臺灣人文及社會科學引文索引資料庫系統

:::

詳目顯示

回上一頁
第 1 筆 / 總合 1 筆   第一頁 上一頁 下一頁 最後一頁
/1頁
題名：台灣攝影藝術場域中經濟資本之研究 –以十四位在世攝影藝術家為研究對象
作者：盤龍
作者(外文)：PAN, LONG
校院名稱：國立臺北藝術大學
系所名稱：美術學系碩(博)士班
指導教授：黃建宏
陳愷璜
學位類別：博士
出版日期：2023
主題關鍵詞：攝影；場域；慣習；藝術贊助；創作策略；Photography；Field；Habitus；Art Patronage；Creative Strategy
原始連結：連回原系統網址new window
相關次數：
  • 被引用次數被引用次數:期刊(0) 博士論文(0) 專書(0) 專書論文(0)
  • 排除自我引用排除自我引用:0
  • 共同引用共同引用:0
  • 點閱點閱:1
藝術贊助是藝術創作的關鍵環節，若無其存在，許多優秀的藝術家將無法成就。以畫家梵谷為例，即使他的創作自由度極高，但其生活所需與繪畫用具的支持仍來自家人。然而，儘管藝術家在私底下可能對贊助問題有所抱怨，但在公眾面前討論此議題的情況實屬罕見。因此，學術界在研究藝術贊助時，大多從贊助者的角度出發，從而忽視了被贊助者（即藝術家）的觀點。如此一來，這種研究僅能洞察問題的一半。
本研究以「台灣攝影藝術」場域為主要關注點，並將「攝影藝術贊助」作為研究的重心。由於攝影在傳統藝術領域中相對處於弱勢，對於贊助資源的獲取更顯困難，因此在此資源稀缺的情況下，問題的關鍵性更為明顯。
透過本研究將揭示攝影藝術家們在這個場域中的位置、慣習、實踐策略和具體行動，尤其是他們的創作策略和面對經濟資本的態度。
為了深入理解這些現象，本研究挑選了十多位曾在國內三大主要美術館（北美館、國美館與高美館）舉辦過個展，或其作品曾被這些美術館典藏的攝影藝術家進行深度訪談。透過這些訪談，我們整理出他們在文化資本與經濟資本的累積與運用方式，並發現「中介者」在此過程中的重要性。
Art patronage is a key link in artistic creation, without which many outstanding artists would not be able to achieve. Take the painter Vincent Van Gogh as an example. Even though he had a high degree of creative freedom, the support for his living needs and painting tools still came from his family. However, while artists may complain about patronage in private, it is rare to discuss the issue in public. Therefore, when the academic circles study art sponsorship, they mostly start from the perspective of the sponsor, thus ignoring the viewpoint of the sponsored (that is, the artist). As such, such research provides only half the insight.
This research focuses on the field of "Taiwanese photography art", and takes "Photography Art Sponsorship" as the focus of the research. Since photography is relatively weak in the traditional art field, it is more difficult to obtain sponsorship resources. Therefore, in the case of scarce resources, the criticality of the problem is more obvious.
This research will reveal the positions, habits, practice strategies and specific actions of photographic artists in this field, especially their creative production strategies and attitudes towards economic capital.
In order to gain an in-depth understanding of these phenomena, this research selected more than a dozen photography artists who had held solo exhibitions in the three major domestic art museums (Taipei Fine Arts Museum, National Taiwan Museum of Fine Arts and Kaohsiung Museum of Fine Arts), or whose works were collected by these art museums to conduct in-depth interviews. Through these interviews, we sort out how they accumulate and use cultural capital and economic capital, and discover the importance of "intermediaries" in this process.
文化部. (2021). 2020年推廣計畫．文馨獎案例專文報導. 文化部. Retrieved December, 1 from https://aaba.moc.gov.tw/home/zh-tw/aabastory/44346
文化部. (2023). 文化藝術工作者契約簽本專匾. 文化部. Retrieved 0630 from https://www.moc.gov.tw/webarticle_148240.html
王聖閎. (2019). 藝文科層體制如何生產出卓越的你. 澳門劇場文化學會. Retrieved 26, September from https://medium.com/劇場-閱讀/1-1e1d2fd9c75
江淑美, 吳伊勻, 翁士勛, & 劉育雯. (2000). 教育研究法專題研究報告-個案研究. 2011 年, 11.
自由時報. (2019). 韓國瑜率團美術館大喊「發大財」 網友轟：有夠丟臉. Retrieved 221205 from https://news.ltn.com.tw/news/politics/breakingnews/2790303
吳秀華. (2019). 後現代的當代藝術：貼地的時代見證. 田家炳中華文化中心通訊(3), 16-20.
吳金桃. (2002). 藝術界裡跨洲際的資本: 英國和日本企業的藝術贊助. 行政院國家科學委員會補助專題研究計畫成果報告. http://203.72.2.146/retrieve/9861/902420H343002.pdf
李宜修. (2010). 1980-2000年代台灣藝術（美術）環境與藝術經濟發展之關係探析 [Research on the relation between Taiwan's artistic environment and the development of artistic economy from 1980 to 2000]. 屏東教育大學學報-人文社會類(35), 81-122.
李欣. (2017). 影像藝術品收藏與投資. 中國攝影出版社.
李惠美. (2010). 從出錢到出力「藝企」牽手點亮未來. PAR表演藝術雜誌(205), 88-89. https://doi.org/10.29527/par.201001.0037
亞洲文化協會台灣基金會. (2022). 財團法人亞洲文化協會台灣基金會. Retrieved November, 1 from https://www.asianculturalcouncil.org/zh-hant/acctaiwanfoundation
思多葛. (2017). 攝影(藝術)產業調查暨發展趨勢研究期末報告. 國立臺灣博物館.
國家發展委員會檔案管理局. (2021). 檔案瑰寶 元氣補給:美軍大兵在臺灣. 國家發展委員會檔案管理局. https://www.archives.gov.tw/ALohas/ALohasColumn.aspx?c=2275
張志超(譯). (2013). 藝術商業化之思考. In 藝術贊助 (pp. 110-146). 中國青年出版社. (Marjorie Garber, 2008)
盤龍. (2021). 借他山之石助地方美術館發展. 地方美術館與當代藝評實踐線上學術研討會論文集, 47-59.
鄭美華. (2008). 藝文贊助政策之釐訂與執行之研究. 通識研究集刊(14), 1-22.
簡秀枝. (2020). 盧秀燕市長，切莫廢藝術而就草包. Retrieved 20221205 from https://artouch.com/art-views/content-12158.html
ARTOUCH. (2020). 痛斥華藝網不法行為，文化部發四大聲明、全力協助民事集體訴訟. 典藏. Retrieved 20230630 from https://artouch.com/art-news/content-13202.html
Balfe, J. H. (1993). Paying the piper: causes and consequences of art patronage. University of Illinois Press.
Barnes, M. L. (2011). “Music to our ears”: understanding why Canadians donate to arts and cultural organizations. International Journal of Nonprofit and Voluntary Sector Marketing, 16(1), 115-126.
Baudelaire, C. (1859). The Salon of 1859 (J. Mayne, Trans.). In V. Goldberg (Ed.), Photography in Print (pp. 123).
Beckert, J., & Rössel, J. (2013). THE PRICE OF ART. European Societies, 15(2), 178-195. https://doi.org/10.1080/14616696.2013.767923
Bock, N. (2008). Patronage, standards and transfert culturel: Naples between art history and social science theory. Art History, 31(4), 574-597.
Borgonovi, F., & O'Hare, M. (2004). The impact of the national endowment for the arts in the United States: Institutional and sectoral effects on private funding. Journal of Cultural Economics, 28(1), 21-36.
Bottomore, T. B. (1964). The quotation is Thesis VIII. In M. Rubel (Ed.), Karl Marx: Selected Writings in Sociology and Social Philosophy (pp. 69). First McGraw-Hill.
Bourdieu, P. (1977). Outline of a Theory of Practice. Cambridge University Press.
Bourdieu, P. (1987). Distinction: A social critique of the judgement of taste (R. Nice, Trans.). Harvard university press.
Bourdieu, P. (1990). The Logic of Practice (R. Nice, Trans.). Stanford University Press.
Bourdieu, P. (1991). Social Space and the Genesis of Classes (G. R. a. M. Adamson, Trans.). In J. B. Thompson (Ed.), Language and Symbolic Power (pp. 229-231). Polity Press.
Bourdieu, P. (1996). The Cult of Unity and Cultivated Differences (S. Whiteside, Trans.). In Photography: A middle-brow art (pp. 14). Polity (Reprinted from 1998)
Bourdieu, P. (2016). 藝術的法則：文學場域的生成與結構 (石武耕、李沅洳、陳羚芝, Trans.). 典藏藝術家庭. (原著出版於 1992 年)
Bourdieu, P., & Whiteside, S. (1996). Photography: A middle-brow art. Stanford University Press.
Burstow, R. (1997). The Limits of Modernist Art as a'Weapon of the Cold War': reassessing the unknown patron of the monument to the Unknown Political Prisoner. Oxford Art Journal, 20(1), 68-80.
C.Alexander, J. (2003). (张. 霍. 渠. 应星, Trans.). 上海人民出版社 (Fin De Siecle Social Theory: Relativism, Reduction and the Problem of Reason)
Campbell, L. (1976). The Art Market in the Southern Netherlands in the Fifteenth Century. The Burlington Magazine, 118(877), 188-198. http://www.jstor.org/stable/878374
Crawford, A. (2013). The possibility of patronage: the theory and practice of crowdfunding art. Overland(211), 42-47. https://search.informit.org/doi/10.3316/ielapa.201221093
Crum, R. J. (1989). “Cosmos, the world of Cosimo”: the iconography of the Uffizi facade. The Art Bulletin, 71(2), 237-253.
d., E. l. (2017). 費時四年拍攝：台灣攝影師記錄魏斯貝絲公寓內紐約老藝術人的私密生活故事. Retrieved November, 2 from https://everylittled.com/article/78836
Garber, M. (2013). 藝術贊助 (張志超(譯), Trans.). 中國青年出版社. (2008)
HAYES, A. (2021). Real Option: Definition, Valuation Methods, Example. Investopedia. Retrieved 0710 from https://www.investopedia.com/terms/r/realoption.asp
Jenkins, A. F. (1970). Cosimo de'Medici's Patronage of Architecture and the Theory of Magnificence. Journal of the Warburg and Courtauld Institutes, 33(1), 162-170.
Jenkins, R. (1992). Pierre Bourdieu (2007 ed.). Routledge.
Kent, F. W. (2004). Lorenzo de'Medici and the Art of Magnificence (Vol. 24). JHU Press.
Loic, J. D. W. (1989). Towards a Reflexive Sociology: A Workshop with Pierre Bourdieu. Sociological Theory, 7(1), 26-63.
Marrow, D. (1978). THE ART PATRONAGE OF MARIA DE'MEDICI. University of Pennsylvania.
Maslow, A. H. (1954). Motivation and personality. Harpers.
MoMA. (2021). FDR’s Radio Address - MoMA through Time. Retrieved Feb, 2 from https://www.moma.org/interactives/moma_through_time/1930/fdrs-moma-radio-address/
Neil O. Alper, G. H. W. (2007). 藝術家的職業生涯及藝術行業勞動力市場 (李. 魏鵬舉, Trans.). In D. T. Victor A. Ginsburgh (Ed.), 藝術與文化經濟學手冊 (Vol. 1, pp. 613). 東北財金大學出版社.
Powell, E. W. (1916). New York Art Notes. Fine Arts Journal, 34(10), 566-570.
Robinson, H. P. (1869). Pictorial Effect in Photography. In V. Goldberg (Ed.), Photography in Print (pp. 155).
Scholar, G. (2022). Pierre Bourdieu. Retrieved December,19 from https://scholar.google.com.tw/citations?hl=zh-TW&user=d_lp40IAAAAJ
Segal, G., Borgia, D., & Schoenfeld, J. (2005). The motivation to become an entrepreneur. International Journal of Entrepreneurial Behavior & Research, 11(1), 42-57. https://doi.org/10.1108/13552550510580834
Sotheby’s. (2023). (#611) 張照堂 新竹五指山 數位輸出 一九六二年作. https://www.sothebys.com/zh/auctions/ecatalogue/2013/20th-century-chinese-art-hk0458/lot.611.html
Stryker, R. E. (1973). The FSA Collection of Photographs. In V. Goldberg (Ed.), Photography in print: writings from 1816 to the present (pp. 349-353). University off New Mexico Press. (Simon and Schuster)
Thompson, E., Berger, M., Blomquist, G., & Allen, S. (2002). Valuing the arts: A contingent valuation approach. Journal of Cultural Economics, 26(2), 87-113.
Tomas, N. R. (2017). The Medici women: gender and power in Renaissance Florence. Routledge.
Wahba, M. A., & Bridwell, L. G. (1976). Maslow reconsidered: A review of research on the need hierarchy theory. Organizational behavior and human performance, 15(2), 212-240.
Wu, C.-T. (2003). Privatising culture: Corporate art intervention since the 1980s. Verso.
 
 
 
 
第一頁 上一頁 下一頁 最後一頁 top
QR Code
QRCODE

臺灣人文及社會科學引文索引資料庫

目前上線人數：354（臺灣：351，外國：3） ／ 本年度總使用人次：2156165 ／ 訪客人次（自102年09月）：67952000
國家圖書館著作權聲明 Copyright © 2013 All rights reserved.
本館地址: 100201臺北市中山南路20號． 本館地圖及交通資訊．
總機：(02)23619132．最佳瀏覽解析度為1024x768以上