現代美術 PLUSLogo
羅森柏格, 字母組成的圖案, 1955-1959, 油彩、拼貼物、物件、畫布, 42×63×64", Moderna Museet, Stockholm
摘要
本文將檢視科技元素從羅森柏格早期的串連繪畫的配件，進展到後來成爲一個新的藝術類項—科技藝術—的過程；透過對羅森柏格作品歷程的分析與回溯，本文希望呈現羅森柏格如何從強調在藝術與生活的空隙間工作的串連繪畫，延伸出合作的美學，進而促成首次科技與藝術媒合中心的成立；而他在串連繪畫中強調的互動性，在科技藝術作品中亦發展成「觀眾作爲演繹生活變異性的作品之啓動器」的槪念。
關鍵詞
羅森柏格、克魯維、科技藝術、互動性、藝術與科技實驗中心
Abstract
This study is to examine the process how the technological elements in Rauschenberg Combines turned into a new artistic category in Rauschember's career. Through the survey of Rauschenberg's works in detail, this essay seeks to present how the explorer of art and technology, Rauschenebrg, who has often been quoted by "Painting relates to both art and life. Neither can be made. I try to act in that gap between the two", developed his collaboration aesthetics, and led to the establishment of the first art and technology go-between organization. The concept of interactivity in his Combines also brings about "audience as the switch" in his technological art works.
Keywords
Rauschenberg, Kliiver, Art and Technology, interactivity, Experiment of Art and Technology (E.A.T.)
註釋
