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Title: 台灣藝術產業發展與實務 以印象畫廊營運為例
The Development and Operation of Art in Taiwan Useing the Management of Insian Gallery as an Example
Authors: 王福東
Keywords: 畫廊
curating practice
art market
art industry
operational planning
Issue Date: 2014
Abstract:   第一章前言部分,簡述論文之研究大綱,以及藝術品市場生態各名詞解釋,如藝術家、畫廊、美術館、收藏家、媒體、藝術評論、策展人、藝術品拍賣行等,簡略梳理出各角色或機構在藝術生態中所發揮之功能性,以及彼此之間的相互關係。   第二章、畫廊與視覺藝術產業之關係。承接前言,進一步根據台灣畫廊產業的發展歷程,從60年代、70年代、80年代、90年代到2000年,以及2000年至今等五部分做簡要敘述,並進一步闡述畫廊與藝術家之關係,以及畫廊與收藏家之關係。   第三章、印象畫廊發展史。本章節試圖以第一手的採訪資料與史料紀錄,詳細呈現印象畫廊自初始營運至今的發展經歷,包括80年代初創時期的背景,創辦人歐賢政自營造業離開後,北上台北投身於框裱業,並在90年代進入原作藝術市場的買賣,接著亦加入第二市場(拍賣公司)的經營,結束拍賣公司的運作後,重新專心於畫廊本業,從2000年後展開新佈局,包括硬體方面可看到印象畫廊空間的擴大,軟體方面,則從策展實務著手,並面臨到畫廊行業的世代傳承。   第四章、印象畫廊策展實務個案探討。筆者選出1996年「向前輩美術家致敬」、2001年「新世紀的期約」、2005年「朱德群個展」、2008年「帝國大反擊三部曲」、2008年「悍圖印象」、2013日本箱根雕刻之森美術館「洪易個展」等五檔展覽做為個案探討,一方面除了這五檔展覽分別也是印象畫廊成長的寫照;另一方面也是畫廊逐步邁向年輕化及走向國際的過程。   第五章、研究結果。以印象畫廊發展史為核心而向外延伸,探討其觸擊的台灣藝術產業發展之概況,以及印象畫廊如何選擇其自身經營策略之分析,包括畫廊跨足藝術拍賣、經營台灣前輩畫家之根基、華人現代藝術系統再創高峰、畫廊空間擴大之趨勢、台灣中生代、新生代藝術家之經營等。
  The first chapter is about the whole introduction and the main searching scheme, including the explanations of specific words in art market field such as artist, gallery, art museum, art collector, art media, art critic, curator, art auction etc. indicate briefly the functions of each role or organization in art industry and also their complicated relations.   The second chapter is about the link between an art gallery and the visional art industry. According to chapter one, describe further but shortly the developments processes in five parts: 60s, 70s, 80s, 90s to 2000, and from 2000 until present. Also, point out the relationship between gallery and artists, gallery and art collectors.   The third chapter, the development history of Insian Gallery. In this chapter, through the first-hand interview and past documents, present every stage and all the details of art business strategy in the past almost thirty years. Indicating the background of the early 80s, the founder, Mr. Ou Hsien-Cheng, gave up his work in construction industry, he went to Taipei and then involved in the frame business for posters and art works. He not only established Insian Gallery but also created an art auction house in 90s. After serious consideration, the auction house was closed and Mr. Ou re-focused on the gallery business. He started a new business planning from 2000, for example, on one hand, the space of Insian gallery was expanded, on the other hand, exhibition programs were lightly changed. Finally, there is also the fact of passing the flame to next generation.   The forth chapter, exhibition program studies of Insian gallery. There are totally five cases: “Homage to First Taiwanese Art Generation” in 1996, “Expectation for New Century” in 2001, “Teh Chun Chu’s Solo Show” in 2005, “ The Empire Strikes Back” in 2008, and “Happy Animal Party--Hung Yi’s Solo Show” in the Hakone open-air museum in Japan in 2013. There five exhibitions organized by Insian Gallery are the growing proofs during these years, are also the meanings of vitality and international vision for the future. The fifth chapter, research conclusion. Considering the history of Insian Gallery as the essential core and spreading from this point. Discussing the situation of Insian Gallery in Taiwanese art industry and analyzing its business strategy including auction house operation, basic root from first generation artists, Chinese-born artists’ wave in art market, space expanding and dealing with the new generation artists.
Other Identifiers: GN0097603318
Appears in Collections:學位論文

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