| dc.description.abstract | In 1973, Liao Shiou-Ping, an important promoter of Taiwan′s modern printmaking, returned to Taiwan from the United States and taught new western printing techniques in his alma mater, the Department of Fine Arts, National Taiwan Normal University. The next year, the ＂Evergreen Graphic Art Association＂ was formed by his students. The members inherited Liao Shiou-Ping′s printmaking skills, and at the same time developed more diverse forms of printmaking. Since the 1970s, the ＂Evergreen Graphic Art Association＂ have actively promoted printmaking art. Their activities have spanned different fields such as art associations, official exhibitions, academy systems, gallery industries, art museums, and cultural centers. Through these interwoven networks, they also provide us with an understanding of the development of modern printmaking in Taiwan. In the 1980s and 1990s, considerable changes took place in Taiwan′s fine art environment. No matter it was affected by politics, society or economy, artists had different forms for the media and themes of creation. ＂Evergreen Graphic Art Association＂ coincided with these changes in the environment, and the modern prints they promoted also corresponded to the historical background. This study takes the 1980s and 1990s as the main axis of research.
This study follows the development of Taiwan′s fine arts: art association/official exhibitions, galleries, and art museums as narrative structures to explore the operation of the ＂Evergreen Graphic Art Association＂ in different mechanisms and the development of their members. The first chapter will start to understand the development of ＂Evergreen Graphic Art Association＂ and modern prints in Taiwan from the form of art associations and official exhibitions since the Japanese ruled period. This chapter first discusses the ＂modernization＂ of Taiwan′s printmaking, then sorts out the background of the establishment of the ＂Evergreen Graphic Art Association＂ and the creative characteristics of its members, and finally explores the position of printmaking in official competitions. The second chapter starts from the gallery industry, reviews the general situation of gallery development in the 1980s and 1990s, and the relationship between ＂Evergreen Graphic Art Association＂ and galleries, and further understands the significance of printmaking in commercial activities. The third chapter discusses the public sector mechanism developed in the 1980s, including the perspective of art museums and cultural centers, to understand the exhibition and collection status of the ＂Evergreen Graphic Art Association＂ in the public sector, as well as the multiple roles they play.
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