衆生相―人文表象之拼貼

FACES - To Collage The Human Representation

袁嘉福(Chia-Fu Yuan)

指導教授 ： 黎志文

國立臺北藝術大學/美術學院學術論文/美術學系碩士在職專班/碩士(2011年)

摘要

本文乃期望從東西方對於多點透視之拼貼作品創作中，探討其中之異同並展開個人之創作。21世紀資本主義的文化生產與跨國流動如洪水般蔓延。在現今媒體文化中，文化表象之真實性已難以確立，伴隨著科技生產與資本的大規模移動，國界與文化疆界更加速模糊當中。因此，以多點透視來探索人文表象，正是檢視現今常民其多樣面貌的方式，探求視覺文化影像/想像間的生成與變異，應當是詮釋大眾文本之視覺想像的必要角度。並進一步對照大眾文化相互觀看下，所交織形成之政經的、歷史的、文化的差異臨場感（presence）。

關鍵字

拼貼

並列摘要

This is expected from the Western perspective of the more creative works of collage to explore the similarities and differences between them and expand the creative individual. 21st century capitalism and the transnational flow of cultural production, such as flood spread. In today's media culture, the cultural representation of the truth has been difficult to establish, along with the technology of large-scale production and capital mobility, national borders and cultural boundaries were blurred even more accelerated. Therefore, more human perspective to explore the idea, it is now often people view the many faces of its way to explore the visual culture of the image / imagination and variation among the generation, the public interpretation of the text should be an essential point of the visual imagination. Furthermore, watch each other under the control of mass culture, the formation of the intertwined political and economic, historical, and cultural differences presence

並列關鍵字

collage

參考文獻

唐曉蘭．〈杜象與觀念藝術〉lib.hcu.edu.tw

張心龍(1990)，《都是杜象惹的禍》。台北：雄獅。

Hockney, David Los Angeles(1988), Calif.: Los Angeles County Museum of Art; New York : Abrams, c1988.

一、中文部份

Edward F. Fry編，陳品秀譯（1991)，《立體派》。台北：遠流。