantial supports to young artists, visual art industry as well as the art market. This thesis consists five chapters: Chapter One introduces the study motivation, study goals, study scope and limitations, research methodology and interviewees, bibliography and terminology. Chapter Two consists three sections, the first section analyzes the collection policy and directions of the Taipei Fine Arts Museum and the Taiwan Museum of Art. The second section emphasizes the necessity of collecting artworks by young artists before comparing the Art Bank systems in Canada and Australia to the Public Collection Project of the Artworks of Young Taiwanese Artists. The third section probes the possible interactions between the collection policy and the art industry under such exchange. Chapter Three presents the contents of Public Collection Project from 2003 through 2005 as well as its goals, procedures, artwork entry soliciting, categories and prices of procurement among other issues. A general analysis of art media, art shows for rising artists and art fairs in Taiwan is conducted in the end of this chapter. Chapter Four includes extensive interviews with the undertakers of public collection, young artists and the staff of the Art Gallery Association. During the interviews, people from different standings express their expectation and the limitations of such a project. Through their opinions, the goals and achievement of the public collection policy are closely examined. This chapter also analyzes the possible social functions of the Public Collection Project and the benefits it might provide young artists in Taiwan. Furthermore, it discusses if such a public collection policy is coherent to art market mechanism. Chapter Five concludes this research with five points and two suggestions to the current public collection policy in Taiwan. |
