Fine Art Exhibition of Taiwan Art Society
Venturing out to follow history’s footsteps, early Taiwanese fine art developed simply by inheriting painting styles in the same vein as traditional Chinese scholars. The Treaty of Maguan consequentially allowed Japanese control of Taiwan, by chance this introduced Japanese culture into Taiwan and with it came Western painting styles which were being studied at the time, thus guided Taiwan’s fine art development onto a nascent globalization stage. Nevertheless, fifty years of Japanese colonial rule also created a cultural rift that made it difficult for Taiwanese fine art to inherit the past and usher in the future. With tradition and the modern both casted adrift, one part reveled in ancient China while another part ebbed and flowed with the brimming Western tide. After the retrocession of Taiwan, people greeted the new age with excitement and enthusiasm, yet any change seemed sluggish in an agrarian class structure where all new trends had to be screened by the government and authorities guided participation modes. Art seemed trapped in a formless prison unable to break free. Artists during this period mostly choose the rural environment they grew up in as a theme and spiritual guide to rediscover a facet of Taiwan society that was rustic, genial and romantic. During the late 1950’s to the 1970’s, United States aid allowed mass infusion of American culture into Taiwan that then catalyzed into a sweeping wave of modern painting. After this period, the political situation was abruptly turned around, and Taiwan faced a succession of grave diplomatic setbacks. This whipped up a powerful sense of crisis along with self-awareness in Taiwan’s society and artistic circles, as artists started to contemplate, what was the path of Taiwan’s fate? Thus the situation sparked a series of native identity movements of Folk Realism and vernacular amateur art which become the mainstream. Succeeding political relief in the 1980’s, Taiwanese fine art entered the most eye-popping, avant-garde phase as art museums were being established and many young artists returned from Europe and America, which brought back contemporary art concepts and the foremost creative styles. In addition, freedom of information spurred even more liberal and abundant methods to create art. Development from the 1990’s to the present, showcased unprecedented vitality and perspective as Taiwanese fine art gradually kept pace with the world. Following post-modernism’s introduction and new technological development, a march toward global integration of technology and humanities created cross-media, cross-discipline new art forms. Another aspect stems from improving cross-strait relations that produce frequent events of artistic exchange. This definitely opens up engagement between artists, increase aesthetic dialog and promotes a lively art market. In spite of this, many artists currently in Taiwan are lost because multiple uncertain human factors still exist in government policy, economic development, educational planning and public opinion. It appears being cast adrift once more.
The Taiwan Art Society from its inception has as its mission and vision the goals listed below:
1.Build a cross-discipline platform for artistic creative development.
2.Network artists, critics, collectors and exhibitors (galleries).
3.Honor senior artists, while supporting the current generation artists and guiding junior artists.
4.Promote contemporary aesthetic discourse, forum and research.
5.Preserve and pass down the skilled crafts of the classical masters.
6.Continue to host international and cross-strait exchanges.
7.Emphasis on monitoring and advising government cultural policy.
8.Develop for perpetuity, artist empathy with minorities and
9.Open up the Taiwanese fine art industry for shared resources, healthy competition and cooperation in an ideal atmosphere.
10.Set in motion the mechanisms for artists, artistic groups, academia,
government departments and private industry to cooperate and
Dear friends! The formation of the Taiwan Art Society is so that everyone can have confidence and not be discouraged !
Chairman of Taiwan Art Society , Lin, Chung Ming