{"title":"台湾当代摄影发展特征检视","authors":"Chiu Kuo-Chun","doi":"10.1109/ICKII.2018.8569046","DOIUrl":null,"url":null,"abstract":"”Contemporary art” refers to art belonging in this era and is a product of western art ideology transformation. Although “Taiwanese contemporary art” does not directly derive from western art, its development has long been under its influence; thus could be interpreted as “Taiwanese Art under the influence of western contemporary art”. The concept of western contemporary art is to transcend past the history and core value that the West has previously been built upon and instead focus on bordering and diverse self-expression [1]. For this reason, when we examine Taiwan’s contemporary art, we should start with the discovery of our inner selves. The past of Taiwan’s photography has seen the correspondence of different stages to that of western photography but under the influence of foreign photographic trends, photographers from different eras are experimenting with different images or to express their individuality; or using photography as foreign methods to incorporate and transfer unique images. This has allowed us to acknowledge the existence of “Taiwan’s contemporary photography”. Through the analysis of content and form as well as in-depth interview of the artists, this study examines how representative works of different eras are affected by foreign or local aesthetics in protruding the existing limits of photography. Finally, the study seeks to unveil the traits of Taiwan’s contemporary photography development. Many photographers choose to continue creating works even under the influences of the new era and despite having experienced different phases. In turn, these photographers use their new creations or ideas to influence the new era. This study does not use historic time as benchmark and instead uses the correspondence and connection of a work of art. As contemporary art critic Arthur C. Danto suggested, rather than historical conclusions and narrations, developing a new form of historic interpretation might be more suitable for contemporary art.","PeriodicalId":170587,"journal":{"name":"2018 1st IEEE International Conference on Knowledge Innovation and Invention (ICKII)","volume":"13 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"An Examination of Taiwan’s Contemporary Photography Development Traits\",\"authors\":\"Chiu Kuo-Chun\",\"doi\":\"10.1109/ICKII.2018.8569046\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"”Contemporary art” refers to art belonging in this era and is a product of western art ideology transformation. Although “Taiwanese contemporary art” does not directly derive from western art, its development has long been under its influence; thus could be interpreted as “Taiwanese Art under the influence of western contemporary art”. The concept of western contemporary art is to transcend past the history and core value that the West has previously been built upon and instead focus on bordering and diverse self-expression [1]. For this reason, when we examine Taiwan’s contemporary art, we should start with the discovery of our inner selves. The past of Taiwan’s photography has seen the correspondence of different stages to that of western photography but under the influence of foreign photographic trends, photographers from different eras are experimenting with different images or to express their individuality; or using photography as foreign methods to incorporate and transfer unique images. This has allowed us to acknowledge the existence of “Taiwan’s contemporary photography”. Through the analysis of content and form as well as in-depth interview of the artists, this study examines how representative works of different eras are affected by foreign or local aesthetics in protruding the existing limits of photography. Finally, the study seeks to unveil the traits of Taiwan’s contemporary photography development. Many photographers choose to continue creating works even under the influences of the new era and despite having experienced different phases. In turn, these photographers use their new creations or ideas to influence the new era. This study does not use historic time as benchmark and instead uses the correspondence and connection of a work of art. As contemporary art critic Arthur C. 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引用次数: 0
摘要
“当代艺术”是指属于这个时代的艺术,是西方艺术意识形态转型的产物。“台湾当代艺术”虽不直接源自西方艺术,但其发展却长期受到西方艺术的影响;可以理解为“受西方当代艺术影响的台湾艺术”。西方当代艺术的概念是超越过去西方所赖以建立的历史和核心价值,而是关注边缘和多样化的自我表达[1]。因此,审视台湾当代艺术,应该从发现内在的自我开始。台湾摄影的历史经历了不同阶段与西方摄影的对应,但在国外摄影潮流的影响下,不同时代的摄影师都在尝试不同的影像或表达自己的个性;或采用摄影作为外来的方法,将独特的图像融合和传递。这让我们承认了“台湾当代摄影”的存在。本研究通过对内容和形式的分析,以及对艺术家的深度访谈,探讨不同时代的代表性作品如何受到外来或本土美学的影响,从而突破摄影的现有局限。最后,本研究试图揭示台湾当代摄影发展的特质。许多摄影师即使在新时代的影响下,即使经历了不同的阶段,也会选择继续创作。反过来,这些摄影师用他们的新创作或想法来影响新时代。本研究不以历史时间为基准,而是以艺术作品的对应和联系为基准。正如当代艺术评论家Arthur C. Danto所说,比起历史的结论和叙述,发展一种新的历史解释形式可能更适合当代艺术。
An Examination of Taiwan’s Contemporary Photography Development Traits
”Contemporary art” refers to art belonging in this era and is a product of western art ideology transformation. Although “Taiwanese contemporary art” does not directly derive from western art, its development has long been under its influence; thus could be interpreted as “Taiwanese Art under the influence of western contemporary art”. The concept of western contemporary art is to transcend past the history and core value that the West has previously been built upon and instead focus on bordering and diverse self-expression [1]. For this reason, when we examine Taiwan’s contemporary art, we should start with the discovery of our inner selves. The past of Taiwan’s photography has seen the correspondence of different stages to that of western photography but under the influence of foreign photographic trends, photographers from different eras are experimenting with different images or to express their individuality; or using photography as foreign methods to incorporate and transfer unique images. This has allowed us to acknowledge the existence of “Taiwan’s contemporary photography”. Through the analysis of content and form as well as in-depth interview of the artists, this study examines how representative works of different eras are affected by foreign or local aesthetics in protruding the existing limits of photography. Finally, the study seeks to unveil the traits of Taiwan’s contemporary photography development. Many photographers choose to continue creating works even under the influences of the new era and despite having experienced different phases. In turn, these photographers use their new creations or ideas to influence the new era. This study does not use historic time as benchmark and instead uses the correspondence and connection of a work of art. As contemporary art critic Arthur C. Danto suggested, rather than historical conclusions and narrations, developing a new form of historic interpretation might be more suitable for contemporary art.