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題名:現成物對現代設計觀念的衝擊與反思
書刊名:師大學報. 人文與社會科學類
作者:李佩玲 引用關係
作者(外文):Lee, Pei-ling
出版日期:2005
卷期:50:1
頁次:頁91-103
主題關鍵詞:現成物設計設計物件物體藝術生活者
原始連結:連回原系統網址new window
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  • 被引用次數被引用次數:期刊(3) 博士論文(0) 專書(0) 專書論文(0)
  • 排除自我引用排除自我引用:3
  • 共同引用共同引用:14
  • 點閱點閱:19
     從杜象引領達達主義的觀念提出現成物的物體藝術主張,使得現代藝術觀念產生極大的變革與衝擊,最大的影響即是考驗、提醒著藝術家親自塑造藝術媒材的必要性,因此否定藝術的獨創性,使得藝術從物品本身超脫至創作思維的表現,因而物件形體的獨創性被視為次要。整體而言到了50年代後期,現成物的觀念已脫離達達主義的定義,慢慢地傾向對大量生產、物質過剩的批判與反思,因此從普普藝術、集積藝術及裝置藝術,則是運用廣告物件與人工產品作為創作的媒介,而隨著各個年代藝術家的不同主張,現成物的物體藝術觀念已呈現多元化的形貌。然而受杜象的反藝術啟發,50年代義大利的反設計激進設計運動,開始提出現成物設計的觀念,而當代的設計師也不乏以現成物作為設計的媒介,尤其荷蘭的設計團體-楚格設計更提出現成物設計概念,從相關文獻以及設計實物的分析探討,可以發現現成物對現代設計的影響有以下特點:消費者與設計師的角色的轉換、產品語意的消逝、現成物的想像與轉換、設計思維在產品歷程上的延伸思考、形式的消耗與再生的銜接。
     Eagerly anticipates Dadaism from Duchamp the idea to propose ready-made of object art advocated, causes the modern art idea to have the enormous transformation and the impact, the most tremendous influence is the test, the reminder artist personally is molding the artistic intermediary material the necessity, therefore the denial art originality, enables art to be aloof from objects itself to the creation thought performance, thus the object originality is regarded as secondary. In the 50's later periods, the utilization ready-made idea has been separated from Dadaism the definition, slowly favors to the mass productions, the material surplus critique and reconsidering, therefore from Pop art, Accumulation art and Installation art is takes the creation using the advertisement thing and the artificial product the medium, but along with each age artist's different position, the ready-made object art idea has presented multiplex the artistic appearance. However the Duchamp alike anti- art inspiration, the 50's Italy's radical design movement, is started to propose ready-made design idea, but the contemporary designer is not deficient by ready-made took the design the medium, especially Holland's design association - Droog designs proposed ready-made design concept, from the correlation literature as well as the design material object analysis discussion, may below discover ready-made has the characteristic to the modern design influence: The consumer and designer's role transformation, the product meaning dissipate, the ready-made imagination and the transformation, the design thought extends the ponder on the product course, the form consumption and regeneration linking up.
期刊論文
1.(1994)。AXIS。AXIS,50,147-149。  new window
圖書
1.Joris, Y. G. J. M.(1999)。Wander's Wonders: Design for a New Age。Amsterdam:010 Publisher。  new window
2.Fuad-Luke, Alastair(2002)。The Eco-Design Handbook。London ; New York:Thames & Hudson Printed。  new window
3.Cabanne, Pierre、張心龍(1986)。杜象訪談錄。臺北:雄獅圖書。  延伸查詢new window
4.楊裕富(2000)。創意活力--產品設計方法論。田園城市文化事業有限公司。  延伸查詢new window
5.星野克美、彭德中(1992)。新消費文化剖析:大眾富豪社會與現代巴洛可。台北:遠流出版社。  延伸查詢new window
6.Ramakers, R.、Bakker, G.(1998)。Droog Design-Spirit of the Nineties。Rotterdam:OIO Publishers。  new window
7.王受之(1997)。世界現代設計。臺北:藝術家出版社。  延伸查詢new window
8.唐曉蘭(20000000)。觀念藝術的淵源與發展。臺北:遠流。new window  延伸查詢new window
9.何政廣(1998)。歐美現代美術。臺北:藝術家出版社。  延伸查詢new window
10.黑部芳彥(2002)。Comfort No. 55。Comfort No. 55。東京。  延伸查詢new window
11.Byars, M.(1997)。50 Products。50 Products。New York。  new window
12.Morgon, C. L.(1999)。Starck。Starck。New York。  new window
13.Nasoni, M.(1997)。Enzo Mari。Enzo Mari。Milano。  new window
其他
1.王哲雄。消費文明與工業社會的詩人暨哲學家。  延伸查詢new window
2.王哲雄。阿賀曼與丹尼爾.阿巴第的對話。  延伸查詢new window
3.臺北市立美術館(2001)。少與多─法國國立當代藝術基金會設計收藏展,臺北。  延伸查詢new window
 
 
 
 
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