「泰特畫廊磚頭」爭議事件之個案研究

A Case Study of the “Tate Gallery Bricks” Controversy

簡瑞榮(Jui-jung Chien)

藝術爭議 ； 藝術批評 ； 藝術教育 ； 藝術社會學 ； art controversy ； art criticism ； art education, art sociology

藝術教育研究

3期（2002 / 05 / 01）

57 - 90

繁體中文

本研究首先介紹藝術史方法學的歷史，並以藝術社會史作為研究的方法，分析美學、政治、經濟、道德、媒體等因素的特質，及其在藝術爭議過程的互動關係，並以藝術批評的方法對「泰特畫廊磚頭」爭議個案進行描述、分析、解釋與評價，最後提出研究心得及對當前藝術教育的建議如下：(一)藝術創作為一艱辛之歷程；(二)美學觀念的差異導致爭議；(三)政治力量的影響不可忽視；(四)經濟盛衰影響人們對藝術的看法；(五)媒體為一重要的美學傳播管道；(六)左派激進的藝術特質可為參考；(七)美術館應蒐集藝術相關史料協助提昇研究水準；(八)資訊時代藝術理論與創作方向的重新定位。

The controversy known as the “Tate Gallery Bricks” is one of the most striking art events since the 1960s. Due to conceptual differences and misunderstandings, opponents of the event complained that the Tate Gallery wasted people’s hard earned money. This study introduces the history of methodological changes in art history and adopts methods from social history both to analyze the event with regard to aesthetics, politics, economics, morality, and media and to examine the imbrications between these different domains in the controversy that occurred. This study then utilizes the methods of art criticism to describe, analyze, explain, and evaluate the “Tate Gallery Bricks” case. From this examination, several conclusions pertinent to art education are developed: 1) the creative process is fraught with difficulty; 2) conceptual differences in aesthetics incite controversy; 3) the influence of political power cannot be overlooked; 4) economic trends influence the public’s view of art; 5) the media play an important role in the dissemination of aesthetics; 6) the special qualities inherent in radical leftist art deserve consideration; 7) art museums can enhance the standard of research by establishing archival resources; and, 8) in the information age, the position of art education and artistic creation must be reevaluated.

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