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題名 | 文字介入現代藝術之研究=A Study of the Setting of Words in Modern Art |
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作者姓名(中文) | 唐曉蘭; | 書刊名 | 萬竅 |
卷期 | 5 2007.05[民96.05] |
頁次 | 頁103-121 |
分類號 | 901.8 |
關鍵詞 | 文字; 觀念藝術; 意圖; 非物質化; 柯史士; Conceptual art; Intention; Dematerialization; Joseph Koseth; |
語文 | 中文(Chinese) |
中文摘要 | 本論文採用歷史與比較研究法,分析二十世紀現代藝術,在「文字」介入繪畫之後,所引發的觀念、思辯、作用、意義與影響。 立體派大匠布拉克,在1911年的<葡萄牙人>作品中添加字母,可被視為意圖以「文字」介入繪畫的第一人。而後的畢卡索、未來派皆受其影響。但真正使「文字」在繪畫上,起積極作用的是杜象。他是藝術史上第一位排斥繪畫,並開啟文字和印象思考的人。杜象不但影響了達達藝術家和超現實主義的米羅、馬格利特等人,使用文字介入圖像(或繪畫),他對以嚴謹的哲學態度來探討藝術本質與意義的觀念藝術家,更具深遠的影響力。 1960年代興起於美國的觀念藝術,呈現許多反傳統的藝術形式(例如: 現成物、文獻、檔案、表演、地景…)。觀念藝術發展的第一階段(1966-1972),文字媒材使用最廣。本文將分析其原因與目的。並且探討,它對現代藝術發展所引發的觀念、思辯、作用、意義。 |
英文摘要 | By using historical and comparative methods, this paper analyzes the influences of setting words in painting and art works in modern art during the twentieth century. Georges Braque (1882-1963), a leading figure of Cubism in early twentieth century, draw letters in his painting The Portuguese (1911) , which could be seen as the first piece of art work setting words in paintings. Then, Pablo Picasso and Futurists adopt that symbolic form of expression. However, Marcel Duchamp (1887-1968) is the most important artist who gives up painting and inspired thinking by using words in his works. In addition to Dadaists, artists of surrealism such as Joan Miró (1893-1984) and René Magritte (1898-1967) also show the influence of Duchamp’s innovation in their paintings. Later, Conceptualists whom focus on exploring the nature and meaning of art during 1967-1973 also use more words in art works. Why does the setting of words become an element of art in the twentieth century? This paper reviews the history, analyzes the reasons, and explains the influence of changes in the history of modern art. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。