| Summary: | 碩士 === 國立臺北藝術大學 === 藝術跨域研究所 === 105 === After the lift of Martial Law, Contemporary art in Taiwan has been increasingly concerned about the reality since the late 80s, when the publicity of art became an important issue through the comprehensive social practice made by artists thinking about art theories or policies such as politic art, art as social intervention, public art or community development etc. By rethinking the meaning of publicity of art, this thesis considers public practice as specific methods, discourses or techniques to connect creative subjects and the common actions of social or politic collective. In this view, the thesis traces the formation and transformation of the sense of publicity in the context of contemporary art in Taiwan, in which the controversy of the exhibition “Heart of History: Taiwan Installation Art” (held in 1999 in Lu-Gang) has shown the crucial change that the core value of art publicity has moved from “autonomy” to “society”. Emphasizing participation and social process of art more than the independence of art, New-Genre Public Art has been introduced to solve the modernism problem represented by the practice of early public art and the fight of residents against artists during “Heart of History”. Though it led to a new paradigm of publicity discourse and the case of “Art as Environment: A Cultural Action at the Plum Tree Creek”, the theory either has not guaranteed the ethic duty of contemporary art, but leaving art with its ambiguous political position. The true value of art publicity is to understand the productive connection of artistic subject and social collective in a dialectical way, finding way out to carry out its ethic action by the creation of art.
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