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    政大機構典藏 > 學術期刊 > 廣告學研究 > 期刊論文 >  Item 140.119/104378
    Please use this identifier to cite or link to this item: http://nccur.lib.nccu.edu.tw/handle/140.119/104378


    Title: 從照片在「觀念藝術」中的角色試建「觀念攝影」一詞
    Other Titles: From Photography's Role in Conceptual Art to Thinking About Conceptual Photography
    Authors: 游本寬
    Keywords: 攝影;觀念藝術;觀念攝影;紀錄攝影
    photography;conceptual art;conceptual photography;documentary photograph
    Date: 2002-07
    Issue Date: 2016-11-30 14:19:57 (UTC+8)
    Abstract: 理論上「觀念攝影」不是攝影史中影像風格的名詞;它所指的是觀念藝術家以攝影為主要工具,尤其是經由拍照來表現或記錄個人觀念的特殊方式。但那些自許為「觀念攝影家」(Conceptualistbased photographer)的作品又有何種特質?本文從近三、四年來「觀念藝術」中對攝影術應用的三大類型︰「照相機是記錄作品的工具」、「照片為作品中的實際元素」及「來自攝影術本身的觀念化影像」中探究不同時期的觀念性照像,歸納出諸多不同於其他「觀念藝術」品的特質,最後建構出「觀念攝影」為攝影藝術的專業術語。
    Theoretically, conceptual photography is not a formal term in art history that depicts a certain style but rather it refers to a conceptualist who uses photography as the primary tool, especially by taking pictures, to record his ideas. However, what kind of art is created by those who call themselves conceptually-based photographers? This article researches the three most popular types of photographs used in conceptual art for the past forty years: documentary, photographs integral to the artwork, and conceptually-based photographs. In conclusion, I will discuss at length to establish 'conceptual photography' as a valid art historical term.
    Relation: 廣告學研究,19,113-131
    Data Type: article
    Appears in Collections:[廣告學研究] 期刊論文

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