Shortlist: Taiwan
推介館藏:台灣

Kao Chien-hui, Chicago-based critic and independent curator
高千惠, 駐芝加哥藝評人及獨立策展人
August 2011

Overview 中文版本

By recommending selected readings on Taiwanese contemporary art, this guide aims to illuminate the regional characteristics and developmental theory of Taiwanese art. The bibliography is derived from materials in Asia Art Archive’s collection, and focuses on seven main areas: Chronological Development, Art Criticism, Artist Reviews, Survey Exhibitions, Biennials and Other International Exhibitions, Specialised Subjects and Media, and Selected Periodicals.

The development of Taiwanese art in the 20th century and beyond can be divided into two general periods. The first period covers the early 20th century through the Post-War years, during which the influences of Impressionism, Surrealism, and Abstract Expressionism were clearly predominant. This is considered to be the ‘developmental period of modern art.’ The second period begins in the 1980s, just before martial law was lifted, and continues to the present time. During this latter period, art developed under the influence of pluralism and postmodernism: as such, this is considered the ‘developmental period of contemporary art.’ ‘Shortlist: Taiwan’ takes as its basis the views of writers on contemporary art over the last thirty years. It includes material covering the historical and cultural background for the development of regionalism and internationalism in Taiwanese contemporary art of the last thirty years, as well as elaborating on past currents in Taiwan’s contemporary art scene and providing fresh investigations of topics related to art of the present and of the future.

According to modern history, Taiwan was ceded to Japan upon the signing of the Treaty of Simonoseki, and Taiwanese art and culture became strongly impacted by colonialist policies. Prior to this time, the literati art of China’s Ming and Qing dynasties and ethnic Han popular culture were the wellsprings of culture and the arts in Taiwan. Readers interested in the early modernisation of Taiwanese art can refer to books listed in the first two sub-sections under Chronological Development: 20th Century in General and Japanese Occupation Era (1895-1945). From these books, information can be gained on the historical background of the early 20th century as well as the contextual heritage of earlier generations of artists.
 
Regarding the transition of modernism into postmodernism and the advent of globalisation, the Chronological Development section is further divided into two periods: Post-war and Cold War Eras (1950s-early 1980s); and Post Martial Law/Postmodern/New Century Eras (late 1980s-2000s). These two sub-sections provide insight into Taiwanese contemporary art trends under the influence of Western thought on visual culture, as well as the awakening of regional consciousness. In the wake of their defeat at the hands of the Communists in 1949, the Nationalist government transferred to Taiwan, followed by a large migration of Mainland Chinese citizens. As a result, Taiwanese culture was once again faced with a conflict between the ideologies of Chinese national culture and Japanese colonialist culture. In the ensuing cold war between the two sides of the Taiwan Straits, Taiwanese arts and culture and Chinese arts and culture under Communism developed in divergent directions. As Taiwan experienced the successive stages of colonialism and migration, it was inevitable that its cultural consciousness was influenced by the strictures of the political regime and its cultural policies. In the post-martial-law period spanning the 1980s to the 2000s, Taiwan visual art confronted the political and social transformations of the pre-and-post martial law, postmodern, and globalisation stages. In the first decade of the 21st century, the relationship between the two sides of the Taiwan Straits has changed significantly and there is far more cultural dialogue. In recent years, mass consumer culture and community-based cultural movements have become the new contexts for Taiwanese contemporary art.

There is no clear break-off point between ‘modern art’ and ‘contemporary art’, and the demarcations of ‘modernist’, ‘postmodernist’, and ‘contemporary’ still remain quite vague – a circumstance which, over the last half-century, has given rise to a number of important cultural debates in Taiwan. In the bibliographic section on Art Criticism, readers can find topical essays on the modernist art movements from 1950 to 1990 as well as texts related to the four key themes that characterised debates of that time period: 1. Subjective cultural identity in relation to Chinese traditional guohua (‘national painting’) and Japanese colonialist toyoga ('East Asian painting’); 2. The traditionalist vs modernist debate that emerged under the influence of Western ideological trends; 3. The dialogue between regional consciousness and postmodern aesthetics that emerged under the intersecting conditions of localism and internationalism; 4. The developing bifurcation between localism and internationalism under the influence of globalisation. As such, the bibliography’s section on art criticism provides a range of cultural and aesthetic thought representing both challenge and response in the period from the 1950s to 1990s.

In the bibliographic sections on Artist Reviews, Survey Exhibitions, Biennials and Other International Exhibitions, can be found concrete examples of the conceptual thought and artistic practice of Taiwanese artists. Beginning in the 1990s, the Taiwanese art scene entered into a museum-driven era. In the mid-1990s, the Taiwan pavilion at the Venice Biennale curated by the Taipei Museum of Fine Arts brought Taiwanese contemporary art into the arena of international contemporary art. With the support of both Taiwan’s official institutions and independent art galleries, Taiwanese artists and art practitioners have actively participated in international art events, facilitating more of a balance between internationalism and localism in Taiwanese contemporary art. In the 21st century there has been a significant increase on many levels in cultural exchange between Taiwan and Mainland China, with a parallel increase in the artistic dialogue between ethnic Chinese living in different environments. At the same time, Japanese pop and manga art have strongly influenced young Taiwanese artists, making Taiwanese contemporary art a player on the young Northeast Asian art scene. These materials on cultural exchange illuminate the scope of the dialogue between local and non-local artists. In the bibliographic section on Cross-regional Cultural Dialogue, can be found discussions on the relationship between Taiwanese contemporary art and Western art currents and events, as well as interactions among ethnic Chinese artists.

Because of the cultural development and the openness of the media in the past decades, Taiwanese contemporary art has gradually taken on a regional character. In the section on Specialised Subjects and Media, interested users can find information related to women artists, indigenous art, ink art, performance art, installation art, photography, and video. Those interested in art journalism or in specialist columns, can refer to the Periodicals section to gain an understanding of the selective trends in journalistic coverage of the art world. The selected periodicals include Hsiung Shih Art Monthly, a journal that has already ceased publication but was of major importance from the 1970s to the 1990s; Artist, Taiwan’s longest-running contemporary art magazine; Artco, which has established a clearer position in the art world in the last ten years; ACT, a journal which represents the academic viewpoint on historical issues as well as contemporary art events; and the English-language monthly Yishu: Journal of Contemporary Chinese Art.

As regards the publishing industry, Taiwan has three main private publishing houses which specialise in art-related books, including Hsiung Shih Art Books, Artist Publishing, and Art and Collection, and thus most of the books listed here come from these three publishers. During the 2000s, in order to actively establish records of Taiwanese art history, the Taiwan Council for Cultural Affairs has cooperated with these three private companies in publishing a series of major [art-historical] texts, so that everything from early artists and critics to young contemporary artists have now been entered into officially approved historical documentation. Apart from this, the Taipei Museum of Fine Arts has organised a series of retrospective exhibitions on different periods, and preserved photographic documentation of these shows. The urgency with which historical documentation for contemporary art is being undertaken means that, within a short period of time, modern and contemporary art has gained the recognition of the official art history. An examination of these materials will give users further insight into the ongoing developmental direction of Taiwanese contemporary artists.

This Shortlist is meant to serve as a starting point for research, and as a means of facilitating further understanding of the development of Taiwanese contemporary art and its regional characteristics. It is drawn from AAA’s collection, with a focus on non-commercial materials. It also references bibliographies and texts used by art universities in Taiwan.

(Translated by Valerie Doran)


概述

本指南透過推介有關台灣當代藝術的書目,呈現台灣藝術的區域性與其發展理念。書目以亞洲藝術文獻庫的館藏為資料來源,並以七個導讀面向為引介:發展階段、藝術評論、藝術家評介、綜合展覧、雙年展與其他國際展覽、特別主題與媒介、特選期刋。

台灣二十世紀以來的藝術發展一般可分為兩個時期,以二十世紀初至戰後初期,受印象派、超現實主義和抽象表現主義影響的表現形式為「現代藝術發展期」;而1980年代解嚴前期至今,在多元主義與後現代風格影響下的藝術樣態為「當代藝術發展期」。「推介館藏:台灣」是以過去三十多年來的當代藝術書寫者的視野為本,提出台灣近三十年當代藝術形成區域性和國際性的歷史文化背景和發展情境,以便鋪陳出台灣當代藝術的過去脈絡,與有待再探討的現在和未來之藝術議題。

依據近代史,台灣於1895年馬關條約簽署下,割讓給日本,其文化和藝術始受到大和民族的殖民影響。在此之前,中國明、清的文人藝術和民間漢文化原是台灣文藝的主流。對於台灣早期藝術現代化發展過程有興趣的讀者,可以從發展階段一欄中的二十世紀概論、日據時期(1895至1945年)的相關書目,獲得二十世紀前期的歷史背景和前輩藝術家的承傳脈絡。

針對現代主義邁向後現代情境與全球化,發展階段一欄又分為1950年代至1980年代早期的戰後冷戰時期,以及1980年代晚期至2000年代的後解嚴/後現代/新世紀時期,以便提供台灣當代藝術在西方視覺文化思潮和地域意識覺醒下的影響面貌。戰後,國民黨在國共相爭中失利,於1949年帶領一批新遷移人口退居台灣,台灣現代文化重新面對中原文化和日據文化的意識認同之爭。在兩岸分離的冷戰時期,台灣文藝和中國社會共產主義下的文藝,出現不同發展面向。台灣經歷殖民和移民階段,其文化意識型態不免受制於政權與文化政策影響。在1980年代至2000年代的後解嚴時期,台灣視覺文化在這三十年間面對了解嚴前後、後現代主義、全球化等階段性的社政轉型。在廿一世紀的第一個十年,兩岸關係改變,兩岸文化對話增多。另外,與消費有關的大眾文化和與社區運動有關的文化行動,在近期內亦成為台灣當代藝術的新發展脈絡。

由於「現代藝術」與「當代藝術」之間並非呈現斷裂狀態,而且「現代性」、「後現代性」和「當代性」的區域定義至今仍處歧義狀態,致使台灣在過去半世紀內出現了幾次重要的文化思潮論戰。在有關藝術評論的書目裡,讀者可以看到1950年代至1990年代的美術現代化運動和相關的論戰文章,內容涉及四大重要議題:一、 有關傳統中國畫和日據東洋畫的文化主體認同;二、 西方思潮影響下,傳統性和現代性的爭論;三、 在地化與國際化交織下,區域意識與後現代美學的對話;四、 全球化影響下,在地化與國際化逐漸分歧的發展趨向。是故,書目中的藝術評論部份,可提供台灣在1950年代至1990年代期間,許多挑戰與回應下的文化和美學思考。

在藝術家評介、綜合展覽,以及雙年展與其他國際展覽的書目中,可以看到台灣藝術家的理念和作品實踐。自1990年代,台灣進入美術館主導藝壇潮勢的時期。從1990年代中期開始,台北市立美術館所策劃的威尼斯台灣館,將台灣當代藝術引入國際藝術活動圈。在台灣官方文化機構和民間藝廊的支持下,台灣藝壇積極參與國際藝術活動,促使台灣當代藝術在國際化與在地化之間尋求平衡點。進入廿一世紀,台灣和中國的兩岸文化交流頻仍,不同生活區的華人藝術對話亦增多。同時間,日本普普與卡漫藝術風格對台灣年輕藝術家亦有所影響,使台灣當代藝術成為東北亞年輕藝術的一員。這些有關交流的資料顯示,地方藝術家與不同地區的藝術家所形成的對話範圍。在有關跨地域文化對話的書目裡,則可以看到台灣當代藝術和西方思潮、活動,以及華人藝術互動的關係。

台灣當代藝術因不同世代的文化發展與媒體開發而逐漸有了區域性的面貌。對於專題性或材質性感興趣的使用者,可以在特別主題與媒介部份,找到有關女性藝術、原住民藝術、水墨藝術、行為藝術、裝置藝術、攝影和錄像的資料。對藝術新聞或特定專欄感興趣的使用者,可以透過期刊內容,了解台灣藝壇的資訊選擇動向。選擇的期刊包括已停刊,但是成為1970年代至1990年代重要文獻的雄獅美術;出刊期最長的藝術家雜誌;近十年定位逐漸清楚的今藝術;以學術觀點探討歷史問題和當前藝術事件的藝術觀點;以及英文版的華人藝術期刊Yishu典藏國際版

台灣藝術文字的出版,以三個民間出版集團為主,包括雄獅藝術圖書公司、藝術家出版社和典藏藝術家庭,因此大多數書目皆來自這些出版社。另一方面,2000年代,為了積極為台灣藝術史建檔,台灣文建會和這些民間出版社合作出版了一些系列大書,從前輩藝術家、前輩評論家到當代年輕創作者均進入官方認同史料。此外,台北市立美術館也策劃過一系列年代藝術回顧展,留下圖象文件。這些迫切為當代藝術建檔的現象,使現行藝術在短時內即獲得官方藝術史的認同,使用者可以從後續觀察中,再去尋找當代創作者的現行發展方向。

此書目旨在作為一個研究的入門始點,以便進階地了解台灣當代藝術的形成與其區域特質。它以亞洲藝術文獻庫的館藏為主,非市場性的訊息為選擇對象,也參考了台灣藝術學院所採用的一些書目和文本。

Recommended Readings

Chronological Development 發展階段

20th Century in General 二十世紀概論

Chu Pei-i, Hsieh Tung-shan, Taiwanese Realist Arts 1895–2005, Art & Collection Group Publishing Ltd., Taipei, 2006
朱珮儀、謝東山,台灣寫實主義美術1895–2005,典藏藝術家庭股份有限公司,台北,2006
Li Chin-hsien, Taiwan Art, Hsiung Shih Art books Co. Ltd., Taipei, 2007
李欽賢,台灣美術之旅,雄獅圖書股份有限公司,台北,2007
Liu I-chang, et al., A History of Fine Arts in Taiwan, Artist Publishing Co., Taipei, 2009
劉益昌等,台灣美術史綱,藝術家出版社,台北,2009
Shaih Li-fa, Exploring the Historical Insight of Taiwan Art, Taipei Fine Arts Museum, Taipei, 1997.
謝里法,探索台灣美術的歷史視野,台北市立美術館,台北,1997
Wang Hsiu-hsiung, A Discussion of the Historical Development of Taiwan's Art, National Museum of History, Taipei, 1995
王秀雄,台灣美術發展史論,國立歷史博物館,台北,1995

Japanese Occupation Era (1895–1945) 日據時期 (1895–1945)

Shaih Li-fa, Jihchu shihtai Taiwan meishu yuntung shih (History of Taiwanese Art Movement During Japanese Occupation), Artist Publishing Co., Taipei, 1992
謝里法,日據時代臺灣美術運動史,藝術家出版社,台北,1992
Yan Chuan-ying, Taiwan chintai meishu tashih nienpiao (A Chronology of Important Art Events in Taiwan: 1895–1945), Hsiung Shih Art books Co. Ltd., Taipei, 1998
顏娟英,台灣近代美術大事年表,雄獅圖書股份有限公司,台北,1998

Post-war and Cold War Eras (1950s–early 1980s) 戰後冷戰時期(1950年代至1980年代早期)

Chen Ying-ying, The Transitional Eighties: Taiwan's Art Breaks New Ground, Taipei Fine Arts Museum, Taipei, 2004
陳盈瑛撰文,開新:八○年代台灣美術發展,台北市立美術館,台北,2004
Hsiao Chiung-jui, Wuyueh yu tungfang: chungkuo meishu hsientaihua yuntung tsai chanhou Taiwan chih fachan (1945–1970) (The Fifth Moon and Eastern Painting Groups: Development of Chinese Fine Arts Modernism Movement in Post-war Taiwan (1945–1970), Tungta Publisher, Taipei, 1991
蕭瓊瑞,五月與東方:中國美術現代化運動在戰後台灣之發展(1945-1970),東大圖書公司,台北,1991
Huang Tsai-Ling, From the Ground Up: Artist Associations in 1950s Taiwan, Taipei Fine Arts Museum, Taipei, 2003
黃才郎撰文,長流: 五○年代台灣美術發展,台北市立美術館,台北,2003
Lai Ying-ying, Taiwanese Avant-Garde: Complex Art in the 1960s, Yuan-Liou Publishing Co., Ltd., Taipei, 2003
賴瑛瑛,台灣前衛:六○年代複合藝術,遠流出版事業股份有限公司,台北,2003
Liao Tsun-ling, et al., The Experimental Sixties: Avant-Garde Art in Taiwan, Taipei Fine Arts Museum, Taipei, 2003
廖春鈴等撰文,前衛:六○年代台灣美術發展,台北市立美術館,台北,2003
Lin Hsing-yueh, et al., A Retrospection on Taiwan Modern Art Environment from 1945 to 1995, Taipei Fine Arts Museum, Taipei, 1995
林惺嶽等,一九四五-一九九五:台灣現代美術生態,台北市立美術館,台北,1995
Yu, Sharleen, Liu Yung-jen, Reflections of the Seventies: Taiwan Explores Its Own Reality, Taipei Fine Arts Museum, Taipei, 2004
余思穎、劉永仁撰文,反思:七○年代台灣美術發展,台北市立美術館,台北,2004

Post Martial Law / Postmodern / New Century Eras (late 1980s–2000s) 後解嚴/後現代/新世紀時期(1980年代晚期至2000年代)

Chang Fang-wei, ed., The Multiform Nineties: Taiwan's Art Branches Out, Taipei Fine Arts Museum, Taipei, 2005
張芳薇編,立異:九○年代台灣美術發展,臺北市立美術館,台北,2005
Hsieh Tung-shan, ed., Contemporary Art in Taiwan: 1980–2000, Artist Publishing Co., Taipei, 2002
謝東山編,台灣當代藝術:1980–2000,藝術家出版社,台北,2002
Jose, Nicholas, Yang Wen-i, eds., Art Taiwan: The Contemporary Art of Taiwan, G+B Arts International Ltd., Amsterdam, Museum of Contemporary Art, Sydney, 1995
Lin Hsiao-yu, Howard Chen, Post-adolescence, National Taiwan Museum of Fine Arts, Taichung, 2010
林曉瑜、陳浚豪撰文,後青春,國立台灣美術館,台中,2010
Lu Peng, Zhu Zhu, Kao Chien-hui, eds., Reshaping History: Chinart from 2000 to 2009—A Spectacle of the Ordinary, Sichuan Meishu Chubanshe, Chengdu, 2010
呂澎、朱朱、高千惠編,改造歷史:2000–2009年的中國新藝術-平凡的奇觀,四川美術出版社,成都,2010

Art Criticism 藝術評論

Anthology 文集

Chiu Lin-ting, et al., Taiwan meishu pinglun chuanchi (Taiwan Art Criticism Series), Artist Publishing Co., Taipei, 1999
邱琳婷等,臺灣美術評論全集,藝術家出版社,台北,1999
Kuo, Jason, ed., Visual Culture in Taiwan, 1975–1995, Artist Publishing Co., Taipei, 1995
郭繼生編,台灣視覺文化:藝術家二十年文集,藝術家出版社,台北,1995
Lai Hsiang-ling, ed., Art Criticism Documents Taiwan: 1990–1996—DEOA Art Criticism Award, 1997, Dimension Endowment of Art, Taipei, 1997
賴香伶編,台灣藝評檔案1990–1996-第二屆藝術評論獎,帝門藝術教育基金會,台北,1997
Lai Hsiang-ling, ed., Art Criticism in Taiwan, 1997–1998, Dimension Endowment of Art, Taipei, 1999
賴香伶編,台灣藝評研究 1997–1998,帝門藝術教育基金會,台北,1999
Lai Hsiang-ling, ed., DEOA Art Criticism Award, 1995, Dimension Endowment of Art, Taipei, 1996
賴香伶編,第一屆藝術評論獎,帝門藝術教育基金會,台北,1996
Wang Teh-yu David, Dialogue between Modernism and Cultural Heritage in Taiwanese Art, Taipei Fine Arts Museum, Taipei, 2004
王德育,台灣藝術現代風格與文化傳承的對話,台北市立美術館,台北,2004

Discourse on Historical Circumstances 歷史情境論述

Li Chun-hsien, Southern Viewpoints on Taiwan Art, Taipei Fine Arts Museum, Taipei, 1996
李俊賢,台灣美術的南方觀點,台北市立美術館,台北,1996
Liao Hsien-tien, Taiwan meishu ssulun: manhuang/wenming?tzujan/wenhua? jentung/chai? chuntsui/ huntsa (Four Theses of Taiwanese Art: Barbarianism/ Civilisation? Nature/ Culture? Recognition/ Difference? Pureness/ Hybridity), Art & Collection Group Publishing Ltd., Taipei, 2008
廖新田,臺灣美術四論:蠻荒/文明 ‧ 自然/文化 ‧ 認同/差異 ‧ 純粹/混雜,典藏藝術家庭股份有限公司,台北,2008
Liao Hsin-tien, Ishu te changli: Taiwan meishu yu wenhua chengchihhsueh (Tension in Art: Art and Cultural Politics in Taiwan), Art & Collection Group Publishing Ltd., Taipei, 2010
廖新田,藝術的張力:臺灣美術與文化政治學,典藏藝術家庭股份有限公司,台北,2010
Lin Hsing-yueh, To Tide over a Chopping Environment of Art in Taiwan, Artist Publishing Co., Taipei, 1997
林惺嶽,渡越驚濤駭浪的台灣美術,藝術家出版社,台北,1997
Ni Tsai-chin, A Cultural Perspective on Taiwan Art, Artist Publishing Co., Taipei, 2007
倪再沁,台灣美術的人文觀察,藝術家出版社,台北,2007

Cross-regional Cultural Dialogue 跨地域文化對話

Kao Chien-hui, After Origin: Topic on Contemporary Chinese Art in New Age, Artist Publishing Co., Taipei, 2004
高千惠,藝種不原始﹕當代華人藝術跨領域閱讀,藝術家出版社,台北,2004
Kao Chien-hui, Between the Boundaries: A Journey to Contemporary Art, Artist Publishing Co., Taipei, 2001
高千惠,在藝術界河上:當代藝術思路之旅,藝術家出版社,台北,2001
Kao Chien-hui, Fine Art—Unrefined: The Visual Culture in 90’s, Artist Publishing Co., Taipei, 1998
高千惠,當代文化藝術澀相,藝術家出版社,台北,1998

Artist Reviews 藝術家評介

Chen Hsiang-chun, Translating Dialogue: Journeys between Art and Social Contexts, Art & Collection Group Publishing Ltd., Taipei, 2004
陳香君,藝術檔案/社會閱讀:藝術與社會的深層對話,典藏藝術家庭股份有限公司,台北,2004
Chen Shu-ling, ed., Artist Navigators: Selected Writings on Contemporary Taiwanese Artists, Taipei Fine Arts Museum, Taipei, 2007
陳淑鈴編,旗艦巡航-台灣當代藝術選粹,台北市立美術館,台北,2007
Cheung, Alan, Taiwan chungshengtai ishuchia (Mesozoic Artists in Taiwan), Crown Publishing Co., Taipei, 2001
張心龍,台灣中生代藝術家,皇冠文化出版有限公司,台北,2001
Cheng Hui-mei, Wanchenti: 13 wei Taiwan ishuchia te chuangtso yu shengming (Real Play: Creation and Lives of 13 Taiwanese Artists), Art & Collection Group Publishing Ltd., Taipei, 2007
鄭惠美,玩真的:13位台灣藝術家的創作與生命,典藏藝術家庭股份有限公司,台北,2007
Hsu Yun-kang, In the Name of Art, Goodness Publishing House, Taipei, 2009
徐蘊康,以藝術之名-從現代到當代探索台灣視覺藝術,博雅書屋,台北,2009
Li Hsien-wen, Taiwan meishu chung te wushih tso shanyueh (Fifty Mountains in Taiwanese Art), Hsiung Shih Art books Co. Ltd., Taipei, 2005
李賢文編,台灣美術中的五十座山岳,雄獅圖書股份有限公司,台北,2005
Li Wei-ching, Portraits of Young Artists, Artist Publishing Co., Taipei, 2002
李維菁,程式不當藝世代18,藝術家出版社,台北,2002
Lu Yi-an, Wang Hsiang-he, Look!, Taishin Bank Foundation for Arts and Culture, Taipei, 2006
盧怡安、王相和,,誰在搞藝術:第三屆台新藝術獎創作者群像,台新銀行文化藝術基金會,台北,2006。

Survey Exhibitions 綜合展覽

Chang Fang-wei, ed., Contemporary Taiwanese Art in the Era of Contention, Taipei Fine Arts Museum, Taipei, 2004
張芳薇編,正言世代:台灣當代視覺文化,台北市立美術館,台北,2004
Hsiao Chiung-jui, et al., 1996 Taipei Biennial: The Quest For Identity, Taipei Fine Arts Museum, Taipei, 1996
蕭瓊瑞等撰文,1996台北雙年展:台灣藝術主體性,台北市立美術館,台北,1996
Hsiao Chiung-jui, Reflection and Reconsideration: 2–28 Commemorative Exhibition, Taipei Fine Arts Museum, Taipei, 1998
蕭瓊瑞撰文, 凝視與形塑:後二二八世代的歷史觀察, 台北市立美術館,台北,1998
Lu, Victoria, et al., Visions of Pluralism: Contemporary Art in Taiwan, 1988–1999, Mountain Art Culture and Education Foundation, Kaohsiung, 1999
陸蓉之等撰文,複數元的視野:台灣當代美術1988–1999,山藝術文教基金會,高雄,1999
Wang Chia-chi Jason, Variations of Geometric Abstraction in Taiwan's Contemporary Art, The Eslite Corporation, Taipei, 2010
王嘉驥撰文,台灣當代幾何抽象藝術的變奏,誠品股份有限公司,台北,2010

Biennials and Other International Exhibitions 雙年展與其他國際展覽

Chang Fang-wei, et al., eds., 1998 Taipei Biennial: Site of Desire, Taipei Fine Arts Museum, Taipei, 1998
張芳薇等編,1998台北雙年展:欲望場域,台北市立美術館,台北,1998
Chang Fang-wei, Liao Tsun-ling, eds., Taipei Biennial 2010 (English Guidebook), Taipei Fine Arts Museum, Taipei, 2010
Chen, Celine, Taiwan Pavilion at the Venice Biennale: A Retrospective 1995–2007, Taipei Fine Arts Museum, Taipei, 2010
陳淑鈴編,威尼斯雙年展:台灣館回顧1995–2007,台北市立美術館,台北,2010
Cheung, Amy, et al., eds., The Heard & the Unheard: Soundscape Taiwan, Taipei Fine Arts Museum, Taipei, 2011
Hsu, Manray, Sharleen Yu, eds., 2008 Taipei Biennial (Guide Book), Taipei Fine Arts Museum, Taipei, 2008
徐文瑞、余思穎編,2008 台北雙年展(導覽),台北市立美術館,台北,2008
Sans, Jérôme, et al., 2000 Taipei Biennial: The Sky is the Limit, Taipei Fine Arts Museum, Taipei, 2000
傑宏尚斯等撰文,台北雙年展:無法無天,台北市立美術館,台北,2000
Tsai Chao-yi, ed., 2007 Asian Art Biennial—Have You Eaten Yet?, National Taiwan Museum of Fine Arts, Taichung, 2007
蔡昭儀編,2007亞洲藝術雙年展:食飽未?, 國立台灣美術館,台中,2007
Tsai Chao-yi, ed., 2009 Asian Art Biennial: Viewpoints & Viewing Points, National Taiwan Museum of Fine Arts, Taichung, 2009
蔡昭儀編,2009亞洲藝術雙年展:觀點與「觀」點 , 國立台灣美術館,台中,2009
Tseng Mei-chen, ed., The Great Journey: In Pursuit of the Ancestral Realm, Kaohsiung Museum of Fine Arts, Kaohsiung, 2010
曾媚珍編,蒲伏靈境:山海子民的追尋之路,高雄市立美術館,高雄,2010
Vanderlinden, Barbara, Cheng Huei-hua Amy, eds., 2004 Taipei Biennial: Do You Believe in Reality?, Taipei Fine Arts Museum, Taipei, 2004
范黛琳、鄭慧華編,2004台北雙年展:在乎現實嗎? ,台北市立美術館,台北,2004
Wang Chia-chi Jason, Home: Taiwan Biennial 2008, National Taiwan Museum of Fine Arts, Taichung, 2008
王嘉驥撰文,家:2008台灣美術雙年展,國立台灣美術館,台中,2008
Yu, Sharleen, ed., 2002 Taipei Biennial: Great Theatre of the World, Taipei Fine Arts Museum, Taipei, 2002
余思穎編,2002台北雙年展:世界劇場,台北市立美術館,台北,2002
Yu, Sharleen, Freya Chou, eds., 2006 Taipei Biennial: Dirty Yoga, Taipei Fine Arts Museum, Taipei, 2006
余思穎、周安曼編,2006 台北雙年展:[限制級]瑜珈,台北市立美術館,台北,2006

Specialised Subjects and Media 特別主題與媒介

Women Artists 女性藝術

Chang Cheng-lin Nicholas, FU New Generation—Female Artists in Taiwan, Daxiang Art Space, Taichung, 2008
張正霖撰文,感覺‧新世代女性創作者,大象藝術空間館,台中,2008
Lai Ming-zhu, Liuchuan te fuhao nuhsing: chanchien Taiwan nuhsing tuhsiang ishu (The Drifting Female Symbol: Woman Image in Pre-war Taiwanese Art), Artist Publishing Co., Taipei, 2009
賴明珠,流轉的符號女性:戰前台灣女性圖像藝術,藝術家出版社,台北,2009
Lu, Victoria, History of (Contemporary) Taiwan Women Artists, Artist Publishing Co., Taipei, 2002
陸蓉之,台灣(當代)女性藝術史1945–2002,藝術家出版社,台北,2002
Shih Shu-ping, ed., Duel Regard: The Views from Taiwanese Women's Arts, National Taiwan Museum of Fine Arts, Taichung, 2009
施淑萍編,雙凝:台灣女性藝術的鏡觀視角,國立台灣美術館,台中,2009

Indigenous Art 原住民藝術

Lu Meifen, Before Dawn: The Development of Contemporary Indigenous Art in Taiwan, Artist Publishing Co., Taipei, 2007
盧梅芬,天還未亮:台灣當代原住民藝術發展,藝術家出版社,台北,2007

Ink Art 水墨藝術

Chen Shu-ling, ed., The Origins of Toyoga in Taiwan, Taipei Fine Arts Museum, Taipei, 2000
陳淑鈴編,台灣東洋畫探源,台北市立美術館,台北,2000
Li Ssu-hsien, A Theoretical System for Chinese Contemporary Calligraphic Art in Taiwan, Art & Collection Group Publishing Ltd., Taipei, 2010
李思賢,當代書藝理論體系:台灣現代書法跨領域評析,典藏藝術家庭股份有限公司,台北,2010
Liu Yung-jen, ed., Open Flexibility: Innovative Contemporary Ink Art, Taipei Fine Arts Museum, Taipei, 2009
劉永仁編,開顯與時變:創新水墨藝術展,臺北市立美術館,台北,2009
Shih Jui-jen, ed., X Beyond O: Calligraphy-Sign-Space, Museum of Contemporary Art, Taipei, 2009
石瑞仁編,無中生有—書法 | 符號 | 空間,台北當代藝術館,台北,2009

Performance Art 行為藝術

Yao Jui-chung, Performance Art in Taiwan 1978–2004, Yuan-Liou Publishing Co. Ltd., Taipei, 2005
姚瑞中,台灣行為藝術檔案1978–2004,遠流出版事業股份有限公司,台北,2005

Installation Art 裝置藝術

Yao Jui-chung, Installation Art in Taiwan since 1991–2001, Ecus Publishing House, Taipei, 2004
姚瑞中,臺灣裝置藝術,木馬文化事業有限公司,台北,2004

Photography and Video 攝影與錄像

Hu Chao-sheng Sean, Chen Yung-hsien, Dwelling Place: Taiwan International Video Art Exhibition 2008, Chew's Culture Foundation, Taipei, 2008
胡朝聖、陳永賢撰文,居無定所?:台灣國際錄像藝術展2008,財團法人邱再興文教基金會,台北,2008
Shih Shu-ping, Beyond 20 Degree Celsius: Exhibition of ‘Room-temperature Luminescence’ from Taiwanese Contemporary Imaging Art, National Taiwan Museum of Fine Arts, Taichung, 2009
施淑萍撰文,非20度C:台灣當代藝術的「常溫」影像,國立台灣美術館,台中,2009

Selected Periodicals 特選期刊

ACT, Tainan National University of the Arts, Tainan, 2010–present
藝術觀點,國立臺南藝術大學,台南,2010年至今
Artist Magazine, Artist Publishing Co., Taipei, 1975–present
藝術家,藝術家出版社,台北,1975年至今
Artco, Art & Collection Group Publishing Ltd., Taipei, 1992–present
今藝術,典藏藝術家庭股份有限公司,台北,1992年至今
Hsiung Shih Art Monthly, Taipei, 1972–1996
雄獅美術,雄獅美術月刊社,台北,1972–1996
Yishu: Journal of Contemporary Chinese Art, Art & Collection Group, Taipei, 2002–present