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  • 學位論文

六位新生代女性藝術家創作意識與表現之個案研究

Creation Conscious and Expression of Six Taiwanese Junior Female Artists Case Studies

指導教授 : 陳瓊花
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摘要


1980年代隨著婦運運動的興起,女性意識隨之抬頭,進而刺激著女性藝術的蓬勃發展,此時期的女性藝術家,運用聯展等方式,積極介入長期為父權體制所壟斷的藝術市場,直至1990年代下半期,出現新一代的女性藝術家,在大環境風氣的演變之下,關注之議題與創作表現,也有不同於以往的風貌。本研究試圖以六位29-35歲之新生代女性藝術家,以深入訪談與資料蒐集的方式,探究其創作意識與表現,分為創作意識發展歷程與狀態、創作意識與圖像間的關聯、創作圖像的詮釋三面向探討之。研究結果發現,在自由風氣下成長的年輕女性藝術家們,關注於自身價值感的認同與追尋,已不再被社會規範所認定的女性形象所束縛,努力追求人生各種面向的平衡;創作內涵源於深層的感知,發自於自身血肉,建立起獨有的形式語言;透過不停實踐的歷程,嘗試將內在概念真誠傳達,期望能給予不同的觀點,與觀者分享看待世界、人生、情感的方式。

並列摘要


In 1980s, along with the rise of Women’s movement, feminine consciousness is awake so as to stimulate the flourish of female art. In this period, female artists actively stepped in the patriarchal authority dominant art market for long term by means of group exhibition and so on. At half of 1990s, there were a new generation female artists who had different styles from past on focusing issues and creation performance under the evolution of broad environment. The research purposes on six 29 to 35 ages new generation female artists in thoroughly interviews and material collection ways to investigate their creation consciousness and performance that divided into creation consciousness development history and state, the relationship between creation consciousness and image, the interpretation of creating image three parts to discuss. The research result shows that young female artists who grew up in liberal atmosphere focus on the sense of their own identity and pursuit and they are no longer fettered by female image that is acknowledged by social regulation but strive to pursue life balance in all aspects. Their writing intention springs from their deep perception and originates from their own flesh in order to set up their unique language style. They try to honestly convey their internal concept and hope to receive different views by constant practiced experiment so that they can share the ways they see the world, life and emotion with readers.

參考文獻


陳瓊花 (1995):藝術概論。臺北:三民書局。
王雅各(1998):身體:女性主義視覺藝術在再現上的終極矛盾。婦女與兩性學刊。臺北:臺大人口研究中心婦女研究室。
陳明青(2006):當代的「騷孃舞墨」:凱洛琳.雪妮曼的《身體之眼》。國立臺灣師範大學美術研究所碩士論文,未出版。
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被引用紀錄


黃鈴雅(2015)。客家青年表演藝術工作者的養成與認同〔碩士論文,國立中央大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0031-0412201512064984

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