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| 題 名 | 形色之下的角力場--試以「101現代藝術群」分析80s-90s初期臺灣繪畫中批評意識之更迭=The Force Fields under the Appearances--Analyzing the Change of the Critical Consciousness in Taiwan Painting from 1980s to Early 1990s by Example of “101 Modern Art Group” |
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| 作 者 | 洪劭涵; | 書刊名 | 藝術論壇 |
| 卷 期 | 3 民94.05 |
| 頁 次 | 頁193-211 |
| 分類號 | 940.92 |
| 關鍵詞 | 現代; 求新; 批評意識; 本土; Modern; Innovation; Critical consciousness; Nativity; |
| 語 文 | 中文(Chinese) |
| 中文摘要 | 本文以「101代藝術群」為主要研究對象。從1980年分期至1990年前期他們的作品與創作論述中,我們可以大致窺見臺灣於這段時期年輕藝術家批評意識的轉變,且此一變動與整個文化環境的變動密切相關。在1980年中期以前,藝術家要求尋找鉅變表象下的絕對秩序,並服膺於進化思想,認為歷史必須在不斷翻新中進步。1980年中期直到末期,藝術家在現代主義和後現代主義的交鳴下顯得立場模糊,線性歷史觀似乎已然瓦解,但藝術家仍基於求「新」的立場上,以新繪畫攻擊形式主義流派;而在同主體方面也將東方/中國與本土相混淆。約莫進入1990年後,一個能相應於後現代論述中多元、去中心、區域化的論述空間產生,對於文差異性的認知產生了不同的「適合」的創作首要標的。 |
| 英文摘要 | This thesis takes “101 modern art group” as main research object. From Earlier 1980’s to earlier 1990’s, we can find the transformation in criticize consciousness of many young Taiwan artists in their works and in the creation discourses, also this change Related closely entire cultural environment change. Before middle 1980’s, the artists requested the absolute order under the great change representation, and they obeyed to the evolution thought. They think the history must unceasingly progress. In middle 1980’s until the last stage, the artist appear the standpoint fuzzily because of the Correlation by the modernism and post-modernism, the linear conception of history as if already disintegrates, but the artist still based on asked “was new” in the standpoint, attacked formalism school by creating new painting. But in identity aspect, they also confused with Eastern/China and native. Roughly entered 1990, a discourse space appears, this space could correspondingly in the post-modernism, the pluralism and decanter. Cognition the between cultures, the “suited” art appeared, the native thereupon had become the most important creation goal. |
本系統中英文摘要資訊取自各篇刊載內容。