近十年「攝影影像」在台灣當代藝術中大量地出現，然而不只在台灣如此，甚至在整個世界皆明顯呈現運用攝影影像的趨勢。回溯攝影影像在西方當代藝術的發展，發現當代藝術的重要前身---前衛藝術，便已開始多元使用攝影影像，並持續發展於當代藝術之中。因此本文以攝影影像作為觀察當代藝術發展的重要面向，而其中的攝影影像的特色及其美學意涵是亟待研究的領域。本文便是從攝影影像來探討台灣當代藝術之發展，並分析其中的影像語彙與美學意涵。 本文先處理三個面向以助於本文之研究，首先了解「當代藝術」之定義，本文從社會背景、當代藝術理論所發展出的概念來分析此定義，並藉由藝術生態網的觀察進而界定「台灣當代藝術」。其次，了解攝影影像在當代藝術與藝術攝影有何不同，再進而了解攝影影像與西方當代藝術中發展理念的關係及其運用、發展，以便更精確了解「攝影影像」在當代藝術中的發展脈絡，藉此才能更為清楚地分析台灣當代藝術中攝影影像的發展。最後，從「影像」的分析研究「攝影影像」之特質及其後續所帶來的影響，方能更為寬廣、深入探討台灣當代藝術中多元的攝影影像之意義。 本論文主要的研究是先對台灣當代藝術中使用攝影影像的創作進行調查，一共蒐集近兩百件作品，接著用三大面向進行分析： 一、 歷史面向的發展與演變，掌握作品發展的變化與其社會環境的互動與影響。資料中最早追溯於六○年代，為完整地了解台灣當代藝術的發展脈絡，因此此項分為兩個階段：六○與七○年代為台灣當代藝術之前身；八○至近年為台灣當代藝術。 二、 分析作品的主題與處理，從當代藝術所發展的概念與演變，為作品的主題做多面向探討。主要分為兩大項：「藝術實驗」與社會、文化相聯繫的創作。 三、 從以上的作品中歸納出一些明顯的類型，做進一步的比較與分析，從中更清楚呈顯台灣當代藝術中攝影影像如何被運用及其意涵。 The pervasive use of photographic images characterizes not only the contemporary art works of Taiwan in the past decade, but also artistic practices throughout the world. Photographic images have been introduced in various ways in the Avant-garde― an important predecessor of contemporary art, and remains a key element in art works today. This thesis, therefore, undertakes a research of the contemporary art of Taiwan in the scope of photographic images. Three points are foregrounded preceding the main argument. First, defining “Contemporary Art” through the study of social context as well as contemporary art theories, which is paralleled by a long-term observation of the local artistic production, helps defining “Contemporary Art of Taiwan”. Second, identifying the different treatment of photographic images in “Contemporary Art” and “Art Photography”, and its interrelation with the concepts of contemporary art, to account for the codes of photographic representation developed in the local setting. Third, amplifying the eloquence of images by analyzing both the nature of photography and its profound influence on the contemporary art practices in Taiwan. The main argument is reinforced by an analysis of nearly 200 works, which is addressed through three phases: 1. A historical profile is depicted to indicate how artistic representation engaged with the social milieu. The development of the contemporary art in Taiwan is divided into two stages: while the 1960s and the 1970s are considered to be the incubation period, the 1980s to the present is marked as the period of contemporary artistic production. 2. A thematic and material analysis of art works is proceeded in relation to the concepts of contemporary art. The objects of analysis are divided into two categories according to their artistic intensions, including the “art experiment” and the “refraction of social milieu”. 3. A summary of the above analysis is rendered to conclude certain “types” of photographic performance in the contemporary art of Taiwan, along with further comparisons to articulate their rhetoric of images and aesthetics.
