Display of Audience’s Participation of Taiwanese Contemporary Art：2001-2010

• Main Authors: Huang, Ying-Jen, 黃瀅珍
• Other Authors: Hsieh, Tung-shan
• Format: Others
• Language: zh-TW
• Published: 2011
• Online Access: http://ndltd.ncl.edu.tw/handle/70701268780829051684

碩士 === 國立臺中教育大學 === 美術學系碩士班 === 99 === This thesis probes into the display of audience’s participation. Sociology of art discusses the development of art in a location from three dimensions, namely the function and purpose of art production, the form of art production, and the reception of art. The development of art history shows that the purpose of art and expectation for the function of art must tally with the production mode, which leads to a distinctive type of display. The display refers to a type of art communication and reception. When contemporary art enters into the post-medium era, art reception model is no longer one-way display. Nowadays, the display of audience’s participation give audiences choose, manipulate works and participate in creation, art reception model could include visual, auditory, tactile and even gustatory sense. In addition, the rise of audience’s interpretation power allows audiences to interact with artists and works, making contemporary art accessible and comprehensible to the audience. Therefore, works that invite the display of audience’s participation becomes a breakthrough for the intellectual threshold of contemporary art. This thesis examines the exhibition in public-owned museums between 2001 and 2010, information of the records and documents of participatory art. The author divides audience’s display mode into four categories, namely participatory initiation, participatory operation, participatory alterations, and participatory creation, which provides references and easy classification for educators and researchers. The presentation of art is related to social environment and aesthetics, which will undoubtedly vary with the form of contemporary art. This study will also touch upon this issue.