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

• Main Authors: Chia-Lin Wu, 吳佳霖
• Other Authors: 吳介祥
• Format: Others
• Language: zh-TW
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/82830106207523457081

碩士 === 元智大學 === 藝術管理研究所 === 99 === 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.