凹凸有誌印痕歲月 - 台灣50現代版畫展光輝系列 by ARKI GALÉRIA 築空間

CONTENTS

眾樂樂之美版畫是最好的分享藝術！

The Beauty of Shared Happiness Printmaking is the best way to share art!

現代版畫在台灣﹣鐘有輝

Modern Printmaking in Taiwan - Chung You-Hui

廖修平

潘元石

陳國展

李錫奇

倪朝龍

顧重光

龔智明

鐘有輝

沈金源

楊成愿

賴振輝

董振平

蔡義雄

林昌德

黃世團

林雪卿

張正仁

楊明迭

黃郁生

羅平和

Liao Hsiu-Ping Pan Yuan-Shi Chen Guo-Zhan Lee Shi-Chi Ni Chao-Long Gu Chung-Guang Gung Chih-Ming Chung You-Hui Shen Chin-Yuan Yang Cheng-Yuan Lai Zheng-Hui Dawn Chen-Ping Cai Yi-Xiong Lin Chang-De Hwang Shyh-Twan Lin Hsueh-Ching Chang Cheng-Jen Yang Ming-Dye Hwang Yue-Sheng Lo Pin-Ho

眾樂樂之美版畫是最好的分享藝術！新年快樂！在過去一年半，台開築空間舉辦了「台灣 50 現代系列畫展」，與國內各專業領域的代表性藝術家建立了友好的情誼，8 檔系列展覽獲得不錯的迴響與評價，從中建立了「台灣 50」品牌與口碑。繼現代繪畫、現代水墨之後，今年我們將觸角延伸至「現代版畫」，邀請到台灣「現代版畫之父」廖修平及其得意門生版畫家鐘有輝擔任共同策展人。邀集台灣當代頗負盛名的老中青三代 39 位版畫藝術家，以「光輝」及「璀璨」兩檔系列展覽，呈現 1970 年至今台灣現代版畫的多樣面貌及優秀作品。相對於油畫、水墨其他繪畫創作，版畫藝術工作者可謂是一群走在人煙稀少幽徑的人！因為間接性，版畫無法立即見到結果，創作者得耐住性子與好奇心經過繁瑣而艱辛的版畫製作歷程，反覆鐫刻、試印、調整，以豐富的想像力預見作品未來的面貌，千辛萬苦才終於見到作品一面。又因為其複數性，它必須挑戰國人購買珍稀畫作的收藏傾向，努力贏得藏家青睞。而這群藝術家卻耐得住行走幽徑的辛苦與寂寞，堅持住自己的路線，全心投入創作，一筆一刀刻畫出繽紛的版畫人生。投注的心力與時間比他人多，得到的直接回饋卻不比他人，所有的堅持只因為真心喜愛這項能激發無比想像力的藝術形式。假使說，心底的月亮只為看得到的人昇起，版畫藝術家在幽徑中戮力綻放光芒，使得更多藝術愛好者能在同一時間不限地方欣賞到作品，並以相對實惠的價格收藏藝術原作，我們真的不得不佩服這群守候月光的藝術家！「分享」是台開集團的核心理念，我們希望藉由築空間落實分享藝術的美好，以豐富的藝術活動充實藝術愛好者的心靈。版畫就是最好的分享藝術，它雖非獨一無二，而每張卻是唯一！藝術並非只能「獨享」才顯現出其價值，如果能讓更多人欣賞並收藏藝術原作，從作品中獲得想像空間，對身為藝術愛好者的我們，何嘗不是一種幸福？且讓我們打破 " 藝術必須是獨一無二 " 的舊觀念，用心欣賞這群藝術家一刻一劃的心血結晶，一同看見創作者心底的月光！

台灣土地開發 ( 股 ) 公司董事長邱復生

序

The Beauty of Shared Happiness Printmaking is the best way to share art! Happy New Year! The Arki GalĂŠria has held the "Taiwan 50 Modern Art" series painting exhibitions over the last year and a half, and has established friendships with representative artists in every professional field. The eight exhibitions in the series have met with good feedback and appraisal, and thereby established the "Taiwan 50" brand and its reputation. After modern painting and modern ink painting, this year we will expand our reach into "modern printmaking"; Liao Hsiu-Ping, the "father of modern printmaking", whose proud disciple Chung You-Hui is serving as joint curator for this exhibition, has accepted our invitation to attend it. 39 printmakers from 3 generations have been gathered, and they will present the many faces and many outstanding works of modern Taiwanese printmaking produced between 1970 and now with two series of exhibitions: "Glory" and "Brightness". Compared with oil paint, ink and other painting, artists working in the field of printmaking can be said to be a rare breed! Printmaking's indirectness means that its results cannot be seen immediately, and that the artist must restrain their curiosity throughout the complex, tortuous process of printmaking, repeatedly engraving, printing a test piece, and adjusting, predicting their product's future appearance with rich imagination. It is only after much toil that they finally meet their work. Due to the duplicability of printmaking, it will inevitably challenge the Taiwanese buyer's preference for collecting rare paintings, and strive to win collectors' favor. But this group of artists remain patient throughout the toil and loneliness of walking the path less traveled, keeping to their path, wholeheartedly creating, painting a splendid printmaking life stroke by stroke, cut by cut. They invest more mental effort and time than others, and receive less in return- they persevere only because they truly love this form of art, which stimulates incomparable imagination. Suppose that you said that the moonlight at the bottom of one's heart rises only for others to see, and that printmakers' strive to shine on secluded paths, enabling more art-lovers to appreciate art anyplace at one time, and compared to the relatively generous prices paid for original works, we really cannot but admire these artists awaiting the moonlight! Sharing is the core concept of the Taiwan Land Development Corporation, and we hope to realize and share the beauty of art through the Arki GalĂŠria, replenishing the souls of art-lovers through all kinds of art activity. Printmaking is simply the best art to share, although each design is not unique, every print is! It is not the case that art is valuable only when "viewed alone", if more people can be allowed to appreciate and collect original artwork, finding space for imagination in them, to we art-lovers, is this not a kind of happiness? Let us dispense with the outdated idea that "art must be unique", dedicate ourselves to appreciating each stroke and cut of these artists' crystallized assiduity, and together view the moonlight at the bottom of their hearts!

Chairman of the Taiwan Land Development Corporation, Chiu Fu-Sheng 5

現代版畫在台灣

鐘有輝第二次世界大戰後藝術品的非單一性和複數生產的藝術民主化運動，使版畫在國際藝壇上逐漸受到主流藝術家的重視，世界各地當代藝術家紛紛投入版畫創作。國內藝術家陳庭詩 (1915~2002)、秦松 (1932~2007)、楊英風 (1926~1997)、李錫奇 (1936~)、江漢東 (1926~2009)、施驊等人於 1958 年成立「現代版畫會」，積極思考以團體的力量推動版畫的現代化。 50、60 年代移民國外或出國留學知名版畫家蕭勤 (1935~)、廖修平 (1936~)、謝里法 (1938~) 和陳景容 (1934~) 等人回到台灣在大學任教。 1970 年由方向 (1920~2003)、楊英風、周瑛 (1922~2011)、陳其茂 (1926~2005) 等前輩木刻版畫家發起成立「中華民國版畫學會」，兩年辦理一屆全國性版畫展覽及版畫推廣活動，培育不少優秀青年版畫家，同時於 1976 年起每屆遴選版畫創作金璽獎，獎勵持續創作表現的優秀藝術家，對台灣版畫藝術之推廣與發展具實質的貢獻。 1973 年 2 月，國際知名版畫家廖修平自美返國應聘回母校國立台灣師範大學開設「現代版畫」課程，為台灣的版畫藝術教育樹立完整的現代版畫觀念和技法傳承的里程碑。廖修平自 1973 年春天至 1976 年夏天在臺時間為推廣現代版畫的重要時期，為台灣播下現代版畫藝術的種子。當時廖修平除在台灣師大、也在中國文化學院和國立藝專等學校教導現代版畫，並先後在台北信義路、濟南路自家地下室成立版畫工作室，提供版畫設備和創作空間，指導一些對新媒材有興趣的藝術家從事版畫創作，影響繪畫與設計界甚廣。 1974 年廖修平著作「版畫藝術」專書，並帶領學生積極巡迴全省，舉辦版畫示範和演講。影響所及，國內各大美展如全省美展、台陽美展等都特別增設版畫部門，大專美術科系也陸續開設現代版畫課程，並促成十青版畫會及絹印版畫工作室的成立，將台灣的版畫創作風氣重新推動了起來，形成一股不可擋的版畫運動風潮。 1974 年 2 月，鐘有輝 (1946~)、董振平 (1948~)、林昌德 (1951~)、林雪卿 (1952~) 等十位廖修平台灣師大學生於幼獅藝廊展出版畫成果展，由於對版畫創作的熱忱，在廖修平鼓勵下，決定共同創立「十青版畫會」，展開「十青」在台灣現代版畫藝術發展的開端。 70 年代台灣經濟騰飛，一些有實力的企業相繼組成企業集團，大幅度增加對廣告的投入，廣告市場的繁榮使大部分廣告公司得以發展。當時美國正流行照相絹印製作，而網版絹印原是用在工業或布花的印刷技術，國立台灣藝專和一般高職都有這些課程。1972 年由國立台灣藝專美工科畢業的李朝宗 (1945~) 所營運的「千彩絹印公司」，在廖修平推動版畫

現代版畫在台灣

藝術的鼓勵下，於 1974 年設立「千彩絹印版畫室」開始協助藝術家印製絹印版畫。 1975 年，鐘有輝於台北汀州路日式住宅成立「274 版畫工作室」，作為十青會員創作空間，也是彼此聚會砌磋討論的場所，廖修平教授曾數度於此講授版畫新知與技法，也與國外藝術家在此交流。同時，274 版畫工作室也曾邀請十青會員設計印製絹印版畫賀年卡片，受到好評。 80 年代初，台灣經濟起飛進入成熟階段，政府已有足夠可觀的經濟能力自辦國際性美展，藉以突破藝術文化困境，另創一片天空。1981 年行政院文化建設委員會成立，第一任主任委員陳奇祿博士，率先提出自辦大型國際美展的觀念。 1983 年 12 月我國行政院文化建設委員會在廖修平的大力鼓吹下，首開政府對藝術贊助的新頁，並使台灣現代版畫進入國際交流互動的階段。其積極意義不只讓更多的國際知名藝術家到我國來展出，拓展我國民眾的審美視野，提升我國的文化形象，更能刺激國內的版畫家積極創作，在國際版畫展中大放異彩。十青版畫會會員中董振平、張正仁 (1953~)、梅丁衍 (1954~) 等人率先留學美國，鐘有輝、林雪卿則到日本留學並陸續於 80、90 年代返國。由於留學美、日，國際視野開放寬闊，加上自行努力吸收版畫新知與技法，對版畫創作有自己的思想和風格，回國後除任教於大學校院，並且公開技法，對現代版畫的新觀念與新技法的運用，都有所創新。為兼顧傳統與創新的發展方向，行政院文化建設委員會繼開辦國際版畫雙年展後，於 1984 年亦開始辦理「版印年畫」徵選活動。年畫雖為通俗民間藝術，但能傳達我國勤儉樸實、知足常樂之精神，且具喜慶吉祥意義能與廣大民眾的思想、感情結合，廣為國人喜愛。現代年畫的製作多應用現代版畫創作技法製作，十青會員中劉洋哲 (1944~)、羅平和、林昭安、王振泰 (1963~) 等人多次於「版印年畫」徵選中獲得首獎，十青會員多人陸續擔任「版印年畫」徵選之評審，並受邀委託製作年畫或帶動學生投入版印年畫製作行列等，由於各種版種技法運用手法純熟，內容題材廣泛，帶動了年畫創作新氣象，也把年畫從傳統帶向現代，開創了異於大陸傳統年畫的新風格和趣味。而文建會在籌畫國際版畫雙年展同時，亦成立版畫工作室，廖修平及十青會員鐘有輝、董振平、楊明迭等人曾前往示範演講。台北市立美術館與國立台灣美術館亦因應承辦國際版畫雙年展與版印年畫，均設立版畫教室與版畫講座以推廣版畫藝術，師資亦由十青會員接續擔任。

第二次世界大戰後，世界藝壇隨著經濟復甦與科技進步，嘗試不同媒材、實驗性的呼聲高漲，藝術家捨棄從前單一性的創作形式，開創了前所未有的新藝術形態。藝術創作趨向多元化，現代版畫創作領域也因而寬廣起來，從事版畫創作的現代藝術家，在版種上除了凸、凹、平、孔四種基本版種的表現外，另外混合併用、拼貼組合、立體鑄造和複合版畫等等特殊形式也紛紛出籠。十青會員的版畫創作觀念，受國際現代版畫觀念的啟發，大都呈現複合式的創作形態，從 70 年代起即為台灣複合媒體藝術創作的先驅團體。這批優秀青年版畫家，由於觀念現代、創作熱忱執著，同時趕上台灣經濟起飛時刻，版畫藝術在台灣較先前任何時期更受到重視，這一個在台灣成長的第二代現代版畫藝術團體，便隨著國際版畫雙年展的機制，啟動了台灣現代版畫蓬勃發展的齒輪、成為帶動台灣現代版畫藝術創作和教育的火車頭。四十年來，十青會員藉由彼此策勵、砌磋畫藝，執著於現代版畫及相關藝術創作，默默耕耘，成為國內歷史最久且持續不斷的版畫中堅創作團體。在發展歷程中，憑著年輕的衝勁及執著現代版畫的熱忱，承續廖修平教授的理念，年年舉辦展覽及版畫推廣活動，會員多在大學、高中職及小學等各級學校任教，對台灣現代版畫教育奉獻甚鉅。由於專精各種現代版畫技法，個個成員都在自己的崗位上擔負著承先啟後作育英才的重責。十青版畫會會員在各大學院校教授版畫課程，培養年輕一代的版畫藝術創作者，如今全台北、中、南，皆已培養出第三代、第四代的優秀青年版畫家。此外，在台北的李錫奇和顧重光老師，台中倪朝龍老師，台南地區林智信和潘元石老師與屏東的陳國展老師等，也都受廖修平回台推廣版畫藝術之影響，積極加入創作與推廣版畫藝術行列。從上世紀 50 年代末到現在，在台灣熱衷於創作版畫者不下兩百餘人，愛好版畫、學習版畫者也日益增加，此次展覽，因場地及時間倉促關係，選出 39 位展出者，以仍持續創作，活躍於各地區，容易取得聯繫並應允參與者為優先，尚有許多優秀創作者未能受邀約參與展出，謹此致歉

現代版畫在台灣

Modern Printmaking in Taiwan

Chung You-Hui The movement for the democratization of art after the Second World War produced by the ordinariness and mass production of art led printmaking to gradually receive mainstream emphasis in the world of international art - a procession of artists from all over the world have become involved in printmaking. Taiwanese artists who actively intended to modernize printmaking with their collective strength, including Chen Ting-Shih (1915-2002), Chih Sung (1932-2007), Yang Ying-Fong (1926- 1997), Lee Shi-Chi (1926-), Chiang Han-Tung (19262009), and Shih Hua, founded the Modern Printmaking Association in 1958. Figures who had emigrated or studied abroad, such as the famous printmakers Xiao Qin (1935-), Liao Hsiu-Ping (1936-), Hsieh Li-Fa (1938-), and Chen Ching-Jung (1934-) returned to Taiwan and took up posts in universities in the '50s and '60s. Figures from the previous generation of woodblock printmakers, including Fang Hsiang (19202003), Yang Ying-Fong, Chou Ying (1922-2011), and Chen Chi-Mao (1926-2005) conceived and founded The Printmaking Society of Taiwan in 1970. They held a global printmaking exhibition and activities to promote printmaking over a period of two years, which nurtured more than a few outstanding young printmakers. Each Golden Seal Award for Printmaking Creation, which was first held in 1976, rewarded outstanding artists who continued to work, thereby making a real contribution to the popularization and development of Taiwanese printmaking. In February 1973, the internationally-renowned printmaker Liao Hsiu-Ping took up employment at his alma mater, the National Taiwan Normal University (NTNU), and established a course on "modern printmaking" upon returning from America. In doing so, he planted a milestone in comprehensive modern printmaking concepts and passing on techniques for Taiwanese printmaking. His efforts to promote modern printmaking in Taiwan between 1973 and the summer of 1976 sowed the seeds of modern printmaking art in Taiwan. As well as teaching modern printmaking at the Chinese Culture University and the National School of Arts, Liao Hsiu-Ping established his own basement printmaking workshop, first at Xinyi Road and later at Jinan Road, providing printmaking equipment and creative space and encouraging some artists interested in new media to take up printmaking. He had a wide influence in the fields of painting and design. In 1974, Liao Hsiu-Ping authored "the Art of Printmaking", and led his students on a tour of Taiwan, during which he gave printmaking demonstrations and lectures on printmaking. His influence was such that all of the major Taiwanese art exhibitions, such as the Taiwan Provincial Fine Arts Exhibition and the Taiwan Art Exhibition specially established printmaking departments and major fine arts courses also continued to establish modern printmaking courses. He also spurred the founding of the Evergreen Graphic Art Association and the

Silkscreen Print Studio. This added a fresh impetus to Taiwanese printmaking, giving rise to an unstoppable printmaking movement. In February 1974, ten of Liao Hsiu-Ping's students at the NTNU, including Chung You-Hui (1946-), Dawn Chen-Ping (1948-), Lin Chang-De(1951-), and Lin Hsueh-Ching (1952-) gave a printmaking exhibition at the Youth Gallery. Their passion for printmaking led them to establish the Evergreen Graphic Art Association, encouraged by Liao Hsiu-Ping, which marks the beginning of Evergreen's development of modern printmaking in Taiwan. When Taiwan's economy took off in the '70s, influential enterprises formed a succession of consortia and greatly increasing investment in advertising. In turn, the booming advertising market thus created enabled most advertising firms to develop. At the time, photo silkscreen production was popular in the U.S. and silkscreen printing was originally used in industry or for fabric printing, with the National College of Arts and normal vocational schools in Taiwan all offering these courses. The Qiancai Print Company was run by Li Chao-Zong (1945), who had graduated in fine arts from the National School of Arts. Encouraged to promote printmaking by Liao Hsiu-Ping, the Print Company founded the Qiancai Silkscreen Printing and Printmaking Studio and began to help artists to produce silkscreen prints in 1974. In 1975, Chung You-Hui established the 274 Print Studio as a workspace for members of the Evergreen Graphic Art Association, in a Japanese-style residence in Dingzhou Road, Taipei. It was also a place where they could gather, deliberate, and hold discussions. Professor Liao Hsiu-Ping gave lectures on new developments and techniques in printmaking there a number of times, and also met foreign artists there. Simultaneously, the 274 Print Studio also invited members of the Evergreen Graphic Art Association to design and print Chinese New Year cards on silkscreen, which were well-received. The Taiwanese economy became developed in the '80s, and the government had enough objective economic strength to hold its own international art exhibitions, creating space by breaking out of a difficult artistic and cultural situation. The Council for Cultural Affairs was founded under the Executive Yuan in 1981, and its first Chairman, Dr. Chen Chi-Lu, was the first person to propose holding large international art exhibitions. Encouraged by Liao Hsiu-Ping, the Executive Yuan's Council for Cultural Affairs began a new chapter in government subsidy for the arts in December, 1983, and enabled modern Taiwanese printing to enter a phase of international exchange and interaction. Its significance extended beyond allowing a greater number of internationally-renowned artists to come and give exhibitions in Taiwan, developing the aesthetic horizons of the Taiwanese public,

Modern Printmaking in Taiwan

and improving Taiwan's cultural image: it also stimulated active creation by Taiwanese printmakers, which bore fruit in international printmaking exhibitions. Dawn Chen-Ping, Chang Cheng Jen (1953-), and Mei Ding-Yan (1954-) were the first members of the Evergreen Graphic Art Association to study in the U.S., while Chung You-Hui and Lin Hsueh-Ching studied in Japan, later returning to Taiwan in the '80s and '90s. Their experience of studying abroad gave them a broad, open international perspective, and combined with their own diligence in taking in new knowledge and techniques, they had developed their own printmaking thought and style regarding printmaking. After they returned to Taiwan, as well as taking up posts in universities, they publicized printmaking techniques, all innovating in printmaking concepts and the application of new techniques. In order to attend simultaneously to traditional and innovative development the Executive Yuan's Council for Cultural Affairs also began holding the Chinese New Year Prints Exhibition competition award after 1984, while continuing to hold the International Biennial Print Exhibition. Although New Year Pictures are considered popular art, they express Taiwan's spirit of diligent thrift, simplicity, moderation, and optimism. Furthermore, their celebratory, auspicious meaning is very much in line with popular thought and sentiment, and they very popular in Taiwan. Modern printmaking innovation and techniques are often used in the production of modern New Year Pictures, and many members of the Evergreen Graphic Art Association won first place at the New Year Prints Exhibition, including Liu Yang-Che (1944), Lo Pin-Ho, Lin Chao-An, and Wang Zhen-Tai (1963-). Many members of the Association continued to serve as judges in the New Year Prints Exhibition, and were invited to produce New Year Pictures or led their students to become involved in printing New Year Pictures. Their familiarity with applying all kinds of printmaking techniques and the breadth of themes with which they dealt spurred an atmosphere of creativity in Chinese New Year Pictures, and also modernized these pictures and gave them a style and interest different to traditional Mainland Chinese New Year Pictures. Printmaking workshops were being founded even as the Cultural Affairs Council was planning the International Biennial Print Exhibition, and at which Liao Hsiu-Ping and members of the Evergreen Graphic Art Association including Chung You-Hui, Dawn Chen-Ping, and Yang Ming Dye gave demonstrations and lectures. The Taipei Fine Arts Museum and the National Taiwan Museum of Fine Arts also established printmaking classrooms and lectures to promote printmaking in response to the International Biennial Print Exhibition and the New Year Prints Exhibition. Most of the teachers and lecturers who worked in them were members of the Evergreen Graphic Art Society.

After the Second World War, experimentation flourished and the artistic world experimented with different media in the wake of economic and technological development. Artists abandoned previous forms of creation, and created an unprecedented new modern form of art. A tendency towards diversity in artistic creation emerged, and the creative scope of modern printmaking was thereby broadened. Modern artists who work in printmaking developed a succession of special forms such as combination printing, collagraphy, installation printmaking, and composite printing in addition to the four basic types of relief printing, intaglio, lithography, and screen print. The printmaking concepts of the members of the Evergreen Graphic Art Association have been inspired by international modern printmaking concepts. The majority of their work displays a complex creative state, and they have been considered the vanguard of Taiwanese multimedia innovation since the '70s. Printmaking became more important than it had been at any earlier time due to the creative passion and undertakings of this group of outstanding young printmakers and its ability to keep pace with Taiwan's economic takeoff. This secondgeneration Taiwan-grown printmaking group is a gear which has accelerated the vigorous development of modern Taiwanese printmaking, and it has become the locomotive driving creation and education in modern Taiwanese printmaking. The Evergreen Graphic Art Association has become Taiwan's oldest and core printmaking group through its members' mutual encouragement, development of art, work in the fields of modern printmaking and related disciplines, and quiet cultivation of itself. In the process of the Association's development, it has inherited the concepts taught by Professor Liao Hsiu-Ping by means of youthful energy and passion for working in modern printmaking. The Association holds exhibitions and printmaking promotion activities every year, and many of its members teach at a number of different levels: university, senior high school, and primary school. It has made a towering contribution to education in modern Taiwanese printmaking. Due to their expertise in every kind of printmaking technique, every member of the Association bears the responsibility to serve as an excellent teacher in their own workplace, serving as a link between the past and future of printmaking. Members of the Association teach printmaking courses in every major university and school, nurturing a younger generation of printmakers: today, they have already raised the third and fourth generations of outstanding artists in north, central and south Taiwan. Furthermore, teachers such as Li Shi-Chi and Gu Chung-Guang in Taipei, Ni Chao-Long in Taichung, Lin Zhi-Xin and Pan Yuan-Shi in Tainan, and Chen Guo-Zhan in Pingtung were also inspired by Liao Hsiu-Ping's return to Taiwan to spread the art of printmaking and have joined the ranks of those working in and promoting printmaking.

Modern Printmaking in Taiwan

From the 1950s to today, the number of artists devoted to printmaking in Taiwan has not fallen below two hundred. An ever-increasing number of people work in printmaking as a hobby or are studying it. As a result of the constraints imposed by the exhibition's venue and the short notice at which this exhibition was held, thirty-nine exhibitors have been selected, with priority given to those who have continued to work in printmaking, are active around Taiwan, who are easiest to contact, and who consented to participate. We would like to take this opportunity to apologize to the many outstanding artists who were unable to participate in this exhibition.

W O R K S

作品

廖修平 Liao Hsiu-Ping

1936 年出生，國立臺灣師範大學美術系畢業，曾至日本及法國留學，現為國立臺灣師範大學講座教授、財團法人巴黎文教基金會董事長。因其版畫藝術與教學推廣的卓越貢獻，被譽為「台灣現代版畫之父」。居家比鄰艋舺龍山寺，台灣民俗文化的情感和宗教祭儀的技藝經驗是他的藝術源頭。具東方美學韻味的「廟飾」系列創作，巧妙結合了現代繪畫的造型觀念和本土符號元素，重新詮釋並發揚了台灣鄉土文化美學，建立了其國際藝壇聲譽。將在地傳統轉化成肩負集體記憶、文化認同、主體意識的精神新圖騰。以對稱的結構和抽象形式，創作象徵符號作品「門的記號」及較近期的「生活」系列，藉以探討人生旅程，與宇宙陰陽循環不息又維持和諧的精神。 Born in 1936, Liao Hsiu-Ping is known as the " Father of Modern Prints of Taiwan" having led the development of Taiwan prints. He is a graduate of the Fine Arts Department, National Taiwan Normal University, and had also studied in Japan and France. His concepts are of Taiwan's spiritual and cultural explorations, consisting often of Taiwan folk culture and religious rituals. Using oriental aesthetics, his series "Temple Ornaments" cleverly combines symbolic elements of modern painting and native concepts, reinterpreting and promoting the local cultures of Taiwan.

廖修平

東方節 14/50

生活（A）

Oriental Festival

Life (A)

蝕刻金屬版 Etching & Aquatint 63.5 x 48 cm 1970

絹版 Silkscreen 63 x 46 cm 2005

富臨門（八）AP Gate of wealth VIII 絹版 Silkscreen 32 x 92 cm 2014

廖修平

潘元石 Pan Yuan-Shi

1936 年生於台南，畢業於臺南師範學校藝術科。長期耕耘藝術教育、推動文化工作。早年，服務於臺南啟聰學校，全力投入特殊兒童美術教育及幼兒美育推廣，並出版專書，對兒童版畫教學，著力尤深。後進入信誼基金會、台南市文化基金會，對台南地區文化工作推展，貢獻頗巨。1990 年後，受奇美實業創辦人許文龍先生賞識，主掌奇美文化基金會及其美博物館籌備處，奠定其美在全國文化事務上的領導地位。個人在創作上，以版畫為主，其中尤其用心於藏書票的研究與推廣，長期與日本藝壇交流，成為台日民間友誼的橋梁。 Born in 1936, Pan Yuan-Shi is a graduate of the National University of Tainan. Pan is a long-term cultivation of arts education, promoting of cultural work, and has a high reputation in Tainan. Afterward, he entered the Hsin-Yi Foundation, Tainan City Cultural Foundation, contributing massively. After 1990, Pan became a leader in the nation's cultural affairs. His creations are focused mainly on printmaking, particularly the research and promotion of "bookplate", and often exchanges with the Japanese art scene, resulting in becoming the bridge between Taiwan and Japan.

潘元石

小丑 Clown 木刻水印 Wood-Block Printing 37.5 x 26 cm 2009

向皮卡索致敬 Homage to Picasso 木刻水印 Wood-Block Printing 29 x 37.5 cm 2013

與牛共讀 Studying with Cattle 木刻水印 Wood-Block Printing 34.5 x 75 cm ( 各別 15x16) 2013

潘元石

陳國展 Chen Guo-Zhan

1937 生於屏東，成長在戰火動亂年代，經歷艱困練，畢業於國立臺灣師範大學美術系。從事各級學校美術教學，全力推展版畫藝術，師事自然邂逅實寫，透過各種媒材創作已經五十多年，獨鍾銅蝕刻凹版，不論腐蝕、直刻、美柔汀、松香細點技法都能順手，創作多達 220 餘件，榮獲台灣省展、國展、國際版展、及中國美展大獎。自國立屏東教育大學退休後，甫辦七十回顧展，現正籌備八十大展。作品廣被國內外私人藏家級美術館收藏，著有畫冊五本。 Born in 1937, Chen Guo-Zhan is a graduate of National Taiwan Normal University. He has taught all levels in schools, promoting printmaking. With a total of two hundred and twenty pieces of works, all created with various mediums, Chen won many awards in exhibitions. Since his retirement from the National Pingtung University of Education, he's held a total of over 70 exhibitions, currently working on his 80th. His works have been collected all over by private collectors and galleries.

陳國展

無奈 Grudgingly 銅版 ( 凹版） Intaglio 37.5 x 44 cm 2006

米倉 Rice Store 銅版 ( 凹版） Intaglio 40 x 31 cm 1982

陳國展

板車 Flatbed Cart 銅版 ( 凹版） Intaglio 40 x 31 cm 1982

李錫奇 Li Shi-Chi

1938 年出生於金門，畢業於臺北師範學校藝術科。 1958 年組織「現代版畫會」，1963 年正式加入「東方畫會」。受西方抽象主義藝術的影響，在作品中可以看到反傳統、反繪畫性，同時去開拓足以代表這個時代中國形式的獨特表現，由金門的鄉土出發交錯在中國歷史滄桑中的文化領悟，在傳統與現代之間尋求自己歸屬於民族本位的藝術獨特性，借鑒西方現代藝術的觀念和手法來衝擊和改造傳統藝術。在同時代現代藝術家中，前衛藝術創作手法極度翻新的新浪潮下不離民族本位的思考，進行多元變異的表現，藉由絹印版畫的傳統技法和現代造型藝術全新整合，跨越了媒材與藝種拘限，參加國際性大展，多次榮獲國際藝術大獎。 Born in 1938, Li Shi-Chi is a graduate from the Taiwan Normal University, Arts Department. He is responsible for organizing the "Modern Printmaking Association", and is a member of the "Orient Movement". Influenced by Western abstract art, he works against the traditional forms of art. Using both traditional and modern art techniques integration across mediums allows him to participate in international exhibitions, winning several international art awards.

李錫奇

日記

掠過

Diary

Move Over Lightly

網版 Screen Printing Plate 89 x 60 cm 1976

網版 Screen Printing Plate 78.5 x 52 cm 1983

記憶 Memory 版畫 Engraving 65 x 105 cm 1976

李錫奇

本位新發之六 Orientation Sprouuting form the Root-6 版畫 Engraving 79 x 49 cm 2005

倪朝龍 Ni Chao-Long

1940 年出生於台中，畢業於日本國立兵庫教育大學藝術教育研究所，現任國立臺中教育大學美術系和國立勤益科技大學藝術鑑賞兼任教授、台中市文化藝術發展審議委員、台中市美術教育學會榮譽理事長、台灣中部美術協會理事長、台陽美術協會常務理事、國立臺灣美術館和國父紀念館諮詢委員。創作透過平版、孔版跟凸版的版畫雕刻，運用一版多色和多版多色套印的水印版畫來表達。透過個人雕版技法和印製方式呈現，把中國民間藝術、宗教藝術、佛教藝術的題材，構造出現代木刻版型式。除了致力於個人創作外，致力推展美術教育已五十餘載，對中部藝術文化的發展貢獻良多。 Born in 1940, Ni Chao-Long is a graduate of the Hyogo University of Teacher Education. He is currently an associate professo r at the National Taichung University of Education, National Chin-Yi University of Technology, an advisory committee at the Sun Yat-sen Memorial Hall, the National Taiwan Museum of Fine Arts, and several other positions. Through engravings and printing techniques, Ni constructs modern versions of folk art and religious themes.

倪朝龍

王宮漁村系列（二） Wanggong Fishing Port Series II 木版水印 Wood-Block Printing 45 x 60 cm 2014

王宮漁村系列（一） Wanggong Fishing Port Series I 木版水印 Wood-Block Printing 45 x 60 cm 2014

台西漁舟系列（二）煦 Taihsi Fishing Boat II Shine 木版水印 Wood-Block Printing 45 x 60 cm 2014

倪朝龍

北京胡同系列（三） Beijing Alleyway Series III 木版水印 Wood-Block Printing 45 x 60 cm 2014

北京胡同系列（二） Beijing Alleyway Series II 木版水印 Wood-Block Printing 45 x 60 cm 2014

顧重光 Gu Chung-Guang

1943 年出生於重慶，畢業於國立臺灣師範大學美術系，曾任中華民國版畫學會理事長、國際造型藝術家協會中華民國代表、台灣現代藝術家聯盟會長。早年版畫擅長銅版腐蝕，以民間祈福納喜為常用題材，採用凹版蝕刻技法，以一版多色的方式套印年畫。60 年代的創作嘗試以中國文字入畫，用他重要的創作語彙「燻煙」，以西畫運用的材料來表現中國書法；70 年代步入新寫實風格，運用複製與裱貼的技法，在創作手法與表現風格上多元並進。另一部分的創作，以日常生活中的景物題材入畫。以新舊事物的交替、中西合璧的理念出發，展開對生命意義的探索。 Born in 1943, Gu Chung-Guang is a graduate from National Taiwan Normal University, Department of Fine Arts. His early works displayed his own unique personal style of using Chinese ink painting with Western concepts. The creation themes now contain everyday life picturesque sceneries combining both the Chinese and Western ideas, and exploring the meaning of life.

台灣風物誌—海舶圖 The Scenery of Taiwan - Sailing Map 絹版 Silkscreen 56.5 x 76 cm 1993

吐魯番勝景 Silk Road Story I 絹版 Silkscreen 56.5 x 76 cm 1992

明鄭復台之戰

海上絲路—蓬壺勝景

The Battle of Teowan

Silk Road Story on Sea - Piscadores

絹版 Silkscreen 75 x 55 cm 1996

絹版 Silkscreen 94 x 74.5 cm 1995

顧重光

黃金萬兩滿載而歸 Millions of Gold Bring it Home With You 絹版 Silkscreen 90 x 71 cm 1998

龔智明 Gung Chih-Ming

1944 年出生湖北棗陽，畢業於國立臺北藝術大學造形研究所，曾任教於實踐大學、擔任中華民國版畫學會理事長，以及全國美展、版印年畫、版畫大獎等評審委員。他的繪畫語言，即在表達自我生活歷程，試圖藉由各種媒材，表現新的視覺意象，與其延伸的生命內涵；並經由版畫的創作，製作了不同時期作品，但連貫的理念是一致的。前期空間系列在表現宇宙的流轉變化，中期海韻、水韻及山林系列，利用木紋肌理的造形組構，呈現樸實謐寧的畫面，近期墨韻、大自然系列與城市造景系列，則關懷時代及社會環境與融合生活體驗、東方藝文精神，探求表達恬淡寧靜致遠的哲學思維與宏觀的藝術新境界。 Born in 1944, Gung Chih-Ming is a graduate of the Taipei National University of the Arts, Graduate Institute of Plastic Arts and Printmaking. His paintings express the course of life, trying a variety of mediums, including using prints, producing work over different periods. Based around the changes in the universe, his works vary from quiet simple pieces of nature to urban landscaping, social environment, and integration of life experiences, exploring tranquil expression of philosophical thinking and a new realm of art.

龔智明

雕刻公園 Sculpture Park 數位版 Digitel Print 64 x 41 cm 2015

城市空間 603 City Space 603 數位版 Digitel Print 72.5 x 50 cm 2006

龔智明

影 A Shadow 數位版 Digitel Print 59 x 44.5 cm 2009

鐘有輝 Chung You-Hui

1946 年出生於台北，畢業於日本國立筑波大學藝術研究所，曾任中華民國版畫學會理事長，現任國立臺灣藝術大學美術系版畫藝術研究所、國立臺灣師範大學美術系所兼任教授，是十青版畫會創始會長，為巴黎文教基金會董事、財團法人臺灣美術院文化藝術基金會董事兼執行長。創立臺灣藝術大學版畫中心、臺灣藝術大學版畫藝術研究所。平時除了教學與創作外，並致力於現代版畫的推廣，專精各種版畫技法與材料。創作除了版畫，更利用版畫觀念來表達繪畫語言的多媒材，創作題材從自然與人生做探討，作品取材自然中的草與葉，生生不息的奧秘與人的生命消長有相契合之處。透過畫面的構圖，與繽紛色彩的經營，傳達出生命的多采多姿和各地不同植物的氣韻生機。 Born in 1946, Chung You-Hui is a Masters graduate from the National University of Tsukuba in Japan. Participating in several exhibitions in Taiwan, Japan, Korea, the United States, and other international exhibitions, he has won numerous awards. In addition to teaching and creating, he works to promote modern printmaking. He also creates using the techniques and concepts of printmaking to express the language of painting with multiple materials, exploring themes from nature and life, drawing from the natural grass and leaves, the endless mysteries of human life. Through the compositions and choice of colors, he artistically conveys the vitality of different plants and colors of life.

鐘有輝

能量對比

喜悅能量

Energy Contrast

Joyful Energy

併用版 Combined Methods 76 x 56 cm 2015

隱藏能量 Invisible Energy 併用版 Combined Methods 76 x 56 cm 2015

鐘有輝

清心能量 Clear Mind Energy 併用版 Combined Methods 76 x 56 cm 2015

沈金源 Shen Chin-Yuan

1947 年出生於南投，畢業於國立臺灣師範大學美術系；長年旅居加拿大，為蒙特婁 Atelier Circulaire 藝術家成員。現任中華民國版畫學會理事長、國立臺灣師範大學美術系客座教師。他認為應該如同赤子，沒有任何成見的干擾和設限，忠實畫出創作者的心象。不刻意迎合市場，不喜歡重覆舊的東西。多年來往台灣北美之間，用西方現代版畫技法，透過各種版種，表現東西方文化不同的情境、內涵與生命，不知不覺地就融合了本土與國際的跨文化的元素。早期作品有著東方氣息，中期用西方技法表出東方意象堆疊在心靈版上的一串語碼，有時文字表不清楚，卻被圖像道出。近年的作品，他不但把新科技的感光樹脂版運用的自然貼切，也真正找到屬於自己的圖像語系。 Born in 1947, Shen Chin-Yuan is a graduate from the National Taiwan Normal University, College of Fine Arts Department, and a member of the Montreal Atelier Circulaire. To not interfere with any preconceptions, he believes in thinking like a newborn. Using modern Western printmaking techniques and creates pieces depicting differences in Eastern and Western's cultures. His recent pieces are created using new technology, cutting and pasting, creating natural and genuine images.

沈金源

雪鳥與班馬 Snowbird and Zebra 感光樹脂版 Photopolymer Plate 44 x 60.5 cm 2012

藍色之歌

紅色之旅

The Songs of Blue Color

The Journey of Red Color

木版凹突版印＋雁皮萱拼貼 Collagraphy:Intaglio+ Gampi 79 x 73.5 cm 2014

沈金源

明天 Tomorrow 感光樹脂版 Photopolymer Plate 44 x 57 cm 2012

楊成愿 Yang Cheng-Yuan

1947 年出生於花蓮，畢業於日本大阪藝術大學油畫研究科。堅持創作的精神，從自己的文化系統出發，作品著重於觀念及思考性。近年來作品延續探討台灣本土文化議題，將版畫中，版和複數的定義擴充，運用並置的手法，充份地反映出當代生活中的資訊本質，打破了時間的連續性與空間的完整性，從中窺探出藝術的真正根源。他纖細敏銳的特質，輕鬆駕馭各種不同的繪畫元素，使冰冷的幾何線條，優雅地融入畫中。而作品中異質符號的並置之間，並無邏輯的必然性。除了符號本身的意義外，物件之間也因語法的關係而產生新的意義，而這樣多重對話的關係，使其意義更為繁複，並造就了藝術作品的豐富性。 Born in 1947, Yan Cheng-Yuan is a graduate of the National Taiwan Normal University, Department of Fine Arts, and Osaka University of Arts. In recent years, his works explores the concepts and considerations for modern Taiwanese culture. Using symbols and objects, he creates new meanings, relationships and multiple dialogues, creating more substantial content in his art.

楊成愿

空間與記憶 Space and Memory 絹版 Silkscreen 56 x 80 cm 1989

淡水序曲 Danshui Overture 絹版 Silkscreen 50 x 75 cm 1990

楊成愿

航行與時間 Flight and Time 絹版 Silkscreen 50 x 75 cm 1990

賴振輝 Lai Zhen-Hui

畢業於國立臺灣師範大學美術系，現任新臺北藝術學會理事長。認為木紋的細微變化有緻，利用於版畫肌理，表現它的感性與禪風，是任何繪畫筆墨無法展現的。版畫作品曾多次在國內外展出；在基隆商工從事教職 30 多年，恣情於畫作，與一群版畫藝術同好，於基隆市七堵區成立友點子版畫工作室。由藝壇前輩大家郭博洲老師、沈金源老師與賴振輝老師任顧問，工作室為非營利之版印創作、研修及推廣發展空間，以當代藝術的多元觀點發展現代版畫並投入公益活動和社區營造，透過基礎版畫學習將文化及社區意識融入到生活中，凝聚社區意識，實踐社區生活美學。 Lai Zhen-Hui is a graduate of the National Taiwan Normal University, Department of Fine Arts. He believes that the textures of the wood shows a sense of emotion, something that other forms of painting, pen and ink drawing can not produce. His works have showcased in several exhibitions in Taiwan. Through basic printmaking, his pieces promote community awareness and practice of community life aesthetics.

賴振輝

晨曦 Morning Glory 紙版＋木版 Cardboard & Woodcut 118 x 59 cm 2014

跨越時空（一） Crossing Time and Space (1) 紙版＋木版 Cardboard & Woodcut 49.5 x 109.5 cm 2014

賴振輝

火樹銀花看淡水 Seeing Dan-shui Through Fiery Trees and Silver Flowers 新樹脂版 Resin Plate 72.5 x 100 cm 2014

董振平 Dawn Chen-Ping

1948 年出生，畢業於美國猶他州立大學美術研究所，曾任國立臺北藝術大學美術系造形研究所教授。致力於推廣版畫藝術，為相關學校系所進行推廣與開展，進而銜接版畫藝術交流，為版畫藝術拓寬新視野。作品曾於國內外榮獲多項大獎及多所美術館典藏。在雕塑、版畫、多媒體裝置、公共藝術方面均有涉獵，平面與立體的創作互相辯證與扶植共生。迴旋的美學，延伸至生命的輪迴，與生老病死的無常。他的創作表現出一種殘缺、粗陋的形象以及對生命矛盾本質、人世未竟之憾的深切關懷。近年來的創作當中充滿了獨行千山的騎士精神，載滿社會議題和現實關注的版印。 Born in 1948, Dawn Chen-Ping is a graduate of the Utah State University and a current art professor at Taipei National University of the Arts. The aesthetics of his pieces extend to the cycle of life, dealing with illness and death of impermanence. Dawn's creations present a sort of incomplete and crude imagery of contradictory nature of life. Recent works consist of social issues and concerns of reality.

董振平

游離 I Dissociation I 木平版 Litho on Playwood 30.7 x 42.5 cm 2010

游離 II Dissociation II 木平版 Litho on Playwood 30.5 x 41.5 cm 2010

董振平

蔡義雄 Cai Yi-Xiong

1948 年出生於台北，畢業於國立臺灣藝術大學美術科西畫組，曾於美國紐約大學版畫研究所及芳邦大學藝術研究所研修，師承廖修平及 Mr. Krishna Reddy 教授的色彩創作版畫。作品皆以抽象的具體藝術呈現，並認為抽象藝術是表現視覺經驗與精神，在創作媒材上，不斷地嘗試新的元素，同時嘗試發掘融合媒材、技法的意涵。運用抽離形象且互換的造形，豐富了彩色版畫的生命力，以透明重疊的互映空間來呈現視覺造形。利用凹版「點」、「線」、「形」結合版中凸面的滾彩色來表現造形，加上凸版來表現色感，在表現層次與凝聚色彩發揮版印的特有性，且融合了一版多色技法，呈現出現代版畫創作的精神。 Born in 1948, Cai Yi-Xiong is a graduate from National Taiwan University of Arts, also studied printmaking at New York University and Fontbonne University. He studied under Liao Hsiu Ping and Mr. Krishna Reddy and in 1994, founded Artist's Printmaking Workshop. His works are of abstraction, believing that abstract art is a visual representation of his own experiences and spirit, but he still continues trying new elements. In his prints, he uses shapes, rich colors, overlapping transparent space to present visual shape. Combining "point", "line", "shape", the end result shows the spirit of modern printmaking.

蔡義雄

山水起色 M&C Simultaneity 一版多色 Single Plate Colors 86.5 x 60.5 cm 2010

依山傍水 Synchronic M&M 一版多色 Single Plate Colors 86.5 x 60.5 cm 2010

蔡義雄

重色交響 III Synergic Symphony III 併用版 Combined Techiques 86.5 x 60.5 cm 2011

林昌德 Lin Chang-De

1951 年出生於嘉義，畢業於國立臺灣師範大學美術研究所，曾任臺灣省美展國畫和版畫評審委員、高級中學美術教科書審定委員，並曾任教私立東海大學美術系、臺中教育大學美勞教育系、臺北市立師院美勞教育學系，現任臺灣師範大學美術學系專任教授。版畫創作以美柔汀這個版種作為專攻，創作作品主要表達除了借物抒情以外，希望能夠呈現出哲理和人生觀。 2008 年受邀國際迷你版畫、素描邀請展、2009 年彰化基督教醫院名家作品義賣展、2011 年國際版畫邀請展、2012 年十青現代版畫展、2012 年國際迷你版畫邀請展，並獲獎數次。 Born in 1951, Ling Chang-De is a graduate from the National Taiwan Normal University. A former juror, council member, taught at TaiHung University, National TaiChung University of Education, National Taipei University of Education, and a current full-time professor at National Taiwan Normal University. Having attended numerous exhibitions such as Taiwan International Invitational Mini-Prints Exhibition in 2012 and the Taipei International Print Exhibition in 2011, he's won several awards.

林昌德

物化世紀 The Century of Objectiﬁcation 美柔汀鋅版 Engraving: Zinc Plate 36 x 42 cm 2003

榮枯 Inconstancy 美柔汀鋅版 Engraving: Zinc Plate 33 x 50 cm 2009

林昌德

達文西的婚禮 Da Vinci's Wedding 美柔汀鋅版 Engraving: Zinc Plate 38.5 x 54.5 cm 2009

黃世團 Hwang Shyh-Twan

1951 年出生於金門，畢業於國立臺灣藝術大學造形藝術研究所，現任國立臺灣藝術大學美術系書畫學系兼任講師。自認為藝術創作是內心的外在表現，不只是形體空間的建立更是聯想空間的形成。擅長紙版的多色套印，利用造形與色彩的關係，配合空間的製作及內容的表現。以感觸作為題材，表現擴張生活領域為觀點。早期作品以單色為主，套色以分割組合拼版，中期作品加上凸版直刻與剪貼凹版，利用重疊手法產生自然的中間色。近年來作品利用拓印與生鏽鐵版，象徵探討歲月成長與消蝕的軌跡。作品多次參加中華民國國際版畫素描雙年展等版畫交流展，並獲國家文藝基金會獎。 Born in 1951, Hwang Shih-Tuan is a Masters graduate of National Taiwan University of Arts, Graduate School of Plastic Art. He believes that the sense of self-recognition of artistic creation is our minds' outer expressions. His prints specialize in multi-color overlays with the application of form and color pursuing the goal of creation. Participating in many R.O.C. Exhibitions, winning several awards such as the Golden Seal Prize by the Printmaking Society of R.O.C.

黃世團

日出 Sunrise 紙版畫 Cardboard Painting 55 x 77 cm 1991

待發 Ready 紙版畫 Cardboard Painting 55 x 77 cm 1991

黃世團

擁抱藍天 Embracing The Blue Sky 紙版畫 Cardboard Painting 55 x 77 cm 1989

林雪卿 Lin Hsueh-Ching

1952 年出生於台北，畢業於日本國立筑波大學藝術研究所，現任臺北市立教育大學視覺藝術學系所和國立臺灣藝術大學版畫藝術研究所兼任教授、中華民國版畫學會常務理事、十青版畫會會員、今日畫會會員。蝴蝶為個人符號象徵，在創作生涯中自訂系列研究，每一系列都是個人理念的追求與自我成長的期許。常思考陰陽虛實與主觀客觀的問題，認為世間事物很多都是由陰陽結合而成，其協調的美感，全化實為虛，把客觀真實化為主觀表現，才能創造出生命。專研藝術創作構成理論，了解新科技與傳統表現技法關連之重要性，對各種版畫製作均能深入研究，為台灣研究電腦輔助版畫教學先驅，也是少數從事版畫藝術創作的女性藝術家和傑出的藝術教育工作者。 Born in 1952, Lin Hsueh-Ching is a Masters graduate of the National University of Tsukuba in Japan. Butterflies appear often in her works, symbolizing the pursuit of personal growth and self-concept of expectations. She believes that in order to create life, there is an yin and yang balance. Being one of the small numbers of women in the printmaking field, Lin understands the importance of new technologies and how it relates to traditional techniques.

林雪卿

榮與枯之榮 Vitality 彩色 PS 平版 PS Lithography 88 x 62 cm 1998

榮與枯之枯

晝與夜 I

Wither

Day & Night I

彩色 PS 平版 PS Lithography 88 x 62 cm 1998

彩色 PS 平版 PS Lithography 88 x 62 cm 1999

林雪卿

明月照古今 A Bright Moon Shines on All Generations 彩色 PS 平版 PS Lithography 43.5 x 53 cm 2014

張正仁 Chang Cheng-Jen

1953 年出生於苗栗，畢業於美國紐約市立大學美術研究所，現任國立臺北藝術大學美術系專任教授。推展現代版畫，歷任十青版畫會會長及中華民國版畫學會秘書長，作品展覽數次於台並曾獲 2002 年中華民國版畫學會金璽獎。其創作探索社會環境各層現象或議題與個人自覺的雙重對應，試圖探索出台灣都會生活下的個人塵世體驗之綜合圖像。早期作品表現手法，以類似剪輯主義和新表現主義方式來對環境及現代社會作描述；中期探討內容大致相同，形式結構更加多元；近期作品對都會生活的浮光掠影作較深入的探討，畫面上的媒體文宣以及部分表現世的塗寫，表徵了對於社會情境，具包含、批判特質與自律性的想像，揭露出多元視角和差異性。 Born in 1953, a graduate from City University of New York American, Institute of Fine Arts, Chang Cheng-Jen is a current full-time professor at Taipei National University of the Arts Fine Arts Department. His recent works are based on the city life, consisting of media propaganda as well as some of the social happenings, including criticism and self-regulatory nature of the imagination, exposing diverse perspectives and differences.

張正仁

跟進室內的電塔 Towers 絹版 Silkscreen 46 x 132 cm 2011

眨之眨 Sight 絹版 Silkscreen 46 x 127.5 cm 2011

勞動進行式 Workers in The Street 絹版 Silkscreen 46 x 119 cm 2011

張正仁

楊明迭 Yang Ming-Dye

1955 年出生於台南，畢業於美國紐約州立大學藝術創作研究所，曾任國立臺北藝術大學美術系、國立嘉義大學美術系、國立臺南大學美勞系、樹德科技大學視覺藝術系、銘傳商專商業設計科兼任講師，中華民國國際版畫雙年展、全國美術展、全國版畫展、臺灣省全省美展版畫部評審委員，高雄獎、南瀛獎、大墩美展、中華民國版印年畫、全國學生美展評審委員，台北市、台南市、屏東縣、嘉義縣、高雄縣、桃園縣美展等評審委員。現任國立高雄師範大學美術學系副教授、國立臺灣藝術大學美術學系兼任助理教授、國立臺灣美術館典藏委員、臺北市立美術館和高雄市立美術館典藏委員。其創作為複合性，利用版畫與其他領域的媒材結合，來表達自然的消長概念。 Born in 1955, Yang Ming-Dye has an MFA degree from the State University of New York, and is a current director of the Printmaking Society of R.O.C., an art appraiser of the National Taiwan Museum of Fine Arts and Kaohsiung Museum of Fine Arts and the director of the Ou-Wang Cultural Foundation. Yang uses prints combined with other mediums to express the concept of the natural. Its creation is a composite character, the use of prints and other areas combine mediums to express the desired concepts.

楊明迭

37 痕跡 NO.3 37 Trace No3 絹版 Silkscreen 103 x 82 cm 1991

37 痕跡 NO.10 37 Trace No10 絹版 Silkscreen 105 x 222 cm 1991

草衣 NO.28 Grass Coat No28 玻璃 Glass 五件一組 2010

楊明迭

黃郁生 Hwang Yue-Sheng

1956 年生於台南，畢業於紐約大學藝術研究所。曾任十青版畫會會長、2013 年屏東美術館「凝聚與生發亞洲版畫交流展」策展人、2014 年國立臺灣美術館「臺灣木版畫現代進行式」策展人、國立高雄師範大學美術系系主任與教授。現任臺南應用科技大學美術系教授兼版印中心主任。其創作呈現出繪畫性強烈的版畫風格，也在抽象的結構中注入寫實的內容。以細緻的製版技法，精密的分析出凹點深淺與咬墨多寡的關係。參展於國內外數十次，並榮獲中華民國第十屆全國版畫展首獎、1994 年南瀛獎以及高雄市版畫文藝獎、獲頒中華民國版畫學會「金璽獎」。 Born in 1956, Hwang Yue-Sheng is a graduate of National Taiwan Normal University, and a master's graduate of the Art Institute of New York University. He was a former department head and professor at National Kaohsiung Normal University, Department of Fine Arts, chairman of Evergreen Graphic Association, as well as being a curator in a couple exhibitions. Now he is a current professor and art department director at Tainan University of Technology. Participated in numerous exhibitions, Hwang has won several awards such as the "Golden Seal Award" from the Printmaking Society of R.O.C.

黃郁生

虛無存在 12 To Be and Not To Be 12 凹版美柔汀 Mezzotint 60 x 90 cm 2013

虛無存在 14 To Be and Not To Be 14 凹版美柔汀 Mezzotint 63.5 x 99.5 cm 2014

山路 Mountain Road 併用版（絹版木版） Combined Techiques（Silkscreen+Woodcut) 33 x 70.5 cm 2015

黃郁生

羅平和 Lo Pin-Ho

1960 年出生於台東，畢業於國立臺灣師範大學美術研究所，曾任中華民國國際版畫及素描雙年展、全省美展、大墩美展評審、國立臺東大學美術產業學系副教授。在 2000 年獲巴黎大獎推薦獎、南瀛美展南瀛獎、在 1990、95 年全省美展獲版畫省政府獎。他的創作是從藝術是為什麼的這個起點開始延伸的。由於出生背景與成長環境因素，對於原住民的關懷一直流露在作品之中，版種作品的畫面，更是色層豐富多樣。近期創作探討昔日人、事、物是否能延伸到未來的生機和發展，以複合版畫或多媒材的柔和層次刻畫和敘述，關懷之情超越了民族也超越了時空。 Born in 1960, Lo Pin-Ho is a graduate from the National Taiwan University, Institute of Fine Arts. His creation concepts start with the question "Why?". Due to his personal background, his art often contains elements and environments of aboriginals with rich colors and layers. His most recent work explores his past relationships with people, things and objects, whether these themes can transcend time and space beyond.

羅平和

夫妻樹 The Matrimony Tree 紙漿鑄紙 Paper Pulp 100 x 100 cm 2011

香格里拉 ... 蘭嶼 Shangri-La... Orchid Island 畫布＋複合媒材＋鑄紙＋壓克力顏料 Canvas+Composite Media, Paper, Acrylic Paint 185 x 185 cm 2012

紅頭嶼 Red Head Island 木口木版（凹版） Woodblock (Intaglio) 24 x 64 cm 2015

羅平和

國家圖書館出版品預行編目 (CIP) 資料凹凸有誌印痕歲月 : 臺灣 50 現代版畫 : 光輝系列 / 沈欣穎 , 林佳瑩 , 陳運亭文字撰述 . -- 初版 . -- 臺北市 : 築空間 , 民 104.02 面 ; 公分 ISBN 978-986-91144-2-4( 平裝 )

1. 版畫 2. 藝術展覽

937

104001919

展覽期間為民國 104 年 2 月 27 日 ~ 3 月 22 日藝術家廖修平潘元石陳國展李錫奇倪朝龍顧重光龔智明鐘有輝沈金源楊成愿賴振輝董振平蔡義雄林昌德黃世團林雪卿張正仁楊明迭黃郁生羅平和

發行人

邱復生

Publisher

Chiu Fu-Sheng

總策劃

廖修平鐘有輝邱復生

Art Supervisor

Liao Hsiu Ping . Chung You Hui . Chiu Fu-Sheng

策展執行

沈欣穎陳易靜陳星妤

Curatorial Team

Shen Hsin-Yin . Chen Yi-Ching . Chen Hsing-Yu

主編

沈欣穎陳星妤陳易靜

Chef Editor

Shen Hsin-Yin . Chen Hsing-Yu . Chen Yi-Ching

文字撰述

沈欣穎林佳瑩陳運亭

Copywriter

Shen Hsin-Yin . Lin Chia-Ying . Chen Yu-Ting

特別邀稿

鐘有輝

Curatorial Essay

Chung You-Hui

作品攝影

杜宗尚

Photographer

Dolby Tu

人物照片

藝術家提供李奕儒

Artist Photos

Provided by the artists. Li Yi-Ru

採訪攝影

李奕儒

Photographer

Li Yi-Ru

採訪錄影

陳詩文

Videographer

Chen Shih-Wen

封面設計

林冠名

Cover Designer

Lin Guan-Ming

文字校對

陳星妤陳易靜

Proof-reading

Chen Hsing-Yu. Chen Yi-Ching

翻譯

凱勁中英翻譯服務有限公司

Translator

Kevin Lax

設計印刷

四海電子彩色製版股份有限公司台北市光復南路 35 號之 1 02-2761-8117

Printed ＆ designed by

Suhai Design 5F.-1, No.35, Guangfu S. Rd., Songshan Dist., Taipei City 105, Taiwan 02-2761-8117

佈展單位

山水藝術有限公司台北市恆光街 51 巷 8 號 3 樓 02-8661-2541

Art Handler

Shan-Shui Art Ltd. 1F,No.6-3,Wanlong St. Taipei City, Taiwan 02-8661-2541

出版發行

築空間台北市重慶南路一段 2 號 B1 02-2382-1000

Published by

Arki Galéria B1, No.2, Sec.1, Chongqing South Rd., Zhongzheng Dist., Taipei City 100 02-2382-1000

出版日期

民國 104 年 02 月初版

Date of Publication

Feb, 2015

定價

新臺幣 500 元

Price

NT $ 500

ISBN

978-986-91144-2-4( 平裝 )

ISBN

978-986-91144-2-4

凹凸有誌 印痕歲月 - 台灣50現代版畫展 光輝系列

凹凸有誌印痕歲月 - 台灣50現代版畫展光輝系列