作者：游本寬
收藏
二手徵求有驚喜
定價：NT$ 1600
優惠價：88 折，NT$ 1408
運送方式：超商取貨、宅配取貨
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◎這是融合了「形式主義」、「表現主義」及「觀念攝影」等多元特質的攝影藝術書。
《台灣新郎》以「觀念藝術」理念，藉由在原來景緻前再添加物件－「出口到美國的布袋戲人偶」，拍照之後，再將照片送回「物件」原產地展示的「編導式攝影」形式，表述了異國文化對大眾及個人的相關議題。在各個特定的環境中擺置一件特殊物象。
《台灣新郎》系列，內容本質上是作者內在「心智影像」的家庭照片，是個人多年以來和美國文化互動的感觸，以及身處家人分居兩地的沉痛。影像形式上，編導式的《台灣新郎》，著重「紀錄攝影」的文化議題與內容，豐富的影像語彙，融合了「形式主義」、「表現主義」及「觀念攝影」等多元特質為一。本章經由創作的原始動機、內容特質分析、形式理念與相關技藝、藝術特質等幾個章節，細密地論述其中的藝術思維。
作者簡介：
◎游本寬，1956 年生，美國俄亥俄大學 MA(藝術教育碩士)、 MFA(美術攝影碩士)，現任政治大學傳播學院兼任教授。 在大專院校從事影像傳播與美學教育逾 30 年，退休前擔任政治大學傳播學院專任教授、特聘教授(2009-12)，退休後往返美國、台灣持續教學、創作，作品曾被台北市立美術館、國立臺灣美術館、國家攝影文化中心等機構典藏。
專書出版
2021《招．術》
2020《口罩風景》
2019《超越影像「此曾在」的二次死亡》
2017《「編導式攝影」中的記錄思維》
2015《五九老爸的相簿》
2014《鏡話 ‧ 臺詞》，我的「限制級」照片
2012《游潛兼巡露──「攝影鏡像」的內觀哲理與並置藝術》
2011《臺灣公共藝術──地標篇》（政大學術研究出版補助）
2009《臺灣美術系列──「紀錄攝影」中的文化觀》/ 國立臺灣美術館
2003《美術攝影論思》「藝術論叢」80 / 臺北市立美術館（政大八十週年百本好書）
2002《臺灣新郎──「編導式攝影」中的記錄思維》
2001《真假之間，游本寬閱讀臺灣系列之一》/ 交通大學（政大八十週年百本好書）
1995《論超現實攝影──歷史形構與影像應用》/ 臺北 / 遠流
1990《游本寬影像構成》
個展選錄
2018《動 ‧ 風景》照片裝置 / 2018 台北國際攝影節，台北中正紀念堂
2017 ＜老闆！老闆？摩鐵——＞照片裝置 / 華山藝文特區
2016《黑白攝影》/ 2016 台北國際攝影節「師輩秀」，臺北市藝文推廣處
2015《五九老爸的相簿》，2015 台北藝術攝影博覽會，華山藝文特區
2014《鏡話 ‧ 臺詞》，我的「限制級」照片，2014 台北藝術攝影博覽會，華山藝文特區
2013《台灣水塔》/《臺北聲音 ‧ 臺北故事：聲音藝術家的回顧》音樂會暨影像裝置展，台灣音樂館
2013《遮公掩音》游本寬個展，臺北，大趨勢畫廊
2011《東看 ‧ 西想──游本寬「編導式攝影」》，上海師範大學藝廊
2011《潛 ‧ 露── 2011 游本寬個展》，臺北，大趨勢畫廊
2010《真假之間──「永續寶島」》，臺北，台灣攝影博物館（預備館）
2009《真假之間──「信仰篇」》影像裝置，國立臺灣美術館、北京，中國美術館
2008《台灣百貨店》/《亞洲視覺設計大觀》，藝術博物館，臺灣藝術大學
2008《台灣水塔》/《平遙國際攝影大展》，山西
2008《台灣圍牆》影像裝置 / 《不設防城市──建築與藝術展》，臺北市立美術館
2008《台灣公共藝術──地標篇》影像裝置 /《非 20℃──台灣當代藝術中的『常溫』影像展》，國立臺灣美術館
2007《台灣房子──色彩篇》/《築 ‧ 影》攝影名家四聯展
2003《私人展覽》觀念藝術活動
2002《臺灣房子──民宅系列》/《臺灣辛美學》，臺北，觀想藝廊、中央大學藝文中心
2002《臺灣新郎》/《跨文化視野》，美國，賓州 Southern Alleghenies Museum of Art
2002《法國椅子在台灣》，美國，費城，彭畫廊
2001《閱讀台灣，1212》，新竹，交通大學藝文中心
2000《台灣房子在柏林》影像裝置，德國柏林 Forderkoje 藝術空間
1999《法國椅子在台灣》影像裝置，臺北，伊通公園
1990《影像構成》，臺北市立美術館、臺中，省立美術館
1984《游本寬首次攝影個展》，臺北，美國文化中心
作品典藏
《潛 ‧ 露》系列十件，國家攝影文化中心、《遮公掩音》系列三件，私人典藏、《潛 ‧ 露》系列五件，臺北市立美術館、《東看 ‧ 西想》系列八件，上海師範大學、《台灣新郎》系列十件，國立臺灣美術館、《臺灣水塔》系列十件， 福建泉州華光攝影藝術學院「郎靜山攝影藝術館」、《法國椅子在臺灣》、《臺灣新郎》，紐約州水牛城的第六及七 屆《CEPA 藝廊攝影藝術拍賣雙年展》、＜芝加哥地圖 C-5 ＞，國立臺灣美術館、《台灣房子在柏林》衣櫥系列，德國 柏林 Forderkoje 藝術空間、＜有關於高更＞、＜蘇珊的日記第三十六頁＞及＜紅色染料 #5 ＞，臺北市立美術館
【推薦序】
名人推薦：
◎A Multiplicity of Experience
With professional commitments in Taipei and a family in State College, Pennsylvania, Ben Yu maintains residences in both countries. His large-scale color photographs, from the series entitled The Puppet Bridegroom, relate broadly to the complexities that arise from living in two different cultures.
A hand puppet dressed in traditional Chinese bridegroom's clothing is the central motif of his work. The puppet is photographed at places Ben believes embody American culture, such as a brewery, a suburban housing development, and a monumental roadside crucifix. Inspired partly by conceptual artist Eleanor Antin's postcard series 100 Boots (1971-73), in which she photographed one-hundred empty rubber boots at various locations as they traveled across the United States and ultimately landed in the Museum of Modern Art, the nomadic puppet wanders from place to place, dwarfed by the enormity of the American landscape. With an admirable consistency of vision, Ben mindfully considers the land, signs, highways, buildings and shops, and, with even more awareness, color. Vibrant greens, reds, and yellows abound in the images, shaping the commonplace into the exceptional.
Ben attended graduate school at the height of Post-modernism, during the mid-1980s when theorists proclaimed that "'reality' as a consequence could be understood as socially constructed" (Madeleine Grynsztejn, Carnegie International 99/ 00: VO, p. 116). The ubiquitous nature of photography led to a critique of representation by many artists at this time, and Ben was no exception. Photographs, for all their perceived "truthfulness," are fiction because they are disconnected from the time continuum of reality. Like much of the artwork created during this period, Ben's photography rests between the real and its referent, reflecting a belief in the authenticity of the puppet as it assumes life-like gestures and positions at odds with its surroundings. Indeed, he has transferred his persona onto the puppet with an ambivalence arising from foreign status, albeit compromised by marriage to an American. In each of the images cultural contradictions exist between fiction and documentary, and fabrication and nature.
His decision to insert the puppet into the landscape creates a complex reading culturally and formally. Bridegroom translates from Mandarin as new person, and Ben's work comments on the challenges of living in a foreign land where one is perpetually "new" and never fully assimilated. Creating compositions that at times fluctuate between what is perceived as real and what has been manipulated by the photographer, the distance between photographic representation and reality is deliberately confused within the frame. The puppet's placement acts as a barrier forcing a confrontation prior to entering the scene. Frequently, it is positioned at critical intersections such as a bend in the road, or an entrance way, furthering an outward visual push toward the exterior of the print. In Boalsburg (2001), for example, the puppet stands in a stark wooded environment defiantly dressed in brilliant red clothing. The few wooded forests that remain on the island of Taiwan are now protected as national parks, whereas much of Taiwan's natural beauty has succumbed to housing because of rapid population growth, limited space, and a shift from an agricultural society to one based in technology. By isolating cultural experience and association, Boalsburg is emblematic of Ben's ambivalence toward America.
To assert that Ben documents icons of middle-class American culture is far too simplistic. By utilizing popular forms of photography such as the snapshot and vacation pictures, he notices the unnoticeable, seeing details and configurations of signs, colors, and shapes that inhabitants may not, while looking for minute details of the American scene. Trailer parks, a soccer game, cornfields, and drive-ins are associated strongly with American culture but also beg the question "Are the places he chooses to photograph representative of American culture? And if so, whose?" Do the images belong to an African American culture, an Hispanic culture, and an Asian American culture equally along with the majority? Do images of Pennsylvania resonate with Southern culture or that of the Western states? The photographs hang silently, offering no answers only a glimpse into the eyes of the other.
Interpreting content is complicated further by the many years I lived as a foreigner in Taipei. After returning home and having to reexamine the familiar along with a multiplicity of experiences associated with re-entering society, Ben's photographs of Pennsylvania evoked a doubling of cultural associations for me. He was portraying American culture from the perspective of an outsider augmented by our relationship. Images depicting a row of storage sheds, a stone house with beautiful flower gardens in an affluent neighborhood, school busses parked for the summer, and an empty baseball field all quietly disclose a society of abundance and excess. Viewed as a series, the photographs are reminiscent of a desire I had as a photographer in Taiwan to seek out familiar spaces in the unfamiliar. Ultimately, our individual efforts to photographically scrutinize the middle classes of American and Taiwanese societies had become metaphors for personal identity and cultural alienation. As Italo Calvino writes, an image may appear "like a sheet of paper, with a figure on either side, which can neither be separated nor look at each other." Italo Calvino, Invisible Cities, p.105).
In his mature work that encompasses three photographic series - Between Real and Unreal (1986 ~), French Chair in Taiwan (1997-1999), and The Puppet Bridegroom (1999-2002), Ben has created a strong sense of the essential textures and character of place, whether in Taiwan or the United States. Without satire or idealism, the images that comprise The Puppet Bridegroom, in particular, delineate the myth of America, imagined by both natives and foreigners, of self-expression, ownership, reinvention, and limitless opportunity. The work speaks to a universality of experience beyond personal references, and further illustrates the changing face of contemporary American society.
Karen Serago
September 2002
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收藏
二手徵求有驚喜
優惠價： 88 折， NT$ 1408 NT$ 1600
運送方式：超商取貨、宅配取貨
銷售地區：全球
訂購後，立即為您進貨
◎這是融合了「形式主義」、「表現主義」及「觀念攝影」等多元特質的攝影藝術書。
《台灣新郎》以「觀念藝術」理念，藉由在原來景緻前再添加物件－「出口到美國的布袋戲人偶」，拍照之後，再將照片送回「物件」原產地展示的「編導式攝影」形式，表述了異國文化對大眾及個人的相關議題。在各個特定的環境中擺置一件特殊物象。
《台灣新郎》系列，內容本質上是作者內在「心智影像」的家庭照片，是個人多年以來和美國文化互動的感觸，以及身處家人分居兩地的沉痛。影像形式上，編導式的《台灣新郎》，著重「紀錄攝影」的文化議題與內容，豐富的影像語彙，融合了「形式主義」、「表現主義」及「觀念攝影」等多元特質為一。本章經由創作的原始動機、內容特質分析、形式理念與相關技藝、藝術特質等幾個章節，細密地論述其中的藝術思維。
作者簡介：
◎游本寬，1956 年生，美國俄亥俄大學 MA(藝術教育碩士)、 MFA(美術攝影碩士)，現任政治大學傳播學院兼任教授。 在大專院校從事影像傳播與美學教育逾 30 年，退休前擔任政治大學傳播學院專任教授、特聘教授(2009-12)，退休後往返美國、台灣持續教學、創作，作品曾被台北市立美術館、國立臺灣美術館、國家攝影文化中心等機構典藏。
專書出版
2021《招．術》
2020《口罩風景》
2019《超越影像「此曾在」的二次死亡》
2017《「編導式攝影」中的記錄思維》
2015《五九老爸的相簿》
2014《鏡話 ‧ 臺詞》，我的「限制級」照片
2012《游潛兼巡露──「攝影鏡像」的內觀哲理與並置藝術》
2011《臺灣公共藝術──地標篇》（政大學術研究出版補助）
2009《臺灣美術系列──「紀錄攝影」中的文化觀》/ 國立臺灣美術館
2003《美術攝影論思》「藝術論叢」80 / 臺北市立美術館（政大八十週年百本好書）
2002《臺灣新郎──「編導式攝影」中的記錄思維》
2001《真假之間，游本寬閱讀臺灣系列之一》/ 交通大學（政大八十週年百本好書）
1995《論超現實攝影──歷史形構與影像應用》/ 臺北 / 遠流
1990《游本寬影像構成》
個展選錄
2018《動 ‧ 風景》照片裝置 / 2018 台北國際攝影節，台北中正紀念堂
2017 ＜老闆！老闆？摩鐵——＞照片裝置 / 華山藝文特區
2016《黑白攝影》/ 2016 台北國際攝影節「師輩秀」，臺北市藝文推廣處
2015《五九老爸的相簿》，2015 台北藝術攝影博覽會，華山藝文特區
2014《鏡話 ‧ 臺詞》，我的「限制級」照片，2014 台北藝術攝影博覽會，華山藝文特區
2013《台灣水塔》/《臺北聲音 ‧ 臺北故事：聲音藝術家的回顧》音樂會暨影像裝置展，台灣音樂館
2013《遮公掩音》游本寬個展，臺北，大趨勢畫廊
2011《東看 ‧ 西想──游本寬「編導式攝影」》，上海師範大學藝廊
2011《潛 ‧ 露── 2011 游本寬個展》，臺北，大趨勢畫廊
2010《真假之間──「永續寶島」》，臺北，台灣攝影博物館（預備館）
2009《真假之間──「信仰篇」》影像裝置，國立臺灣美術館、北京，中國美術館
2008《台灣百貨店》/《亞洲視覺設計大觀》，藝術博物館，臺灣藝術大學
2008《台灣水塔》/《平遙國際攝影大展》，山西
2008《台灣圍牆》影像裝置 / 《不設防城市──建築與藝術展》，臺北市立美術館
2008《台灣公共藝術──地標篇》影像裝置 /《非 20℃──台灣當代藝術中的『常溫』影像展》，國立臺灣美術館
2007《台灣房子──色彩篇》/《築 ‧ 影》攝影名家四聯展
2003《私人展覽》觀念藝術活動
2002《臺灣房子──民宅系列》/《臺灣辛美學》，臺北，觀想藝廊、中央大學藝文中心
2002《臺灣新郎》/《跨文化視野》，美國，賓州 Southern Alleghenies Museum of Art
2002《法國椅子在台灣》，美國，費城，彭畫廊
2001《閱讀台灣，1212》，新竹，交通大學藝文中心
2000《台灣房子在柏林》影像裝置，德國柏林 Forderkoje 藝術空間
1999《法國椅子在台灣》影像裝置，臺北，伊通公園
1990《影像構成》，臺北市立美術館、臺中，省立美術館
1984《游本寬首次攝影個展》，臺北，美國文化中心
作品典藏
《潛 ‧ 露》系列十件，國家攝影文化中心、《遮公掩音》系列三件，私人典藏、《潛 ‧ 露》系列五件，臺北市立美術館、《東看 ‧ 西想》系列八件，上海師範大學、《台灣新郎》系列十件，國立臺灣美術館、《臺灣水塔》系列十件， 福建泉州華光攝影藝術學院「郎靜山攝影藝術館」、《法國椅子在臺灣》、《臺灣新郎》，紐約州水牛城的第六及七 屆《CEPA 藝廊攝影藝術拍賣雙年展》、＜芝加哥地圖 C-5 ＞，國立臺灣美術館、《台灣房子在柏林》衣櫥系列，德國 柏林 Forderkoje 藝術空間、＜有關於高更＞、＜蘇珊的日記第三十六頁＞及＜紅色染料 #5 ＞，臺北市立美術館
【推薦序】
名人推薦：
◎A Multiplicity of Experience
With professional commitments in Taipei and a family in State College, Pennsylvania, Ben Yu maintains residences in both countries. His large-scale color photographs, from the series entitled The Puppet Bridegroom, relate broadly to the complexities that arise from living in two different cultures.
A hand puppet dressed in traditional Chinese bridegroom's clothing is the central motif of his work. The puppet is photographed at places Ben believes embody American culture, such as a brewery, a suburban housing development, and a monumental roadside crucifix. Inspired partly by conceptual artist Eleanor Antin's postcard series 100 Boots (1971-73), in which she photographed one-hundred empty rubber boots at various locations as they traveled across the United States and ultimately landed in the Museum of Modern Art, the nomadic puppet wanders from place to place, dwarfed by the enormity of the American landscape. With an admirable consistency of vision, Ben mindfully considers the land, signs, highways, buildings and shops, and, with even more awareness, color. Vibrant greens, reds, and yellows abound in the images, shaping the commonplace into the exceptional.
Ben attended graduate school at the height of Post-modernism, during the mid-1980s when theorists proclaimed that "'reality' as a consequence could be understood as socially constructed" (Madeleine Grynsztejn, Carnegie International 99/ 00: VO, p. 116). The ubiquitous nature of photography led to a critique of representation by many artists at this time, and Ben was no exception. Photographs, for all their perceived "truthfulness," are fiction because they are disconnected from the time continuum of reality. Like much of the artwork created during this period, Ben's photography rests between the real and its referent, reflecting a belief in the authenticity of the puppet as it assumes life-like gestures and positions at odds with its surroundings. Indeed, he has transferred his persona onto the puppet with an ambivalence arising from foreign status, albeit compromised by marriage to an American. In each of the images cultural contradictions exist between fiction and documentary, and fabrication and nature.
His decision to insert the puppet into the landscape creates a complex reading culturally and formally. Bridegroom translates from Mandarin as new person, and Ben's work comments on the challenges of living in a foreign land where one is perpetually "new" and never fully assimilated. Creating compositions that at times fluctuate between what is perceived as real and what has been manipulated by the photographer, the distance between photographic representation and reality is deliberately confused within the frame. The puppet's placement acts as a barrier forcing a confrontation prior to entering the scene. Frequently, it is positioned at critical intersections such as a bend in the road, or an entrance way, furthering an outward visual push toward the exterior of the print. In Boalsburg (2001), for example, the puppet stands in a stark wooded environment defiantly dressed in brilliant red clothing. The few wooded forests that remain on the island of Taiwan are now protected as national parks, whereas much of Taiwan's natural beauty has succumbed to housing because of rapid population growth, limited space, and a shift from an agricultural society to one based in technology. By isolating cultural experience and association, Boalsburg is emblematic of Ben's ambivalence toward America.
To assert that Ben documents icons of middle-class American culture is far too simplistic. By utilizing popular forms of photography such as the snapshot and vacation pictures, he notices the unnoticeable, seeing details and configurations of signs, colors, and shapes that inhabitants may not, while looking for minute details of the American scene. Trailer parks, a soccer game, cornfields, and drive-ins are associated strongly with American culture but also beg the question "Are the places he chooses to photograph representative of American culture? And if so, whose?" Do the images belong to an African American culture, an Hispanic culture, and an Asian American culture equally along with the majority? Do images of Pennsylvania resonate with Southern culture or that of the Western states? The photographs hang silently, offering no answers only a glimpse into the eyes of the other.
Interpreting content is complicated further by the many years I lived as a foreigner in Taipei. After returning home and having to reexamine the familiar along with a multiplicity of experiences associated with re-entering society, Ben's photographs of Pennsylvania evoked a doubling of cultural associations for me. He was portraying American culture from the perspective of an outsider augmented by our relationship. Images depicting a row of storage sheds, a stone house with beautiful flower gardens in an affluent neighborhood, school busses parked for the summer, and an empty baseball field all quietly disclose a society of abundance and excess. Viewed as a series, the photographs are reminiscent of a desire I had as a photographer in Taiwan to seek out familiar spaces in the unfamiliar. Ultimately, our individual efforts to photographically scrutinize the middle classes of American and Taiwanese societies had become metaphors for personal identity and cultural alienation. As Italo Calvino writes, an image may appear "like a sheet of paper, with a figure on either side, which can neither be separated nor look at each other." Italo Calvino, Invisible Cities, p.105).
In his mature work that encompasses three photographic series - Between Real and Unreal (1986 ~), French Chair in Taiwan (1997-1999), and The Puppet Bridegroom (1999-2002), Ben has created a strong sense of the essential textures and character of place, whether in Taiwan or the United States. Without satire or idealism, the images that comprise The Puppet Bridegroom, in particular, delineate the myth of America, imagined by both natives and foreigners, of self-expression, ownership, reinvention, and limitless opportunity. The work speaks to a universality of experience beyond personal references, and further illustrates the changing face of contemporary American society.
Karen Serago
September 2002
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