視丘攝影藝術學院實習報告：以裝置藝術促進台灣社會中的當代攝影

Internship Report at FOTOSOFT Institute of Photography: Developing an Art Installation to Promote Contemporary Art Photography within Taiwanese Society

辜妍貞

指導教授 ： 林亞婷

國立臺北藝術大學/文化資源學院學術論文/文創產業國際藝術碩士學位學程/碩士(2013年)

https://doi.org/10.6835/TNUA.2013.00064

摘要

無資料

關鍵字

裝置藝術 ； 當代藝術攝影 ； 台灣社會 ； 外國人觀點 ； 視丘攝影藝術學院

並列摘要

The purpose of this paper is to research and present the current tendencies of Installation Art and Contemporary Art Photography in order to understand the Photograph as a medium to create Installation Art. This paper also illustrates a selection of 15 photo-artists whomthrough their artworks share a commitment to making their own contribution to the physical and intellectual space of culture.The aim of these works are presented to give foundation to the development of the Solo-Photo Installation The Absence of the Unknown, held in FOTOSOFT Institute of Photography(視丘攝影藝術學院), Taipei 2015. This Installation was a personal contribution in collaboration with WU Jiabao (吳嘉寶), founder ofthe Institute. The Solo-Photo Installation served with the purpose of a case study since the main focus of this Installation was to develop an artwork from a foreigner’s perspective in order to promoteContemporary Art Photography within the Taiwanese society.

Research collected helped to create a practical guide of the promotion and development of a Photo-Installation, which would serve as a model to be applied in the development of an Art Installation.Through an “observer as participant” approach,interviews and questionnaires,the research analyzed the data by interpreting the insights and experiences of professional artists, art students and non-art related attendants. The obtained datahelped toarrived to the final conclusions and recommendations. There is also a considerable scope for further investigation.

並列關鍵字

Installation Art ； Contemporary Art Photography ； Taiwanese Society ； Foreigner’s Perspective ； FOTOSOFT

參考文獻

Barthes, R. (1981). Camera Lucida: Reflections on photography. New York: Hill and Wang.p34.

Eisner, E. W. (1981). On the Differences between Scientific and Artistic Approaches to Qualitative Research.Educational Researcher10 (4): 5–9.

Foucault, M., &Miskowiec, J. (April 01, 1986).Of Other Spaces.Diacritics, 16, 1, 22-27.

Joseph Beuys repeatedly espoused the idea that art could transform daily life, that everyone can be/is an artist. See Mark Rosenthal, Sean Rainbird and Claudia Schmuckli (eds.), Joseph Beuys: Actions, Vitrines, Environments, London: Ménil Collection in association with Tate Publishing, 2004.

Krukar, J. (2014). Walk, Look, Remember: The Influence of the Gallery's Spatial Layout on Human Memory for an Art Exhibition. Behavioral Sciences (2076-328X), 4(3), 181-201.doi:10.3390/bs4030181.