本文選題：NPO + 藝術(shù)�。� 參考：《湖北美術(shù)學(xué)院》2017年碩士論文

【摘要】：隨著世界文化藝術(shù)領(lǐng)域的不斷發(fā)展與演變,藝術(shù)市場(chǎng)的競(jìng)爭(zhēng)不斷加劇,純粹國(guó)有美術(shù)館收到西方藝術(shù)界的強(qiáng)烈沖擊,面對(duì)日益增長(zhǎng)的思想文化需求,國(guó)有美術(shù)館已逐漸無(wú)法滿足國(guó)民需求,我國(guó)的文化藝術(shù)產(chǎn)業(yè)模式越來(lái)越與國(guó)際接軌與同化,當(dāng)代藝術(shù)的發(fā)展模式也逐步多元化,民營(yíng)非營(yíng)利美術(shù)館如雨后春筍般發(fā)展起來(lái)。本論文以西方對(duì)非營(yíng)利機(jī)構(gòu)(NPO)的概念及定義作為發(fā)散點(diǎn),并以中外非營(yíng)利民營(yíng)美術(shù)館:紐約現(xiàn)代美術(shù)館(MoMA)、今日美術(shù)館、尤倫斯藝術(shù)中心(UCCA)等為例,系統(tǒng)分析了非營(yíng)利機(jī)構(gòu)的歷史發(fā)展,機(jī)制結(jié)構(gòu)和運(yùn)營(yíng)模式等。但是,與此同時(shí),我們也應(yīng)該看到,在當(dāng)代中國(guó),民營(yíng)非營(yíng)利美術(shù)館雖然得以存在和發(fā)展,卻一直處于在夾縫中艱難生存的狀態(tài),照搬照抄西方藝術(shù)機(jī)構(gòu)思維和運(yùn)營(yíng)模式一定程度上可以起到促進(jìn)文化藝術(shù)在我國(guó)的發(fā)展,但目前我國(guó)的政治制度和國(guó)情狀況都導(dǎo)致了西方非營(yíng)利藝術(shù)機(jī)構(gòu)的運(yùn)營(yíng)模式在中國(guó)開(kāi)展到進(jìn)退兩難和捉襟見(jiàn)肘的狀態(tài)。本研究在立足于中西方制度體恤的差異及非營(yíng)利藝術(shù)機(jī)構(gòu)現(xiàn)狀分析的基礎(chǔ)上,探討與借鑒西方非盈利藝術(shù)機(jī)構(gòu)之所以能持續(xù)存在原因和發(fā)展規(guī)律,并由此對(duì)中國(guó)非盈利藝術(shù)機(jī)構(gòu)的未來(lái)及發(fā)展路徑進(jìn)行分析和展望。
[Abstract]:With the continuous development and evolution of the world's cultural and artistic fields and the increasing competition in the art market, the pure state-owned art galleries have received a strong impact from the western art world and are faced with increasing ideological and cultural demands. The state-owned art gallery has been unable to meet the national demand gradually, the cultural and artistic industry mode of our country is more and more in line with the international and assimilation, the development mode of contemporary art is also gradually diversified, the private non-profit art museum has been developing like bamboo shoots after a spring rain. This thesis takes the concept and definition of NPO in the West as the divergence point, and takes the Non-Profit Private Art Museum in China and Foreign countries as examples: Momai Museum of Modern New York, Today Art Museum, UCCA of Ullens Art Center, etc. This paper systematically analyzes the historical development, mechanism structure and operation mode of non-profit institutions. However, at the same time, we should also see that in contemporary China, although private non-profit art galleries exist and develop, they have always been in a state of difficult existence in the middle of the gap. Copying the thinking and operation mode of western art institutions can to some extent promote the development of culture and art in our country. However, the current political system and national conditions of our country have led to a dilemma and a lack of resources for the operation mode of the Western non-profit art institutions in China. Based on the analysis of the differences between Chinese and western institutions and the analysis of the current situation of non-profit art institutions, this study explores and draws lessons from the reasons why the non-profit-making art institutions in the West can continue to exist and the law of their development. From this, the future and development of China's non-profit art institutions are analyzed and prospected.
【學(xué)位授予單位】：湖北美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J124

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