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Skill: The Making of Modern Civilization

為了解決Museum of Modern Art的問題，作者Greenhalgh, Paul 這樣論述：

Paul Greenhalgh is internationally renowned as an historian of art, design and the decorative arts. He is currently director of the Sainsbury Centre for the Visual Arts, one of the UK’s principal institutions for the study and display of art. Prior to this he held a number of senior roles in several

different countries, including head of research at the V&A Museum, director and president of the Corcoran Gallery of Art and College of Art and Design (USA), and President of NSCAD University (Canada). He has lectured and taught in leading organisations all over the world. Since returning to the UK

in 2010, he has been invited by major institutions and the UK government to fill a number of national roles, including chair of the Research Excellence Framework (REF) for Art and Design and Art History, and chair of the Arts Advisory Committee of the University of Edinburgh. He is a senior honorar

y research fellow at the V&A Museum.

Museum of Modern Art進入發燒排行的影片

偶發到實現 ─ 林劍青創作論述

為了解決Museum of Modern Art的問題，作者林劍青 這樣論述：

        筆者從小時候看著父親作畫，一直到自己成長迄今，回歸對藝術的探討，感受內心對藝術的悸動。藝術的路途是一種艱辛磨練，一種自我挑戰，是一種自我肯定的過程。對於筆者而言它是生命裡的一部分，是回憶的一部分，是未來希望的一部分。         個人的藝術創作形式是經由「偶發」到「實現」。「偶發」裡面包含著「即興─不可預見性」與「異想」。這可能讓創作者意識到當代任何的藝術創作是不能被事先決定的，也就是說藝術創作是不可預見的，純粹的藝術是即興的發揮，其淵源於內心的生機，也就是「內在生命」與「內在驅力」。藝術創作是絕對的自由，筆者嘗試著通過各種的形式與色彩來作為內心異想的表達，靠著不同的藝術

形式與媒材來實現創作出具有自我精神價值的作品。         本論文第一章、緒論，包含：創作研究之背景與動機、創作研究之目的、創作研究範圍與限制；第二章、創作學理基礎與文獻討論，包含：超現實主義、抽象表現主義、啟迪與相關藝術家；第三章、創作理念，包含：創作的意義、自我解構、潛意識的回歸、意識與潛意識的作用；第四章、創作媒材使用、技法表現研究，包含：平面繪畫、版畫、其他創作媒材使用；第五章、作品解析，包含：樹與根系列、墨與痕系列、絹版的另類思維、異想構成系列。第六章、結論。         筆者透過藝術創作，發覺內心情感，探索自我，以這篇創作論述為自己在美術系研究所的啟迪與發展成果做一段總結。

A Considerable Achievement: The Tactical Development of the 56th (London) Division on the Western Front, 1916-1918

為了解決Museum of Modern Art的問題，作者Brosnan, Matt 這樣論述：

Nearly a century on, the operational performance of the British Expeditionary Force (BEF) on the Western Front during the First World War is still a hotly debated subject. The dominant perception is one of a conflict characterized by mud, trenches and futility, presided over by incompetent comman

ders. But over the last thirty years a different view has emerged and gained increasing prominence. Many historians have argued that the BEF deserves more credit for the wartime learning curve it underwent in evolving from a small professional force into a mass citizen army, which helped it to end t

he war victorious. The BEF has become the subject of even more detailed research, as historians have sought to investigate all aspects of its operational practice. This book enters into this debate by taking a detailed look at a single infantry division, one of the BEF's vital constituent parts. It

focuses on the 56th (London) Division, a first-line Territorial division that served continuously on the Western Front between February 1916 and November 1918. By focusing on and comparing three key battles in the Division's service - the Battle of Gommecourt on 1 July 1916, the Battle of Arras on 9

April 1917 and the Battle of Albert on 23 August 1918 - this study provides detailed insight into 56th Division's tactical development. It suggests that by the last year of the war, 56th Division had developed sophisticated offensive tactics born out of years of hard-fought experience. This study u

tilizes a range of archival sources, including the official documents of war diaries, operational orders and battle reports. But it also references the private papers of the officers and men who served in 56th Division, gaining the insight of individuals who witnessed and took part in these events a

t first hand. The voices that emerge from these sources are a testament to the dedication of many of the men who served with the Division and who helped it to develop increasingly effective fighting methods, as was also the case with the BEF as a whole. The 56th (London) Division therefore deserves

to be remembered for its contribution to a painful, but ultimately victorious war effort. Matt Brosnan was educated at the University of Birmingham, where he studied History and English at undergraduate level and then Twentieth Century British History at postgraduate level. His postgraduate research

was on the tactical development of 56th Division on the Western Front, which has been extended to form the present study. Since 2006 he has worked at the Imperial War Museum in London, initially as a Curator in the Department of Art, which holds the largest collection of modern British art outside

the Tate. He curated displays on the Hall of Remembrance art scheme of the First World War and Neo-Romantic art of the Second World War period. He currently works as a Historian in the Research and Information Department, where he is researching forthcoming exhibitions on Frontline Medicine and also

for the centenary of the First World War. A Considerable Achievement is his first publication. He was born and lives in north London.

駐足．意識空間—林宗德創作研究論述

為了解決Museum of Modern Art的問題，作者林宗德 這樣論述：

藝術創作是創作者對於生命過程的每一事件和精神表現的意識歷程。尋求時間流動中的短暫停留，探討客觀的生活體察及主觀的情境結合，透過形式、意象去呈現其時代意涵。因此，創作理念定位在「駐足，意識空間」。 身、心、靈本為一體，外在的人為汙染，導致三元素的不平衡，希望藉由觀察、分析其嚴重性，期盼引起社會大眾的注意與省思，而有了創作動機。主要創作媒材是宣紙、設色與水膠，藉由剖析筆者內心的感受，聯結哲學思想，並回顧東方現代水墨觀點與西方新視覺模式，進行東西方思想的反思與沉澱，最後透過西方科學分析的思維，加諸感知「時間」與「空間」之不同思維，讓作者對「意識」的認知，能夠建立全觀性的思維模式與創作的作品進行聯結

，建構個人獨特的繪畫風格。繪畫創作嘗試以「意識空間不斷推移」的感知為主軸，反思個人繪畫創作中對生態環境、社會文化的變遷和心靈層面省思，透過學理基礎和觀看的方式，進行當代水墨的表現。藉由1、漂流木系列，2、空氣汙染系列，3、意象系列等三系列，關照環境、守護大地是人文情懷的顯現，也是凸顯生物中心主義的最大的價值。「意識」能參照過去，也能展望未來，讓心靈得到最大的自由。有感於當代藝術的多元型態，受近代物理科學的影響，本文嘗試深度咀嚼與省思東方哲學與繪畫技法後，重拾起東方視角看待西方文明，經過深度轉譯後，重新再造出屬於東方、屬於全球在地化、屬於臺灣的全新繪畫風格，為筆者的期盼與展望。