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攝影現代化中的「純粹性」審視—以美國「形式主義攝影」到「表現主義攝影」為例

A Review of the "Straight" characteristics of Modern Photography using Formalism and Expressionism in American Photography as Examples

游本寬

YU, Pen-kuan

摘要

攝影在二十世紀初以「純粹主義」為藍本，提出「純粹攝影」理念，極盡所能地摒除繪畫的框架；捨棄十九世紀「藝術攝影」（Art Photography）、「畫意攝影」（Pictorial Photography）美學而追求媒材獨立，完成了影像的現代化。中期，「純粹攝影」朝向抽象意念表現，將攝影藝術再向前邁進一步。本文藉回顧美國「現代攝影」在二十世紀前半段的演變過程，重新審視「純粹攝影」的繪畫性後，提出：攝影在現代化中不只是缺乏獨立的美學語言，並且後人在論述其特質時，亦不可否認任何照片都含有圖畫（pictorial）的因子，以及從未離開圖畫母體的事實。

Abstract

A Review of the "Straight" characteristics of Modern Photography using Formalism and Expressionism in American Photography as Examples.

In the beginning of the 20th century, "straight" photography was based on purist ideals in an effort to distinguish itself from painting. As the aesthetics of Art Photography and Pictorialism evolved, photography searched for characteristics inherent to the medium as it struggled to gain acceptance as a fine art. Around the 1950's modern photography even embraced the tenets of Abstract Expressionism.

This essay examines the progression of modem American photography from Formalism to Expressionism to illustrate and reconsider the concept of "straight" photography. Because contemporary photography lacks its own art language and the strong pictorial influence from painting, no photograph is ever truly independent from the aesthetics of painting.

Ben Yu holds a M.F.A. in photography from Ohio University. He is currently an Associate Professor of Photography at the National Chengchi University in Taipei, Taiwan. He is the author of The History of Surrealism in Photography and Its Applications and Ben Yu: Photographic Constructions, a monograph.

Mr. Yu has exhibited his work internationally in Paris, Berlin, Seoul, Beijing, Philadelphia, New York, and Taiwan.

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