性別有藝思 by jo chen

這是NSC 97-2629-H-003-001國科會「『性別』重整播種計畫：

謝誌 Thanks

「自我」及他者的性別省思」研究計畫之成果，感謝行政院國家科學委員會之專案補助。

02 謝誌 04 作品 04 陳瓊花 16 喬安娜 26 朝日美智代 36 陳又慈 46 黃祺惠 56 楊婷如 66 附錄 66 課程簡介 71 藝術與性別課程研究內涵

目錄 Index 02 Thanks 04 Art Work 04 Jo Chiung-Hua Chen 16 Joanna Rees 26 Michiyo Asahi 36 Yu-Tsu Chen 46 Chi-Huei Huang 56 Ting-Ru Yang 66 Appendix 66 Syllabus 71 The Content of “Art and Gender Studies”

Jo Chiung-Hua Chen

陳瓊花

教授簡歷

Jo Chiung-Hua Chen t81005@ntnu.edu.tw 現職：國立臺灣師範大學美術系教授兼副校長 Vice President of National Taiwan Normal University, Taipei, Taiwan. 學歷：美國伊利諾大學藝術教育博士 Ed.D in Art Education, University of Illinois at Champaign-Urbana, USA. 行政經歷：國立臺灣師範大學代理副校長、進修推廣學院院長、藝術學院院長、表演藝術研究所與國際事務與全球戰略研究所籌備處主任、學術發展處學術研究推動組組長。 Aderministrative experience: Acting Vice President of National Taiwan Normal University, (NTNU). NTNU administrative experience: Dean of College of Fine and Applied Arts, Dean of Extention School of Contuniting Education, Director of Preparatory Office of Performing Arts Graduate Institute, Director of Preparatory Office of International Affairs and Global Strategy Graduate Institute, Director of Division of Academic Research Promotion and Coordination. 專業經歷：主持臺灣首部「藝術教育政策白皮書之編撰」計畫(2005)、首次「藝術與人文學習成效之研究」計畫(2006)、高中美術科98課程綱要小組召集人、藝術教育研究期刊(TSCI)編輯委員會副召集人、編輯委員、第二及五期主編、香港教育學院及中文大學校外課程評鑑委員、香港亞太藝術教育學報（Asia-Pacific Journal for Arts Education）、美國視覺藝術研究（Visual arts Research）及藝術實徵（Empirical Studies of the Arts）研究期刊國際顧問諮詢委員及審查委員、教育部藝術教育委員會委員。 Professional experience: Chair of the Project of the First Art Education White Book of Taiwan; Chair of the First Project for Assessing Student Learning in Arts and Humanities; Chair of the 98 National Senior High School Curriculum Outline Committee; External Examiner of The Hong Kong Institute of Education and The Chinese University of Hong Kong; Editoral Board of The Journal of Research in Arts Education (Taiwan, TSSCI); International Editorial Board of Asia-Pacific Journal Arts Education (Hong Kong)/Visual Arts Research (University of Illinois at Champaign-Urbana, USA) / Empirical Studies of the Arts- Journal of the International Association of Empirical Aesthetics; Member of Arts Education Committee, Ministry of Education of R.O.C..

有關性別議題的思考，透過藝術的策略與形式予以表達，是作者近年來創作研究的主題。本件作品試圖運用約定成俗的文化符碼「男左女右」的概念，以及藍色代表男性及紅色代表女性的傳統刻板印象色彩，作為作品的背景，表徵社會的體制；另以載滿文獻脈絡由左到右具方向性與力量的箭頭，象徵「發展」的概念，隱喻著當前在學術研究及教育實務方面性別發展的趨勢，一方面是破除性別的二元思維，其次，則是轉向以女性為主體的主觀性批判。箭頭內的相片文獻是記錄作者已完成的一項課程實驗計畫，其中引領學生自省其自身的性別經驗，然後藉由藝術的媒介傳達其對於性別議題的思考。這些過程、學生及其作品凝聚成如核彈般無比的能量，是一發不可收拾的箭頭，更是鬆動傳統體制的彈頭，促成社會改變不可忽視的行動力。 This work uses Chinese cultural codes like “left side for man, and right side for woman”, “stereotype of gender colors”, and general code of arrow to create the concept of “gender development”. The author manipulates her teaching document records and photos to express the power and importance of teaching gender equality. The form of the artwork is as a process of documentation. The power of the students’ works represents as the bullets trying to destroy the traditional un-equality system. It’s an effective action and hard to ignore.

性別發展 Gender Development 130 x 90 cm 電腦繪圖 Computer Painting 陳瓊花、李俊龍(執行) Jo Chiung-Hua Chen、Chung-Lung Li (executer) 2008

自畫像是由藝術家以素描、彩繪、攝影或雕塑的方式再現其自己。雖然在很早以前便已存在的表現方式，但一直要到西元十五世紀的文藝復興初期才普遍成為藝術家作為表現的主題。許多當代的藝術家及現代主義的藝術家們，使用敘述性的手法凸顯其自身的特質，描繪其自身的故事。有時候這些敘述性的自畫像是類似幻想，角色扮演，虛構的劇情，或是呈現社會的議題。譬如Cindy Sherman 和Andy Warhol的作品。本件作品，以幼兒時期及最近參加學校藝術學院服裝走秀所拍的相片為創作的元素，二者都非平日所常見到的「作者」，藉由藝術的方式表達「成長」概念，同時也是作者對自我的探索，以及對自畫像內涵的擴充。自畫像是再現自己、創造自己、表現自己、行銷自己、自我治療以及自我認同的有效方式。 Self-portrait is a representation of an artist. It is usually drawn, painted, photographed, or sculpted by the artist. Although self-portraits have been made by artists since the earliest times, it is not until the early Renaissance in the mid 1400s that artists can be frequently identified depicting themselves as either the main subject or as important characters in their work. Many contemporary artists and modernists use narrative way to characterize their selves, portrait their life-stories. Sometimes the narratives resemble fantasy, role-playing, fiction, or reveal the complexities of social issues. For example, the works of Cindy Sherman and Andy Warhol. This artwork uses photos to express the concept of “growth”. The photos are from the author’s childhood and the fashion show of 2009 art festival. Both photos in the work do not represent the daily-seen author. By self exploring, the author tries to broaden the content of the self-portrait. According to the author, self-portrait is as self representation, self recreation, self expression, self advertisement, self diagnosing, and self identity.

自畫像系列1：成長 Self-portrait series 1: Growth 84 x 118.8 cm 電腦繪圖 Computer Painting 陳瓊花、吳慧芳(執行) Jo Chiung-Hua Chen、 Hui-Fang Wu (executer) 2009

持續自畫像意義的探索，本作品以護照上使用的規格照及最近參加學校藝術學院服裝走秀所拍的相片為創作的元素，二者在特定脈絡都代表作者不同的身份，並具備特定的意義。倘若規格照代表的是一般的本我身份，是正式、是最近的長相，它所允許可以代表的是近半年時間的「歷史」；而走秀照則是某一時段的真實存在，是已經過去的「歷史」。無論這二幅相片在外觀上有多大的差異，都曾經是代表「陳瓊花」的存在。作者試著並置兩段不同的歷史存在，敘說自我本體的流變與複雜性，再創一段新「歷史」存在的可能性。 Continues exploring the meanings of self-portrait, this work used the photos which took from the passport and arts festival as the elements. Both of the photos all represented the author’s different status in the specific context, and had the specific significance. According to the regulation, the “official passport photo” can only be valid for a half year. It represents a period of time history. At that time, the author has her identity and being exist. As to the photo of art festival, it also represents a real existence of a history. Regardless of these two photos with big differences seemingly, all once was represents the existence of “Jo Chiung-Hua Chen”. The author tries to juxtapose two phases of different historical existences. It narrates the changing and complexity of the “self ” and to create the existence possibility of a “new history”.

自畫像系列2：自我與超我 Self-portrait series 2: Ego and Super-ego 118.8 x 84 cm 電腦繪圖 Computer Painting 陳瓊花、吳慧芳(執行) Jo Chiung-Hua Chen、Hui-Fang Wu (executer) 2009

歷史支撐著傳承，傳承建構著傳統。成長的過程歷經五位總統，其點點滴滴的政治作為都是我們生活的依憑。我的家有兒有女，但是因為某種的因素，必然將由女兒傳承所有的事與物。我國民法也不再以從父姓為原則，如果傳承的主體不因性別而異，那麼，當我們如Linda Nochlin (1971)在詰問：為何偉大的女性藝術家不曾存在過時，我們也難免疑問：為何中華民國沒有女性總統？美國普林斯頓大學校長Shirley M. Tilghman曾言：對女性的低期望造成的危害，將比歧視女性的危害更大(莊清湄，2008)。女性應該隨性對自己，可以有高度的期望，追求傳統上認為男性才適合的工作。在教育的工作場域中，我們更應該排除傳統性別刻板印象的舊思維，有些時候透過實際的行動，是具有象徵的意義，無形中便發揮潛在的教育意義。莊清湄。2008，3，13訪問。普林斯頓大學校長專訪/最大挑戰是預見未來。 2009年5月29日流覽http://big5.ce.cn/xwzx/xwrwzhk/peoplemore/200803/13/t20080313_14822249.shtml Nochlin, Linda (1971). Why Have There Been No Great Women Artists? ARTnews January, 22-39. History frames the transmitting, the transmitting constructs the tradition. From the growing process, we have been through five Presidents governance. The policy builds up our living resources. I have a son and a daughter. For some reasons, my daughter will take over the duties of the family. In Taiwan, father’s surname is no longer a decisive choice for their children. If the main body for inheritance is not rely on gender. Then, when Linda Nochlin asked: Why have there been no great women artists? We will have a similar question: Why there is no female President in R.O.C. history? Dr. Shirley M. Tilghman has indicated that low expectation to woman is harmful than discrimination. Woman should peruse their goals as they wishes. They should be encouraged to have high expectation for themselves. Going for the job that traditional is limited to man. In our working place, we should exclude the traditional stereotype of thoughts. By taking actions, we are giving full scope of important meaning to the public.

自畫像系列3：國家傳承 Self-portrait series 3: Nation/Family Inheritance 118.8 x 84 cm 電腦繪圖 Computer Painting 陳瓊花、吳慧芳(執行) Jo Chiung-Hua Chen、Hui-Fang Wu (executer) 2009

Joanna Rees

喬安娜 Joanna Rees reesjoanna@hotmail.com 現職：花蓮華梵大學大學部講師 Position: Instructor of Huafan University 學歷：國立臺灣師大學美術研究所美術教育組博士班就讀中 Education: PhD in progress Fine Arts, Art Education, National Taiwan Normal University 工作經歷：台北第二屆全球創造力高峰會講員、日本大阪第三十二屆InSEA會議、台北國際英文教師座談會(2008)、華梵大學大學部講師(2007.02~迄今)、出版刊物於台灣2008.06的InSE時事通訊和2009.01生命教育期刊、台灣台北第二屆全球創造力高峰會行政人員(2008)、七年教學經驗、部落格： www.jorees.wordpress.com、攝影作品出版於雜誌專刊中 Work Experience ： Conference speaker at the 2009 National Art Education Association (NAEA) National Convention, Minneapolis USA, 2nd World Creativity Summit Taipei Taiwan, and the 32nd InSEA Congress Osaka Japan；Recipient of a 2009 National Science Council (NSC) research grant；Undergraduate course instructor Huafan University February 2007 to present；Published articles in two 2009 editions of the International Society of Education through Art newsletter and January 2009 edition of the Journal of Life Education Taiwan；Third editor for the 2008 World Creativity Summit Conference Proceedings alongside Ann Kuo, and Michael Day, pending publication in July 2009；International Administrator for the 2nd World Creativity Summit, June 2008, Taipei Taiwan；Seven years teaching experience；Artist Blog www.jorees.wordpress. com；Photographic work published in: Discover Taipei Magazine, The Ottawa Citizen, Concordia University, and Best Western Hotels.

濕布刮刀系列 Wet-Drapery Razor Image Series 這些影像為一系列的作品，是有關濕布及現今除毛行為的身體論述。在西方社會中女人被期待著要刮除身上的毛，以做為男性渴望的對象。西方男性偏好女性擁有光滑的雙腿、腋下及清潔打理過的私處。縱使在東方文化中這是很不常見的，在西方社會中已習以為常。在美體沙龍中提供能去除女人私處毛髮的巴西式比基尼除毛，而藥局也有販售除毛膏及刮刀。然而，我總覺得為了使變得性感誘人，而將自己最私密的部分刮除乾淨，是有點陰鬱的。第一張影像呈現一個女人裹著濕布且刮除自己的腿毛。這女人沒有露出臉，而這件有希臘風格的布匹與浴室的裝置呈現鮮明的對比。第二張影像呈現一個女人的側面輪廓、頭髮及刮刀。她的眼睛是閉闔的，她的頭往後傾，彷彿正在幻想。 These images are intended to be viewed together as a series and should be considered as such. As my artist statement indicates this series concerns the depiction of the body in wet-drapery and the modern action of shaving. In Western society women are expected to shave their skin in order to be desirable to the opposite sex. Western men prefer a woman with freshly shaved legs, armpits, and a groomed vagina. While this may seem shocking in Eastern culture it is a common grooming practice in the West. Beauty salons offer the Brazilian bikini wax to remove all hair from a woman’s private area while drug stores sell shaving cream, razors, and hair removal cream. However, I have always found something edgy and dark in shaving the most intimate parts of your body in order to be sexually desirable. Razor 1: The first image shows a woman wearing wet drapery and shaving her legs. The woman’s face is hidden and the drapery suggests notions of antiquity which contrasts to the bathroom setting. Razor 2: The second image shows a woman’s profile, hair, and razor. The woman’s eyes appear closed and her head is tilted upwards as if she were dreaming.

刮刀1 Razor 1 30 x 40 cm 數位印刷 digital print 喬安娜 Joanna Rees 2009

刮刀2 Razor 2 30 x 40 cm 數位印刷 digital print 喬安娜 Joanna Rees 2009

這張影像中，在私部上方除毛的動作強烈地與希臘式衣著的美感成對比。除毛刀片位置接近她的骨盆，象徵這動作即將展開。即使這女人有裹著一條布，刮刀逼近私處的畫面仍令人感到刺激。這女人用手臂遮住臉，他並且握著刮刀接近腋下。這塊濕布覆蓋著她的軀幹，而往上舉的手臂暗示著渴望及衝突。有些觀者將這個影像中女人上臂舉起的姿勢與維納斯的誕生做比較。 Razor 3: This image boldly contrasts the aesthetic of wet-drapery with the action of shaving the upper thighs or vagina. The razor blade is placed close to the woman’s pelvic area to signify the action which is about to take place. Although the woman is clothed by wet-drapery, the close proximity of the razor to such an intimate area is provocative and thought provoking. Razor 4: Here the woman is covering her face with her arm and holding a razor close to her armpit. Wet-drapery is covering the woman’s torso and her upward arms suggest longing, desire, and conflict. Some viewers of this image have compared the woman’s upward stance and drapery to Venus rising from the sea.

刮刀3 Razor 3 30 x 40 cm 數位印刷 digital print 喬安娜 Joanna Rees 2009

刮刀4 (2009) Razor 4 30 x 40 cm 數位印刷 digital print 喬安娜 Joanna Rees 2009

這個影像的焦點在女人的頭髮，而背景和腋下的刮刀是模糊的。這些簡單的元素使濕的頭髮、刮刀、腋下，以及隱約可見的胸部形成為對比。這影像描繪此女人在浴缸裡正在除腿毛。堅硬的、金屬的刮刀與白晰皮膚和浴缸的水形成對比。最後一張影像描繪腋下的刮刀。和皮膚相較之下，刮刀顯而易見。刮刀的金屬材質、白潔的皮膚，及一小束頭髮在這裡產生了強烈的對比。 Razor 5: The focus is on the woman’s foreground hair in while the blurred background depicts the razor in the armpit. The simple composition contrasts the wet hair, razor, armpit and slight indication of the woman’s breast. Razor 6: This image depicts the woman’s legs in the bath being shaved. The hard, metal, reality of the razor contrast to the white skin of the legs and bath water. Razor 7: This final image depicts the razor up close to the woman’s armpit. Here the razor is very visible against the skin. There is a strong contrast between the razor’s manufactured steel exterior, the soft white skin, and wet wisps of hair.

刮刀5 Razor 5 30 x 40 cm 數位印刷 digital print 喬安娜 Joanna Rees 2009

刮刀6 Razor 6 30 x 40 cm 數位印刷 digital print 喬安娜 Joanna Rees 2009

刮刀7 Razor 7 30 x 40 cm 數位印刷 digital print 喬安娜 Joanna Rees 2009

Michiyo Asahi

朝日美智代 Michiyo Asahi michiyoapple@livemail.tw 現職：國立台灣師範大學美術研究所美術教育組碩士班學生 Position：Master of Fine Arts in Art Education, Graduate Institute of Fine Arts, NTNU 學歷：美國喬治亞大學心理學學士 Education : Bachelor of Science in psychology, University of Georgia, Athens, Georgia 工作經歷：入門級文秘工作者和翻譯，五十鈴汽車Co. Ld，神奈川，日本 Work Ecperience: Entry level clerical worker and Translator, Isuzu Motor Co. Ld, Kanagawa, Japan

在這個後現代社會，許多婦女可能對於「我是誰」與「我是什麼」不那麼容易感覺自在，你的的，尤其是在廣告，電視和雜誌呈現大量不真實的婦女形象。然而，一些人們認為，這些超現實的女性所代表形象才是真正美麗，在廣告這些女孩通常有完美無瑕的面孔，不切實際的長腿，所謂的性感（小或大）屁股，大胸部... 。我們正不斷受到這些“完美”女人的威脅，有些婦女確實試圖跨越邊界加入這一膚淺的文化。但是，我們當中有多少人真的像那些廣告中的女孩？誰決定美的標準？女性可以是有自信和美麗的，不是一定要從外表，而是來自我們內在。因此，做為一個，真正女性的我們，應該決定「美」的標準！我不是在爭論我們不需要化妝或穿的很好看。這些事情也給我們一些信心，也使我們自己感覺舒服。但是，這些不是一種無限的信心，而是這種信心很輕易地消失，有時候是感到不確定的。做你自己，多了解自己的美麗（來自內部和外在的），「自在地知道自己」—是我作品的主題。為開展這項工作，我利用鏡子作為抓獲的目光的指稱物。鏡子抓住人們的目光，我們經常性自覺到人們目光是如何期待我們看起來的樣子...我們應該如何看起來像是個女性。我希望人們知道這件衣服代表這個社會希望我們女性實際上穿著的衣服。我已經結合衣服和一大堆鏡子，做成一件鏡像衣服。服飾（服裝）是不能脫離我們和我們的日常生活，常常表現出一個人的個性。所以，如果你穿的禮服是鏡子做成，顯示反映周圍的環境，包括其他人的眼睛，它應該是非常不舒服，你不是在做自己，這件衣服沒有個性，它只是反映了其他人的目光。另外，任一個人看到了衣服，他/她就會看到他/她自己形象在衣服上的反射... 。請問這件衣服好看嗎？ Feeling comfortable with your identity is not easy in this postmodern society. For many women a tremendous amount female imagery in the mass-media is not real. However, some people believe this hyper realistic image of women is how beauty should be. In the mass-media girls are presented with flawless faces, unrealistically long legs, so-called sexy (small or big) butt, and big boobs. We are constantly threatened by these “flawless” beauties, and some women really try to join this superficial culture. But how many of us really look like those girls in the advertisements? Who decided this standard of beauty? Women can be confident and beautiful if from within. So we, real women, should decide this standard of beauty! I am not arguing that we don’t need to makeup or to dress nicely. These things provide some confidence and make us feel good about ourselves. But they do not provide the kind of confidence that is infinite; instead it easily fades away and is sometimes so uncertain. Be yourself, know more about your own beauty, (both inner and outer), be comfortable with who you are: these statements are the main themes for my art projects. For this work, I have utilized the mirror as signifier for the captured gaze. Mirrors grabs people’s gaze, and we are constantly aware of how we are supposed to look and how we should be in comparison to other women. I want people to know this dress represents that what we are wearing is actually what the society expect us to be. I’ve combined a dress and bunch of mirrors together to make a mirror dress. Dress or clothing is something that cannot be separated from us and often reveals a person’s personality. So if the dress you wear is made of mirrors, it reflects your surroundings including other people’s eyes. This can be very uncomfortable as you are not being yourself, and there is no personality to it, just the reflection of another’s gaze. Also, whoever sees the dress, he/she will see his/her own reflection on the dress. Does this dress look pretty to you?

身體掙扎 Body Struggle 110 x 40 cm 銀色聚酯織品、壓克力鏡子 silver polyester fabric, acryl mirrors 朝日美智代 Michiyo Asahi 2009

女性一直被視為是可以被凝視的物化物體。到處都是被男性明確地與創造出來之女性圖像，用以滿足男性所期望女人的外觀或行為。事實上，不僅僅是女性，男性也被經常性的凝視，期待男性應該生理與心理都應該要強壯，同時男性要有上社會上特定的外表。內化的父權式觀點不斷地出現，且強加在男性與女性身上。不管男人和女人都需要擺脫這種長期持續的內部運作，但應該如何做呢？如果我從崇高的理想來看，但是，真相是我們被媒體所顯示地美麗與讚嘆所操弄，哪些的外表讓妳看起來被喜歡與性感…等等，從電視廣告，雜誌，甚至報紙與看板。第二件作品關切的是社會中普遍存在加諸在兩性上刻板印象的凝視。我用兩個破損的監視器當成凝視的隱喻，加諸在兩性刻板印象上性別的觀點，就像監視器是一種可以時時刻刻都監視我們的行動。在監視器的表面，我黏貼從雜誌上的剪下來的無處不在之男性與女性性感圖像。從破碎的監視器內部，紅色充填物跑出來，象徵著醜陋與痛苦連結著性與偏見。我們一直要流血到何時? Females have always been treated as objects to be gazed at. Images of females in our mass-media are explicitly sexual and created by males to satisfy their expectations of women’s appearance and behavior. In fact, not only women, but also men have been subjects of constant societal gaze. The expectation exists that men should be physically and mentally strong as well as that men should have certain physical looks in our society. These values are constantly been produced to reinforce the patriarchal view on both sexes. Both men and women need to be freed from this long-term on-going social spell. But how? If I say lofty ideals, both women and men also need to acknowledge the essential aspects of sex. But, the reality is that a lot of us have been fooled by the mass-media projection of beauty and appearance. My second work of art concerns the stereotypical gaze that is imposed on both genders in our society. I utilized two broken surveillance cameras as metaphors for imposing stereotypical sexual gazes on both genders since surveillance cameras are watching our every movement. On the surface of the cameras I glued magazine pictures depicting ‘sexy’ images of women and men in our society. From the broken internal part of the cameras, red stuffed objects come out to signify ugliness and pain associated with our sexual identity.

流血的認同 Bleeding Identity 40 x 40 cm 監視器、雜誌碎片、棉布 surveillance cameras, magazine clippings, absorbent cotton 朝日美智代 Michiyo Asahi 2009

歷史上婦女的價值觀念和圖像已被人類創造的。女性一直被視為無助、軟弱、和無發言權。父系社會低估女性的價值、女性的力量、女性可以做的事情、與女性可成就任何偉大。然而，進入20世紀，婦女的地位一直提升，越來越多的婦女積極參與，成為建設社會重要的一份子。經由精神和身體兩方面的獨立，他們有更多的選擇。婚姻變得不是所有女性最終目標，只是一個過程。生孩子不應該是社會上所有婦女的義務，事實上，在這個對母親不友善的環境撫養孩子是不容易的事情。不管我們選擇成為，大家應該能夠找到我們自己的價值，並感到對我們是誰而舒適。這第二個作品是關於父權式的凝視會限制婦女的能力和貶低普遍存在的男性主導的社會價值觀念中的我們。我使用的圖像「梅杜莎」。希臘神話中稱為「Rondanini梅杜莎」，代表的隱喻是與注視對抗。眾所周知，一個女妖梅杜莎她的眼睛看到誰，誰就會變成石頭。然而，根據傳說，實際上是梅杜莎不是女妖，而是一個地球的女神。梅杜莎在希臘文的意思是“皇后”或“有權力女人（統治者） ” 我用近400個形象代表婦女的力量、權力、和真正美麗的形象，去形成馬賽克式的梅杜莎圖像。大部分圖像是在社會中、公司的負責人，藝術家，政治家，人道者等具有非常重要的角色，向我們展示他們的生活信心和女性可以達成任何事。他們還告訴我們，老舊的和刻板的女性形象，可以被我們內在力量所粉碎。我們可以在自己的定義中聰明，漂亮，自信。 Historically women’s values and images have been created by man. Females have always been treated as helpless, weak, and voiceless. Patriarchal societies have underestimated women’s strength and ability to do anything greatly. In the 20th century, however, women’s status has risen and women have actively participated as an important part of the society. Marriage is no longer the ultimate goal for all women as is having children. No matter what we choose to become all women should be able to find hapiness and to feel comfortable being who we are. In this art-work I utilized an image of the Rondanini Medusa from Greek mythology as a metaphor for fighting against the male dominated gaze. Medusa is widely known as a female monster at whose eyes can turn an individual into stone. However, according to legend Medusa was actually not a monster but the Goddess of the Earth. Medusa in Greek means “queen” or “woman with power (domination)”. I rendered the image of the Medusa into a mosaic by using nearly 400 images which represent woman’s strength, power, and real beauty. Most images are women who have very important roles in the society; company CEOs, artists, politicians, and humanists. Their lives show us confidence and the strength that women can be anything she wishes to be. They also tell us that old and stereotypical images of women can be crushed with our inner strength. We can all be intelligent, beautiful, and confident in our own terms.

女性的力量我們擁有力量可以去除父權式的凝視 Woman’s Strength…The Power We Possess to Dismantle the Patriarchal Gaze 100 x 70 cm 電腦繪圖 computer painting 朝日美智代 Michiyo Asahi 2009

Yu-Tsu Chen

陳又慈 Yu-Tsu Chen road139@gmail.com 現職：國立臺灣師範大學科技學院代理秘書 Position: Acting Secretary, College of Technology, NTNU 學歷：國立臺灣師大學美術研究所美術教育組博士班就讀中 Education: PhD in progress Fine Arts, Art Education, National Taiwan Normal University 工作經歷：國立臺灣師範大學陳副校長室行政專員、國科會「『性別』重整播種計畫(I)：「自我」及他者的性別省思」研究計畫助理、國科會「主軸外延II：次文化藝術教育—臺灣青少年審美詮釋與判斷『台客』的內涵、風格與價值」研究計畫助理、教育部「非資優國民中小學藝術才能班研究計畫」助理、國家教育研究院籌備處「藝術與人文學習成效評量」研究計畫助理、蘇錦皆畫室教師。 Work Experience：Administrative specialist of vice president office, NTNU； Research assistant of NSC Project: A Seeding Project for Reconstructing Gender Concept－Reflection of Myself and the Other's Gender Concept； Research assistant of NSC Project: Cross Boundaries: Subculture Art Education－The Connotations, Styles and Values of “Tai-Ke”Aesthetic Interpretation and Judgment of Taiwanese Youth；Research assistant of Ministry of Education’s Project: A research for arts classes in elementary and junior high school； Research assistant of National Academy for Educational Research project：A Study on the Evaluation of Students' Learning Achievement in Art and Humanities； Art teacher of Sujinje art studio.

女人如同商品，自身價值決定在「年齡」的新鮮與否，著重在「生育」的生理機能。男人希望自己能娶到在保存期限內(30歲以前)的新鮮女人，女人也步步為營的隨時盯著自己的保存期限，讓自己趁新鮮盡快「銷」出去。「保存期限」在女人出生時已無形的烙印在女人身上，不需要條碼機，女人自己和女人身邊的人們都會隨時提醒保存期限的存在。最近有則新聞：根據研究，女人結婚生子的黃金時期在23-30歲之間。然而，結婚生子不該是女人唯一的功能，也不該是是難逃的宿命。Delphy與Witting曾說，生育並非自然的生物學過程，而是一種「被強迫生產」的社會/歷史結構。生育是早就計畫好的，女人只是社會化的按計畫行事。女人們被迫順應所謂的自然。本作品來自我身邊的真實生活片段，來自形形色色、有著不同保存期限的女人們。透明的條碼貼紙提醒女人們，距離30歲生日那天，自己還有幾天新鮮的日子。身為女人，對於保存期限對女人的禁錮，我無法認同，卻也無法完全否認。就如同一個月一次的月經，很討厭卻甩也甩不開。謹以此作獻給所有深受保存期限所苦的女人：妳們辛苦了，未來也請繼續努力！ Women are like products their value depends on their age and is based on their biological function. Men always expect to marry young women before their assumed “expiration date” which in Taiwanese society is 30 years old. In our culture women worry about their EXP. (expiration date), and try to get married as soon as possible. To me it seems that an “EXP.” was linked on a woman’s body since birth and its existence is always felt. Recently, a news article stated that the most common age for women to marry and have children is between 20~30 years of age. However, giving birth is not a biological process, but a social/historical construction of “forced production”. Women are socially programmed and socialized to give birth. Women are forced to behave in ways that are seen as natural. This art-work relates to my real life and all kinds of women with different EXP. The transparent sticker present in the art-work is a metaphorical warning to women about the days left before their birthday of 30. As a woman, I can neither agree nor disagree with the limitation of “EXP. date”. This work is a tribute to women who have suffered from the social expectations related to their EXP.

保存期限 EXP. 42×29.7 cm each, 5 pieces 攝影photograph 陳又慈 Yu-Tsu Chen 2009

男人也是商品，自身價值決定在「條件」擁有的多寡，著重於外在的物質功能。男人不在乎保存期限，但為了能娶到在保存期限內的新鮮女人，男人也步步為營的增加自己「成為男人」的外在條件：當兵、喝酒、揮拳頭、買房買車、結婚等等。 Man.是Manufacture的縮寫，也是就「被認可為男人」的製造日期。其實男人所受到的社會壓力，也不比女人小。如同其中一件作品的男主角說：「所謂性別平等，應該就是為了拯救長期陷於苦海中的男性而出現的吧？男人真命苦，女人應該也來幫忙分擔！」男人終其一生都在賣命的證明自己的製造日期，就怕被人忘記自己是個男人。本作品來自我身邊的真實生活片段，來自形形色色、有著不同製造日期的男人們。透明的條碼貼紙提醒男人們，已經是個男人了，但還是要繼續往下一個條件邁進。身為女人，對於製造日期對男人的禁錮，我無法認同，卻也無法完全否認。就如同一個月使用一次的衛生棉，很無謂但還是很需要。謹以此作獻給所有深受製造日期所苦的男人：你們辛苦了，未來也請繼續努力！ Men are like products. Their value depends on their qualifications and material functions. Men don’t care about their own EXP. However, men do have social pressure to complete their military service, purchase a house, find a good job, and present themselves as a suitable mate. MFD. means manufacturing date. It also means the date men must be romantically committed by society. In fact, men also suffer from social expectations regarding marriage and family. They are asked to be strong, and endure familial responsibilities. As one man said in my artwork, “Gender equality saves most men. As for equality women must take on the responsibility to earn money as well.” Men have to prove themselves throughout their life time. This work is related to my real life and the men with different MFD around me. The transparent sticker thus becomes an alert for men to keep gong for the next challenge. As a woman, I can neither agree nor disagree with the limitation of “MFD.”. It is just like the sanitary napkin, seemingly meaningless but needed. So I created this work for all the men who have suffered from “MFD.”

製造日期 MFD. 42×29.7 cm each, 5 pieces 攝影photograph 陳又慈 Yu-Tsu Chen 2009

以下是回給十一年前寫信給我的悠蘭妲。親愛的悠蘭妲：妳在哪裡？過得好嗎？但願妳在台灣、菲律賓，或是世界上的其他地方，都能不再哭泣。記得我們第一次見面，我16歲，妳 27歲，王奶奶要我教你，廚房裡那些調味料的中文名字。總是低頭不語的妳，一進到廚房，發現王奶奶沒有跟來，就開心的、小聲地跟我聊了起來。妳告訴我有關於妳的家鄉，妳2個兒子和一個也在台灣打工的妹妹的故事。同時也告訴我，在我熟悉的家鄉，台灣，妳所遭受的不堪待遇。妳流著淚問我：同樣都是人，為何要被如此對待？雖然時過多年，這個問題卻時時浮現在我腦海中。我拿來反省自己，是不是時懷寬恕之心，是不是真心尊重和體諒。可是無奈的是，即便在人權至上的今日，許多觀念與想法仍舊難以被改變。我們也會問：同樣是人，為何要如此待人？一樣的問題，十年前和十年後未必有所改善。上次妳寫信給我，說妳要到台中找妹妹，要我幫妳跟王奶奶請假。我拜託我爸跟王叔叔說情，好不容易換得一個週日。妳開心的寫信告訴我，這個假日對妳有多麼重要，妳遇見了妳家鄉的人，從他們口中探知妳妹妹的消息—即使被禁足了好長一段時間。接到你最後一次的來信，其實我很快就回信了，並且把我家的地址附在上面。可是我爸說到王奶奶家都沒有看到妳。後來我到台中讀書，輾轉聽到家人說，你已經離開王奶奶家的消息，當然中間還穿插了些不愉快的事。妳到底去了哪呢？我爸幫我們傳信的事情一定是被王奶奶知道了，所以妳才沒有拿到我的回信，不然妳一定會寄信給我，告訴我妳的近況。而今，我也到了妳當時的年紀，我開始能夠明白，一個女人拋下愛人和孩子，隻身到異地打工的心情；我開始能夠想像，妳怎麼熬過那些哭泣的夜晚，吞下委屈和相思的淚水。沒想到一別就是十年，未來不知還有沒有再次見面的機會，但願下次相見時，妳已不再哭泣。

Nancy 2009.05.04 This art-work concerns a letter to my friend Yolanda, who wrote to me 11 years ago. Dear Yolanda, Where are you? How are you these days?No matter you are in Taiwan, or the Philippines I hope you can stop crying. I still remember the first time we met. I was 16 while you were 27. Wang asked me to tell you the Chinese name of the condiment in her kitchen. You always kept silent. As we entered the kitchen, you started to tell me your story about your two sons as well as a sister who also worked in Taiwan. You also told me the negative experience you had in my hometown. You asked me with tears in your eyes: “We all are human beings, why do they treat me this way?”Although time had gone by, your question always emerges in my mind. I also asked myself to keep an open mind and be respectful and thoughtful to others at all times. Unfortunately, even as human rights are advancing today some old ways of thinking have not changed. We might say: “We all are human beings, why do we treat people that way?” Yet the situation remains unchanged. In your last letter, you said you would like to go to Taichung, and asked me to help you get this day off. I begged my father to do you this favor and you had a wonderful day. Your reply was joyful and you were able to see an old friend and hear news of your sister. In fact, when I got your mail, I replied the address immediately. However, my father never saw you again from that point on. Several months later, my family said you had left for another place. Where were you going? I though you must not have received my letter or you would have responded with news of such changes in your life. Today, I am the same age as you were at that time and I can understand how hard it must have been to be separated from your lover and children. It has been ten years and I have never been in touch with you. I don’t know if we will meet again. Anyway, I hope you are no longer crying and have found happiness. Sincerely, Nancy

Re: to Nancy 15×21 cm each, 2 pieces 信件紙本paper 陳又慈 Yu-Tsu Chen 20009

Chi-Huei Huang

黃祺惠 Chi-Huei Huang emma_h1117@yahoo.com.tw 現職：國科會「『性別』重整播種計畫(I)：「自我」及他者的性別省思」研究計畫研究助理 Position：Research assistant of National Science Council’s Project(I): A Seeding Project for Reconstructing Gender Concept－ Reflection of Myself and the Other's Gender Concept 學歷：國立臺灣師大學美術研究所美術教育組博士班就讀中 Education: PhD in progress Fine Arts, Art Education, National Taiwan Normal University 工作經歷：教育部「推廣與落實藝術與人文素養指標」研究計畫助理、教育部「非資優國民中小學藝術才能班」研究計畫助理、教育部「藝術教育政策白皮書之編撰」研究計畫助理、教育部「德智體群美五育理念與實踐」研究計畫助理、臺北縣立修德國小藝術與人文代理教師 Work experience: Research assistant of Ministry of Education’s Project: A Project for Practice the Literacy of Arts and Humanities；Research assistant of Ministry of Education’s Project: A research for arts classes in elementary and junior high school；Research assistant of Ministry of Education’s Project: Project of the Art Education White Book of Taiwan；Research assistant of Ministry of Education’s Project: A Project for the ideal and practice of five nurtures；Arts substitute teacher of Taipei County De Xiu Elementary School

女為悅己者容，愛美是女人的天性，從週年慶化妝品、保養品的搶購現象可看出女性對於用金錢換取美貌趨之若鶩。然而化妝品對我而言，卻是一種必要之惡，我對它又愛又恨，它的確能遮瑕修飾臉孔，化妝是一種禮儀，在某些場合，它能提升社會地位及自信心，但它的化學成分卻會對皮膚造成日積月累的傷害，而為了掩飾化學成分的沈澱及傷害，往往必須用更多的化妝品來覆蓋掩飾，化妝品的短暫美化效果與長期對皮膚的惡化因此成為惡性循環，因此若非必要，我盡量讓皮膚免於化妝品的「侵襲」。素顏，是為了讓皮膚能走更長遠的路。除了化妝品對皮膚的影響外，它對我的心理也有某種層面影響。每當我化妝後，在享受美化的容顏之餘，總感到有些不自在，覺得自己是被觀看者，因此言行舉止變得較拘謹。化妝對我而言彷彿是一張面具，它並不是真實的我、自然的我，我知道它是短暫的，不是永久的，將會被卸下，卸下後總有種莫名的失落感。這樣對化妝品又愛又恨的矛盾心態成為我做此作品的動機。 In our society a women’s greatest value is her looks. Women will gladly spend money to attain beauty on expensive cosmetics in department stores. However, make-up is a necessary evil for me so I love it and hate it simultaneously. It certainly can modify your face, provide more confidence, and protect from the sun. In order to attain better skin most woman have to wear make-up and thus it becomes a vicious circle. If not necessary, I seldom use make-up. Having my face naked is for its long-term health. Make-up also influences me mentally. Every time I put on make-up, I feel uncomfortable, although I know it can make me pretty. Make-up encourages the gaze of others so I behave myself more punctiliously. Make-up seems to be a mask for me because it’s not natural and does not reflect my true self. I know it’s temporary and will be removed, which encourages a disconnection of self. My contradictorily attitude towards make-up motivates me to do this work.

第二層肌膚/ 面具 The second skin/ The mask 84 ×118 cm 電腦繪圖Computer painting 黃祺惠 Chi-Huei Huang 2009

每個人的先天性別在其為受胎六週的嬰兒時體時便已決定。有關性別的研究，有學者提到先天的生物差異為「性別」（sex），而後天習得的社會角色為「性屬」（gender），又稱「社會性別」。然而我們依據外觀及生理性別將人類分成男性與女性，在這樣的分類下，對許多先天性別與後天性別不一致的人，易產生混淆及困擾，例如擁有較多異性特質的人常被冠上「男人婆」、「娘娘腔」的污名，甚或是同性戀，以及因為社會文化對個體性別的規範與期待差異甚大，而產生的「變性人」。社會習慣用二元思考的方式，將男女性特質人分為主動 / 被動；理性 / 感性；獨立 / 依賴…等，每個人的性別特質會因基因環境而呈現游移狀態，女性也有陽剛的一面，男性也有陰柔的一面，只是程度的多寡罷了。當一個人表現出與社會期待相反的性別特色時，並沒有罪，我們應尊重每個人的性別角色發展，基因使你可以做什麼，而不是限制你做什麼。本作品以此概念為出發點，選擇刻板印象中，男生童年的經典玩具－「無敵鐵金剛」及女生玩具－「芭比娃娃」象徵社會期待之下的兩性形象，而作品中反射出來的影子卻是相反的性別，藉此象徵其隱性的性別特質。 Everyone’s sex is decided when she/he is a six-week baby in the mother’s womb. We divide sex into male and female which might be unfair to those people who have mixed feelings on gender for example, the notions of “sissy boy”, “tom boy”, “gay” and “lesbian.” There are also “transsexual people” whose gender characteristics don’t fit her/his original sex. In our society we think of things in a dual way, for example, active/passive, sense/sensibility, independent/dependent, etc. Everyone’s characteristic is changeable in different environments. Women are sometimes masculine while men are sometimes feminine. It’s just the matter of degree but not right or wrong. Everyone should respect one’s gender development and orientation. From this concept, I choose the typical male toy of “machine god” and the typically girls’ toy of “Barbie doll” to symbolize the images of male and female. However, the shadow of the two images is of the opposite gender which signifies the blurring lines of gender identity.

顯性/ 隱性 The visible/ hidden gender 84 ×118 cm 電腦繪圖Computer painting 黃祺惠 Chi-Huei Huang 2009

在中文字中, 以「男」為部首的字有三個，以「女」為部首的字卻有兩百四十個，如此大的懸殊令人不禁好奇男女自古以來的角色地位關係。許多女字旁的字與人字旁的字相對，如：「妳、你」、「他、她」，「女」部首的設立和運用，顯示出在中文字中，女性被標示為社會生活中非主流的、特殊的、個別的一個族群，這也意味著文字是由男性掌控，在中文字中，他們是第一人稱，故不需要被標示。若觀照西方世界，歷史（history）是他的故事（his story），而不是她的故事（her story），可看出中外歷史皆由男性詮釋，女性的聲音常常掩沒在由男性掌舵的世界中。現今社會的媒體報導，對於女性多著墨於外貌、婚姻關係、道德形象等，且以高於男性的標準審視之，且以放大鏡觀看，女性在媒體世界中似乎仍為被觀賞的角色，媒體工作者以男性居多，然而他們對性別的態度卻在無形中影響了世人的價值觀。在現今講究性別平等的社會中，女性要如何改變這樣的現況？希望性別平等不再只是口號，而能真正落實。 In Chinese words, there are 3 radicals of men and 240 radicals of women. The big gap makes me wonder the status of men and women since long time ago. Many Chinese words have the radical of “female” while some are of “human”, such as “you, he/ she”. The creation and use of the radical of “female” means that women are dominated and are of a special kind, and words are created by men who use themselves as first account in Chinese words. In English, the word “history” means “his story ”, not “her story”, so history was written by men and women’s voice was neglected. In nowadays, the mass media always criticize women’ s appearance, marriage and moral image. Women are always watched by men and the judgment of the mass-media influence people a lot. In this society, people claims that each gender should be equal, and I hope that it’s not just a slogan but will really come true soon.

女，累了嗎？ Are you tired, women? 84 ×118 cm 電腦繪圖Computer painting 黃祺惠 Chi-Huei Huang 2009

Ting-Ru Yang/ Mildred

楊婷如 Ting-Ru Yang/Mildred tingruyang@gmail.com 現職：普通高級中學課程藝術生活學科中心專任助理，國立臺灣師大學美術研究所美術教育組博士班學生 Position: Full-time assistant of Arts and Life Education Resource Center, PhD Student of Graduate School of Art Education, Fine Arts Department, NTNU 學歷：國立臺灣師大學美術研究所美術教育組博士班就讀中 Education: PhD in progress Fine Arts, Art Education, National Taiwan Normal University 經歷：新竹市立光華國民中學視覺藝術代理教師 Professional Experience: Visual arts substitute teacher of HsinChu City Guang Hua Junior High School

拍攝創作者模擬模特兒姿態及神情的照片，以電腦繪圖軟體後製處理，數位輸出成海報並冷裱後，將其邊緣以各式保養品及化妝品瓶罐裝飾，瓶罐皆塗成白色以掩蓋其品牌，並在瓶罐內裝設小型燈泡及電源，使本作品呈現如後台梳妝鏡的感覺。本作品試圖表現此品牌的形象，四周圍的瓶罐燈泡代表女性為了追求完美外表而作的努力，梳妝鏡的意象則借用Lacan的鏡像理論，觀者彷彿正在照鏡子，但看到的卻不是自己的影像，而是一個理想化的形象，似乎反映出每個女性心中的期望；在凝視此影像的同時，是產生了自我的主體性，抑或更加物化自我？ The artist took magazine photographs of cosmetic advertisements and represented the images using retouching software. In the art-works the bottles of facial care products and cosmetics are painted white to cover the brands. Small light bulbs are put in the bottles to make it look like a backstage mirror. The image of the mirror is borrowed from Lacan’s mirror theory. The viewers seem to look at the mirror, but what they see is the idealized figure that seems to reflect every women’s expectation. While gazing at this image does subjectivity emerge? Or does objectification become more acute?

Perfect Woman形象廣告 Perfect Woman Image Advertising 94.1×128 cm 電腦繪圖、複合媒材 Computer Painting, Mixed Media 楊婷如 Mildred Ting-Ru Yang 2009

創作者將自己作為平面廣告中的模特兒，模仿平面廣告中模特兒的姿態與神情，將影像拍攝下來，並以電腦繪圖軟體後製處理，將影像合成為保養品及化妝品平面廣告，數位輸出成海報；將分別有保養品及化妝品二種不同的廣告。此外，並在海報前放置長型展示桌，將各式保養品及化妝品瓶罐塗成白色後擺放其上，一旁並設置一面鏡子，以模擬專櫃試用品之情境。保養品與化妝品分別是女性維持與增添美貌的必備利器，保養品象徵女性對抗歲月痕跡的努力，意圖保持青春的原貌；化妝品則如同美麗的衣飾，能增添容貌的光采，並遮掩了臉上的瑕疵。當塗抹這些瓶瓶罐罐在臉上時，是由內而外地煥發出自信，抑或層層疊疊地掩蓋了真實的自我？ The artist imitated the models’ pose in cosmetic advertisements and then edited the images with retouching software. A table is set to display the white-painted bottles of skin care products and a mirror is used to simulate the situation of cosmetic trails in department stores. Skin care products and cosmetics are the efficient instruments for women to maintain and increase their beauty. Cosmetics are like beautiful clothes—they add the brightness to the appearance and cover the flaws on the face. While smearing these products over our face, does confidence shine from inner to outer? Or is our real self be covered up through this cosmetic process?

Perfect Woman 保養品及化妝品廣告 Perfect Woman Advertisements of Skin Care Products and Cosmetics 84.1×118 cm 電腦繪圖 Computer Painting 楊婷如 Mildred Ting-Ru Yang 2009

將大型紙箱包裝成禮物箱，並裝飾以Perfect Woman品牌標識，以呈現女性將自己包裝為一個禮物的概念；箱蓋打開，箱子裡是各式柔軟的包裝襯紙，並有緞帶散落一旁，彷如即將置入其內裝物一般。一旁並有大型卡片，內容表明贈送禮物之心意，但並未寫明收件者，讓觀者自行填空及想像。將自己當作禮物裝箱後送給對方，可謂自我物化的極致表現；女性日以繼夜地塗抹保養品、費盡心機地妝扮自己，如同一個精心製作的商品般，做好萬全的準備好將自己推銷出去。好好寶貝妳的肌膚，搽上最有魅力的神采，親愛的，妳準備好要裝箱了嗎？ In this artwork a big cardboard case is presented as a gift and decorated with the brand of Perfect Woman to present the idea of women packaging themselves as presents. The cover is open and there are various kinds of soft wrapping papers and ribbons are placed by the side. There is a big card presenting the gift but the receiver’s name isn’t written and is left for the viewer to decide. Packaging self as a gift represents the objectification of women through cosmetics. Through make-up and fashion women attempt to market themselves in order to be selected by a suitable male mate.

Perfect Woman包裝箱 Perfect Woman Packing Box 90×90×120 cm 複合媒材 Mixed Media 楊婷如 Mildred Ting-Ru Yang 2009

Appendix

附錄課程簡介科目代碼：碩博合開科目名稱（中文）：藝術與性別研究科目名稱（英文）：Art and Gender Studies 全/半年：半

必/選修：選

總學分數：3學分每週上課時數：3小時 1. 課程目標和主要內容 (Course Objectives & Main Contents) Objectives  To develop self identification, determination, and reflection on gender concept

 To empower the participants being able to lead and develop the gender education in the near future Contents

 a/r/tography (Rita L. Trwin eds.2004)  Narrative / Action Research Method  DBAE @ Gender study  Explorations of self  Fragments and meaning  Feminist sociology  The way of producing art knowledge  International & national artists investigation 2. 課程設計的理念、內容及實施的方式： (一) 課程設計的理念 1. 本課程以性別思考為設計的核心，依此規劃研究的場域，課程中修習者研讀a/r/tography (artist-researcher-teacher)的論述，使a/r/tography論述-反身性的省思，以及以藝術創作為表達手段的思維，得以有效的運作。 2. 課程實施者就是行動研究者，本身扮演「藝術家-研究者-教師」三者一體的角色，一方面設計與實施課程，檢視課程的可行與有效性，同時經由與修課者之間的互動、聆聽、對談、討論，反身性的省思自身的性別概念、以及師生權力的教育理論。對任課教師而言，其性別概念為「自我」的，課程修習者的性別概念便為「他者」的。任課者在教學的過程中撰寫相關的省思，並和課程修習者一起進行視覺圖像的創作。 3. 課程修習者(學生)亦是行動研究者，相對於本課程之教學者而言，則為協同研究者。經由課程的設計，思考在現有臺灣的傳統藝術教學中所固有，而被邊緣化的內容，從其個人的經驗省思其性別概念，所扮演的是為「藝術家-研究者-教師(或未來教師--學校或家庭教師)」三者一體的角色；對課程修習者而言，其性別概念為「自我」的，而擔任本課程之教學者的性

別概念便為「他者」的。課程修習者在研究過程中撰寫相關的省思，並進行視覺圖像的創作。 (二) 課程內容及實施方式本課程的內容及實施方式規劃如下表： (※鑑於女性藝術家的創作與表現，一般人士的認知是相對的少，故先以女性藝術家的創作與表現作為課程引導性別思考的切入點與參考案例) 週次

單元主題

講授及討論議題

閱讀及準備內容

導論

1. 本課程的進行及評量方式之說明 2. 女性主義與性別研究的源起 3. 藝術與性別研究的要旨

女性主義的藝術學

1. 2. 3. 4.

藝術創作的觀點美術史的觀點美學的觀點藝術教育的觀點

藝術的階層化

1. 2. 3. 4.

藝術界的體制藝術界性別的流動女性的藝術界階級女性藝術家的社會階級

藝術知識的生產與性別的關係

1. 2. 3. 4.

藝術議題的產生藝術知識生產的方式藝術知識生產的目的藝術知識生產與生產者主體的關係

國外女性藝術家的創作與性別意識(1)

Judy Chicago的創作研討:主題/ 性別意識/ 表現策略/ 藝術特質

Reading a/r/t: Interwoven threads 探究Judy Chicago

期末專題創作與發表: 1.創作 2.E-portfolio

學生專題製作（包括二部份）： 1. 我的創作與性別思考: (1) 平面/立體/ 綜合媒材/影片/ 文字書寫/ 或文字影像並用等 (2) 我的省思-性別意識 2. E-portfolio

「期末專題製作與發表」以個人方式進行；E-portfolio的建構參見實施方式之評量標準展覽草圖討論與修正

國外女性藝術家的創作與性別意識(2)

Barbara Kruger的創作研討:主題/ 性別意識/ 表現策略/ 藝術特質

Reading a/r/t: Reflections on artist/researcher/ teacher identities 探究Barbara Kruger

國外女性藝術家的創作與性別意識(3)

塩田千春的創作研討:主題/ 性別意識/ 表現策略/ 藝術特質

Reading a/r/t：Exploring the making of wonder 探究塩田千春

國外女性藝術家的創作與性別意識(4)

Cindy Sherman的創作研討:主題/ 性別意識/ 表現策略/ 藝術特質

Reading a/r/t：Of mango trees and woven tales 探究Cindy Sherman

準備週

1.a/r/tography:Introduction 2.Narrative Research Method Reading a/r/t: Explorations of self: Fragments and meaning 俞智敏等譯(1995). 女性主意觀點的社會學.臺北:巨流圖書.第2章 Reading a/r/t: Body as fragment-art making, researching and teaching 俞智敏等譯(1995). 女性主意觀點的社會學.臺北:巨流圖書.第6 & 9章

週次

單元主題

講授及討論議題

國內女性藝術家的創作與性別意識(1)

吳瑪琍的創作研討:主題/性別意識/表現策略/藝術特質

期末專題創作與發表: 1.創作 2.E-portfolio

學生專題製作（包括二部份）： 1. 我的創作與性別思考: (1) 平面/ 立體/ 綜合媒材/ 影片/ 文字書寫或文字影像並用等 (2)我的省思-性別意識 2. E-portfolio

「期末專題製作與發表」以個人方式進行；E-portfolio的建構參見實施方式之評量標準展覽草圖討論與修正

10.

國內女性藝術家的創作與性別意識(2)

合田佐和子的創作研討:主題/性別意識 /表現策略/藝術特質

Reading a/r/t: Digging for “Historical Combines: Representing art education history research through art-making 探究合田佐和子

11.

國內女性藝術家的創作與性別意識(3)

謝鴻均的創作研討:主題/ 性別意識/ 表現策略/ 藝術特質

Reading a/r/t: Painting me into a corner 探究謝鴻均

12.

國內女性藝術家的創作與性別意識(4)

Orlan的創作研討:主題/ 性別意識/ 表現策略/ 藝術特質

Reading a/r/t: Praxis in perspective 探究Orlan

專題研討(1): 空間與性別-藝術的思考

學生專題研究： 1. 空間與性別的關係 2. 私密空間 3. 公共空間 4. 藝術表現的策略

期末專題創作與發表: 1.創作 2.E-portfolio

學生專題製作（包括二部份）： 1. 我的創作與性別思考: (1) 平面/ 立體/ 綜合媒材/ 影片/ 文字書寫或文字影像並用等 (2) 我的省思-性別意識 2. E-portfolio

專題研討(1): 權力與性別-藝術的思考

學生專題研究： 1. 權力的解讀 2. 生活中的權力分配 3. 權力分配與性別 4. 藝術表現的策略

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專題研討(2): 廣告與性別-藝術的思考期末專題創作與發表

閱讀及準備內容 Reading a/r/t: The hermeneutic dialogic 探究吳瑪琍

Reading a/r/t: Living with/in marginal spaces 「專題研討」以個別或小組，視修課人數調整。「期末專題製作與發表」以個人方式進行；E-portfolio的建構參見實施方式之評量標準展覽草圖討論與修正

展覽草圖討論與修正

學生專題研究： 1. 廣告的陳述 2. 廣告與視覺文化 3. 廣告的解讀 4. 藝術表現的策略學生修習成果發表，以集體公開展示的方式或以研討會的方式進行

展覽草圖討論與修正

公開展示：進修推廣學院

項目

實施方式

教學方法

課堂面授及運用數位學習平台進行，以講解、指定閱讀、小組討論、專題演講、專題探究、專題創作與發表的方式實施教與學的活動。

三、評量方式：（一）平時參與和討論 (Participation & Discussion) (15 %) （二）學習資料檔之建構與發表 (E-portfolio) (85 %) E-portfolio content (85 %): 1. Front page (5 %) 2. Reflection Writing (20 %) (a. before the class, b. process, c. final thoughts: what you get and how to go) 3. Reading, Investigation & Art making (50 %) (Reading: running system in art world/gender role, stereotype in art world and contents of artworks etc.; Investigation: appreciate four international and national woman artists; Making: three works creation regarding the issues discusses in the class) 4. Art Show Participating documentation (10 %) ※評量方式之補充：每週將研讀一些文章，必需挑選5篇撰寫閱讀後之心得短文。心得短文必須依據以下之格式： 1. 摘要作者主要的討論或主要的研究議題? 2. 妳/你的看法？

四、參考書目：俞智敏、陳光遠、陳素梅、張君玫譯 (1995)：女性主義觀點的社會學。台北：巨流。胡幼慧 (1996)：質性研究。台北：巨流。畢恆達 (2004)：空間就是性別。台北：心靈工坊文化。孫秀蕙、馮建三 (1996)：廣告文化。台北：楊智文化。倪梁康譯 (1987)：現象學觀念：胡塞爾講稿。台北：南方叢書。陳美岑譯 (2001)：致命的說服力。台北：貓頭鷹出版社。陳瓊花 (1995/1996/1997/1999/2001)。藝術概論。台北：三民書局。陳瓊花 (2002)：大學通識教育之藝術鑑賞課程設計--以「性別與藝術」為主題之課程設計模式與案例。視覺藝術，5，27-70。陳瓊花 (2003)：性別與廣告，性別議題導論(pp.357- 388)。台北：高等教育。楊志 (1998)：廣告心理學。台北：國家出版社。楊美惠 (1999)：「女性主義」一詞的誕生。在顧燕翎和鄭至慧主編：女性主義經典(pp.31-35)。台北：女書文化。蕭湘文 (1998)：廣告創意。台北：五南圖書。 Berger, John (1977). Ways of seeing. New York: Viking Penguin Inc. Check, E. (2002). Pink scissors. Art Education, 55(5), 46-52.

Collins, G. & Sandell, R.(Eds.) (1996).Gender issues in art education: Content, contexts, and strategies. Reston, Virginia: The Nation Art Education Association. Collins, G. & Sandell, R., (1997).Feminist research: Themes, issues, and applications in art education. In La Pierre, S. & Zimmerman, E. (Eds.), Research methods and methodologies for art e ducation (pp.193-222). Reston, Virginia: The Nation Art Education Association. Dalton, Pen (2001). The gendering of art education (pp.9-33 & pp. 136-153). Gaudelius, Y. (1999). Gender spaces: Architecture, feminism, and art education. In Guilfoil, J. K. & Sandler, A. R.(Eds.). Built environment education in art education. Reston, Virginia: The National Art Education Association. Hall, Stuart (1993). Encoding, decoding. In During, Simon (Ed.) the Cultural Studies Reader(pp.90-103). New York: Routledge. Sturken, Marita & Cartwright, Lisa (2001). Practices of looking: an introduction to visual culture. New York: Oxford University Press Inc. Williamson, Judith (1996). Identity in feminist television criticism. In Baetr, Heleen & Gray, Ann (Eds.). Turning it on: A reader women and media (pp.24-32). New York: St. Martin’s Press Inc. Williamson, Judith. (1978). Decoding Advertisements: Ideology and Meaning in Advertising. London: Marion Boyars. 網站及相關研究文獻網站 http://www.chelseaforum.com/speakers/Chicago.htm http://www.eng.fju.edu.tw/Literary_Criticism/feminism/kruger/kruger.htm http://www.crownpoint.com/html/levine.html http://www.artcyclopedia.com/artists/sherman_cindy.html http://www.lilithgallery.com/arthistory/feminist/20thcentury_feministartists.html 期刊與雜誌 Studies in Art Education/Art Education/Art News/InSEA News/Visual Arts Research 亞太藝術教育學報/婦女新知/藝術教育研究期刊/國際藝術教育學刊

藝術與性別課程研究內涵 Joanna 「藝術與性別研究」這門課是很棒的碩博班課程，由傑出優雅的陳瓊花教授指導，並且用英文來上課。每週陳教授都會鼓勵學生省思其教學及創作經驗，探究A/r/tography的實踐及當代女性藝術家。這門課是我上過最棒的課程，而且是我難以忘懷的經驗。我尤其欣賞陳教授的教學方以及他在藝術教師及藝術家的身教。除此外，我們的課堂討論使我們更加瞭解藝術家Judy Chicago、藝術專家的定義，以及歐巴瑪的政治角色。課程的結束將令我感到不捨。很感謝老師的用心指教。

The course Art and Gender Studies is an excellent PhD class which is taught in English by the talented and elegant Professor Jo Chen. Every week Dr. Chen encourages students to reflect on their teaching and art-making while considering the research practice of A/r/tography and contemporary female artists. The course is one of the best classes that I have ever taken and is an experience I will never forget. Especially appreciated are Dr. Chen’s pedagogy and vision. I have grown as a person, art-educator, and artist through her teaching. In addition, our class discussions have initiated a deeper understanding of artist Judy Chicago, the definition of art-specialist, and the political role of Michelle Obama. I will be very sad when this class is over. Thank you so much for your guidance and teaching Dr. Chen.

Michiyo 在修習本學期這一藝術與性別研究課程後，也許這是我第一次在36年的生活中，認真思考什麼是性別和性別角色，以及它如何影響了正在進行的社會期望。我覺得自己始終相信不應該男性和女性就應該這樣或是那樣。其實我已經或多或少不自覺和嵌入社會性別在我的想法中。我一直在試圖反抗，但我內心裡面的東西不能克服這些困難。然而，藉由了解來自世界各地女性藝術家，和知道如何熱情地通過他們的藝術作品傳達他們的信息，我已經認識到，我們婦女可以強壯的和勇敢，讓社會知道我們的痛苦，而且體會我們真正的力量和美感。作為女人，有時不愉悅的，有時是很難自在於如是的我們，但這些女藝術家的作品在同一時間顯示我們女性無限的能力，如果我們有正確心態我們可以成為任何我們希望成為的。他們的作品給了我很多的動力和創造性思維，以保持到我的藝術作品動機。我真的希望更多的人了解更多的女性藝術家，以便提出什麼是真正的性別認同。也許沒有答案，但他們的藝術作品，必將使我們睜大眼睛，讓我們看到世界和我們不同的自己。

Through this Art and Gender Studies course this is the first time in 36 years of my life that I seriously thought about what gender is how it has been influenced by our society. Actually I had more or less this unconsciously and socially embedded idea of gender somewhere in my thoughts. I’d been trying to resist, but something inside me couldn’t overcome this socially constructed bias. However, by learning about female artists from all over the world, I’ve come to realize that we women can be strong and brave enough to let the society know our pains, strength, and true beauty. The works of these female artists reveal women can be anything we want to be if we have the right frame of mind. I really hope more people learn more about female artists in order to further question gender identity and social issues. Maybe there is no answer, but exploring female art work can encourage us to see the world and ourselves differently.

陳又慈如同Irwin在她書中所題，a/r/tography是一種兼具文本和影像的再現形式，是關於在我們每個人的生活中，藉由感知實踐而提升的深層生命意義；而這感知實踐揭露那曾經被隱藏的、創造那從未被人們獲知的、幻想那我們盼望實現的種種。成為a/r/ tographer（藝術家/研究者教學者三位一體）的過程，也是揭露真相的過程。經歷這段過程，我們也被賦予力量。對我而言，藝術創作是將思考視覺化的途徑。縱然不是專業藝術家，我仍樂於沈浸在創作的過程，並盡可能使作品完整精鍊。創作一如研究，而我鍾於透過創作的形式探討社會關懷、性別與認同等議題。此外，創作與研究的工作都有助於藝術教學，所以當我將藝術家與研究者的身份帶入教學活動的同時，我自身也受到鼓舞並獲得自信。經過一學期的「藝術與性別研究」，我們都獲得了一個重新審視、重新建構自身的機會。我的三件作品皆來自真實生活的片段，並企圖從這些長期以來被認為理所當然的圖像與物件的背後挖掘意義。因此，身為一名亞洲女性，我試著以藝術家/研究者/教學者三位一體的身份而立。 As Irwin stated in her book, a/r/tography is a form of representation that privileges both text and image. It is about each of us living a life of deep meaning enhanced through perceptual practices that reveal what was once hidden, create what has never been known, and imagine what we hope to achieve. The process of being an a/r/tographer, (artist-researcher-teacher), is just like a trail to uncover the truth. Throughout the process, we can feel a sense of empowerment. To me, art making is a way to visualize my thinking. Although not a professional artist, I enjoy the process of art-making and try my best to produce art as fine as possible. Making art is sometimes similar to research. Through my art-works I like to explore social concerns, gender issues, and notions of identity. I believe both studio art and academic research should be recognized in art-education. I feel inspired and confident to bring the roles of artist and researcher to my students. Through the course “Art and Gender Studies”, we have gained an opportunity to re-examine and re-construct our identities as artists and teachers. Three of my works are actually fragments from my real life. Through the creation of these art-works I would like to explore the meaning behind images we take for granted. Therefore, as an Asian woman I will try to fulfill the multiple roles of a/r/tography.

黃祺惠這學期課程以A/r/tography文章的研讀、女性藝術家的介紹及藝術作品的創作三者為主。經過一學期的學習與討論，我彷彿對性別有不同與以往的看法。課堂中有加拿大籍及日籍同學，使得我有機會瞭解不同國家女性的地位、處境及文化差異，藉由課堂中的思辯，我在日常生活中開始不斷反思自己的性別觀點，期許自己能運用課堂所學，在未來對性別有能更宏觀及多元的思考面向。本課程的藝術創作部分更讓我重新體驗創作的樂趣及提升解決問題的能力，同學之間彼此互相討論作品互相提供意見及修正的過程是我在這堂課中很期待的一部份，很欣賞同學們的創意與構思，也可從中看出每個人對於性別的不同詮釋方法。很感謝老師讓我們有這個機會學習及創作，這些將是我們未來回顧自我學習歷程的寶貴紀錄。

In this course ” art and gender studies”, we discuss the articles in book A/r/tography, female artists’ work and create three works about gender. Throughout this semester, I have learnt difference point of views concerning gender. There are classmates

from Canada and Japan in our class, so I have the opportunity to know women’s situation and cultural differences in other countries. After the discussion on gender, I think over my opinions and try to use what I’ve learned to broaden my vision. I also enjoy the process of creating art in this class which promotes my ability to solve problems. The experiences of sharing each work of art are so valuable that I always expect a lot before every class. I also appreciate my classmates’ ideas and thoughts which express their opinions about gender. Finally I thank Professor Chen who gives us the opportunity to make art-work which is a precious memory and learning process.

楊婷如不同於從女性主義理論派別與當代藝術史潮流介紹的切入方式，本課程以專題研討及藝術家介紹為根基，引導學生從a/r/ tography的觀點思考創作、研究與教學之間的關係，並以實際作品呈現對於性別議題的關注。在這堂課中，除了學習到適用於性別議題研究的方法、多認識了幾位國內外相當傑出的女性藝術家之外，最大的收穫是了解到創作、教學與研究之間的共同性與差異性，它們如何彼此合作無間，以及如何彼此汲取供應其領域豐富與成長的養分。自從決定繼續往美術教育的領域深造之後，藝術教育與研究的關聯已從許多不同的理論學派與角度探討過無數次，但在創作的面向上卻付之闕如，至多只是就鑑賞的部份紙上談兵而已，而由於各種因素，許多藝術教育工作者亦鮮少從事藝術創作，藝術教育工作者與藝術創作者彷彿是兩道平行線，彼此沒有交集；a/r/tography則打破這個迷思，作者們不僅是極具熱忱的教育者與研究者，亦是熱衷於表現其理念的創作者，於閱讀這些文章時，每每被其中所描寫的內心世界剖析所吸引，並欽羨於作者們對於其所熱愛之事物的堅持，認真地傾聽自己內心的聲音，且抱持開放的心胸，使創作、教學與研究能互榮共生。在這堂課中，我終於又重拾對藝術創作的熱愛，並在創作、研究中時時反身自省，這也讓我迫不及待想將這些感想發展成藝術教育課程，期望以不同的角度引導學生思考藝術與性別議題，並用自己的方式呈現出來。

This course is based on thematic investigation of a/r/tography, art-making, and feminist artists. Students are further encouraged to think of the relationship between art-making, researching and teaching through the concept of a/r/tography, and to represent the attention of gender inquiry through art-work. In this course several influential female artists are deeply examined and the understanding of art-making, teaching, and research is debated and explored. For many reasons, lots of art educators don’t engage in art-making. Art educators and art creators are like two parallel lines without intersection with each other. A/ r/tography breaks this myth: the authors are not only the enthusiastic educators and researchers, but also artists wanting to present their ideas. When I read these articles, I felt moved by the descriptions of their creating, teaching and research which promote each other. Moreover, in this class, I returned to my love of art-making while creating and researching. I’m eager to expand these thoughts into art curriculum and hope to inspire students to consider art and gender from another point of view.

發行人出版者地址電話傳真主編編輯委員執行編輯美術編輯封面

總召副總召印刷出版日期

：郭義雄：國立臺灣師範大學：106台北市和平東路一段162號：02-2363-6804 ：02-2363-7025 ：陳瓊花：陳瓊花、黃祺惠、Joanna Rees ：吳慧芳：吳慧芳：我在「性別主流」之中 I am in the “Gender Maintream” 90 x 50 cm 電腦繪圖 Computer Painting 陳瓊花、李俊龍(執行) Jo Chiung-Hua Chen、Chung-Lung Li (executer) 2007 ：黃祺惠：陳又慈：玉強印刷有限公司：2009年6月16日