從畫會、畫廊、美術館機制探討1980、90年代「十青版畫會」的發展;A Study on the Development of the &quot;Evergreen Graphic Art Association&quot; in the 1980s and 1990s Through an Examination of the Mechanisms Behind Art Associations, Art Galleries, and Art Museums

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題名:	從畫會、畫廊、美術館機制探討1980、90年代「十青版畫會」的發展;A Study on the Development of the ";Evergreen Graphic Art Association";in the 1980s and 1990s Through an Examination of the Mechanisms Behind Art Associations, Art Galleries, and Art Museums
作者:	陳明怡;Chen, Ming-Yi
貢獻者:	藝術學研究所
關鍵詞:	台灣美術;台灣版畫;「十青版畫會」;現代版畫;廖修平;Taiwan Fine Arts;Taiwan printmaking;";Evergreen Graphic Art Association";modern printmaking;Liao Shiou-Ping
日期:	2023-01-16
上傳時間:	2024-09-19 17:38:15 (UTC+8)
出版者:	國立中央大學
摘要:	1973 年台灣現代版畫重要推手——廖修平自美返台，任教於母校國立師範大學美術系，教授新的西方版印技法。隔年，由其學生組成「十青版畫會」，成員傳承了廖修平的版畫技巧，同時也開展出更多元的版印形式。自1970 年代開始，「十青」積極推動版畫藝術，他們的活動軌跡跨越了畫會組織、官方展覽、學院體制、畫廊產業、美術館及文化中心等不同領域，透過這些相互交織的網絡，也提供我們對於現代版畫在台灣發展的了解。在1980、90 年代台灣美術環境發生了相當大的轉變，無論是受政治、社會或經濟的影響，藝術家對於創作媒材、創作題材都有了別於傳統的形式，「十青」適逢這些環境的轉變，他們推動的現代版畫也符應了此時的時代背景，因此，本文以1980、90 年代作為研究的主軸。本文依照台灣美術進程：畫會／官展、畫廊、美術館作為敘述架構，探討「十青」在不同機制中的運作以及成員的發展。第一章將從沿自日治時期的畫會及官展形式，切入理解「十青」以及現代版畫在台灣的發展狀況。本章首先針對台灣版畫的「現代化」進行討論，接著爬梳「十青」的成立背景以及成員創作特色，最後探究版畫在官辦競賽中的位置。第二章從畫廊產業出發，爬梳1980、90 年代畫廊發展的概況，以及「十青」與畫廊的關係，進一步理解版畫在商業活動中的意義。第三章從1980 年代發展起的公部門機制，包含美術館及文化中心的角度，理解「十青」的在公部門中的展覽、典藏狀況，以及他們所扮演的多元角色。 ;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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