藝術中的性與性別

Art history is filled with contested bodies, shifting gender roles, and powerful negotiations of sexuality. From Renaissance nudes to contemporary feminist installations, the representation of sex and gender in fine art has been a site of resistance, reproduction, and revolution. This course critically examines how sex and gender have been represented across diverse fine art traditions—painting, sculpture, photography, performance, and installation—and how these works have challenged or reinforced cultural norms. Through feminist, queer, and intersectional readings, students will be asked to reflect on how artistic practice intervenes in the politics of the body, desire, censorship, and identity. Our aim is not only to study canonical works but also to broaden perspectives on the canon—introducing marginalized artists, encouraging reflection on established narratives, and inviting students to thoughtfully engage with questions about art, power, and society. 藝術史中蘊含了對身體的多重詮釋、性別角色的轉變，以及對性議題的深層探討。從文藝復興時期的裸體畫作，到當代女性主義的裝置藝術，性與性別在美術中的呈現，始終是重要的表達與思辨場域。 本課程將以批判與反思的角度，探討性與性別如何在不同的美術傳統中被呈現——涵蓋繪畫、雕塑、攝影、行為藝術與裝置藝術——並思考這些作品如何回應或再現既有的文化價值。透過女性主義、酷兒理論與交織性等理論文本的閱讀，學生將被引導理解藝術實踐如何與身體、慾望、規範與身份認同的議題互動。 本課程的目標，不僅在於認識經典作品，也希望能拓展學生對「典範」的理解——介紹過去較少被關注的藝術家，鼓勵對傳統敘事的思考，並引導學生以開放而審慎的態度，參與關於藝術、社會與文化的討論。

Course classroom is in A301 [GF]. 本課程在綜一未來教室 A301 [GF]上課。 No prerequisites. 無。 All are welcomed to this course. However, students with following abilities and/or needs are especially encouraged to take this class: 1) Students with intro-level experiences in art making. 2) Students with a strong interest in exploring the socio-political context of contemporary fine arts. 3) Students who are interested in Feminism, Queer theory, Gender studies, and Post-Marxist critiques. 4) Students who are planning to study abroad. 5) Students who are sick of the system and require a further Institutional Critique. 6) Students who need to find themselves and redefine who they are. 這門課程歡迎所有人參加，且特別鼓勵具有以下能力或需求的學生加入： 1) 在藝術創作方面有入門經驗。 2) 對於探索當代藝術的社會政治背景具有強烈興趣。 3) 對女性主義、酷兒理論、性別研究和後馬克思主義批判感興趣。 4) 計畫出國留學。 5) 對體制感到厭倦，想進一步對體制提出批判。 6) 需要找到並重新定義自己的學生。

1. 學生能將課堂理論（如交織性、去殖民、酷兒、後人類等）和藝術實踐綁定，提出具體可做的藝術企劃。 2. 學生能以跨媒材與跨理論視角思考他們的藝術構成、操作流程和材料策略。 3. 學生透過草圖與實驗性樣本，驗證構想的可行性與潛在視覺效果。 4. 學生在口頭簡報中練習批判性表述能力，回應師生建議與質疑。 1. Students will connect course theories (intersectionality, decolonization, queer, posthuman, etc.) with their artistic practice in concrete project proposals. 2. Students will develop cross-media and cross-theoretical approaches to composition, processes, and material strategies. 3. Students will test feasibility and potential visual effects through sketches and experimental samples. 4. Students will practice critical articulation and oral defense skills during proposal presentations. 1. 學生能從中期提案進一步發展成熟的藝術作品，展示理論與視覺實踐的融合能力。 2. 學生能清楚書寫藝術家說明，論述其作品如何回應當代性／性別／權力議題。 3. 學生在批判中學會接受具體回饋、調整作品觀點，同時訓練回應批評與口頭答辯能力。 4. 學生將最終作品作為可進入更大公開展覽或專業作品集的一部分。 1. Students will expand their midterm proposal into a fully developed artwork, demonstrating integration of theory and visual practice. 2. Students will write clear Artist Statements articulating how their work addresses contemporary issues of sex, gender, and power. 3. Students will learn to accept constructive critique, refine their artistic perspectives, and strengthen oral defense skills. 4. Students will prepare their final work as part of a broader exhibition context or professional portfolio.

ATTENDANCE POLICY 3 absences of any kind will result in X (no credit for the course). Sleeping in class may be considered an absence. Texting and using your computer for things other than class-related activities may also be considered an absence. Come to class on time and be prepared to work. Class begins at 13:20 and ends at 16:30. Attendance will be taken at the beginning of each class by our TA. Arrival after 10 minutes will be counted as a tardy as will leaving before the official end of the class. Three tardies count as one absence. Students who are ill or expect to have an extended absence should contact their lecturer and NYCU Health Center immediately. Health Center will relay information to the faculty in whose classes the student is enrolled. It is the student’s responsibility to make up missed material and keep up with class progress. Progress reports (預警通知) will be given to students who miss class more than twice. COMMUNICATION Your lecturer will be checking in with you frequently to record the completion and quality of your projects; feel free to request outside-of-class 1-1 meetings with your lecturer via Google Sheet. Do not contact your lecturer through social media and instant messaging tools such as Facebook and Line. Any emails sent to your lecturer must also be sent to both TAs. CRITIQUE POLICY Attendance and participation in Midterm Check-Ins and Final Critiques are mandatory. Absence during the final critique will result in X for the entire semester regardless of how many absences you have. EXTRA CREDIT POLICY There are no extra credit opportunities associated with this course. PHOTO POLICY You may post photos of your own work. You must ask for permission to post any photos that include anyone else or the work of others and credit must be given to any other artists included in the image. GENDER EQUALITY AND PREFERRED PRONOUNS We use personal gender pronouns in this class at all times and at the discretion of the students. Disrespectful behavior is prohibited and intolerance is unacceptable. Please speak with your lecturer if you are confused or unsure about personal gender pronouns. ACCOMODATIONS NYCU Mental Health and Counseling Center is committed to full compliance with all laws regarding equal opportunities for students with disabilities. Students with known or suspected disabilities, such as a Reading/Writing Disorder, ADD/ADHD, and/or a mental health or chronic physical condition who think they would benefit from assistance or accommodations should first contact the Mental Health and Counseling Center by phone at 03.5712121 ex. 51323, 51317, 51325 or email at csho@nctu.edu.tw. PLAGIARISM National Yang Ming Chiao Tung University prohibits academic dishonesty. Plagiarism is a form of intellectual theft. One can plagiarize even if one does not intend to. The penalty for plagiarizing may range from failure on the specific plagiarized assignment to failure for the entire course. Repeat offenses can lead to disciplinary action, which could include suspension or expulsion from the NYCU. MATERIALS AND EXPENSES This course will use a variety of materials, some of which may be provided for by your faculty. However, the majority of materials will be procured and paid for by the student. As responsible artists living in our mega-consumerist world, you are also encouraged to source recycled and used materials for your projects and homework.

Attendance 15% Pre-Course Survey 12.5% Proposal 8.5% Midterm Check-In 8.5% Midterm Critique Participation 12.5% Final Project 18% Final Critique Participation 12.5% 1-1 Course Meeting 12.5% MIDTERM: Studio Project or Research Presentation Studio Project Proposal (due on 17 Mar. ) Create a proposal for each finished artwork produced in class. Your proposal must include: • A written description • Graphic visualizations • Step-by-step production plans • A list of required materials • Precise measurements of your piece Studio Project Midterm (due on 21 Apr. ) Following class lectures, create a finished artwork that engages with at least two different sections of the course. The work may take on any form, content, location, duration, or materiality. Be prepared to present your project during the midterm class critique. Research Presentation Proposal (due on 17 Mar. ) Develop a proposal for your chosen research topic. Your proposal must include: • A concise written description of your subject • Graphic visualizations • An explanation of your reasons for choosing this subject • A list of research interests and potential sources Research Presentation Midterm (due on 21 Apr. ) Conduct academic research on a sociocultural topic related to, affiliated with, or inspired by our class lectures. Transform your collected data into a persuasive, 15-minute in-class presentation. Your presentation must include at least one visual component and one verbal component. ⸻ FINAL: Studio Project or Research Presentation (due on 9 Jun. ) (Your final may be a continuation of your midterm.) Studio Project Final Building on your midterm project, create a finished artwork that engages with all three sections of the class lectures. The work may take on any form, content, location, duration, or materiality. Be prepared to present your project at the end of the semester during the final class critique. Research Presentation Final Further develop your midterm research by integrating new insights from class lectures. Provide an academically rigorous critical analysis of your chosen subject, and transform this analysis into a complete, persuasive presentation. The final presentation must be 15 minutes long and include at least one visual component and one verbal component. ⸻ DIGITAL DOCUMENTATION Documentation is required for all completed projects, including research presentations. Submit your documentation via the Learning Management System (LMS) according to the provided instructions.

• 去殖民化 (Decolonization)

  探討殖民歷史如何影響藝術對於種族、性別與身體的再現。分析後殖民與原住民藝術家如何挑戰以歐洲為中心的藝術典範，並藉由作品拆解殖民凝視，重建自我主體性。 Explore how colonial legacies shaped artistic depictions of race, sexuality, and gendered bodies. Discuss how postcolonial and Indigenous artists resist Eurocentric canons in fine art, dismantling the colonial gaze.

  講授：

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• 離散族群身份認同 (Diasporic Identity)

  研究遷徙、流離與離散如何形塑藝術中的性別再現。關注離散藝術作品中混雜性與「中介性」的表達，並連結藝術實踐與歸屬、流亡及文化協商的敘事。 Investigate how migration, displacement, and diaspora shape gendered representation in art. Consider hybridity and “in-betweenness” in diasporic works.

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• 多元交織性女性主義 (Intersectional Feminism)

  引介交織性作為分析重疊壓迫體系的框架。探討有色人種女性、工人階級藝術家等在美術體制中被邊緣化的案例，並分析性別、種族、階級與性取向如何共同建構視覺再現。 Introduce intersectionality as a framework for analyzing overlapping systems of oppression. Examine marginalized voices in fine art and how intersecting identities shape representation.

  講授：

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• 酷兒性別認同理論 (Queer Theory)

  探討酷兒理論如何重塑視覺文化中的身體、慾望與身份。研究挑戰性別二元的 LGBTQ+ 藝術家案例，並理解藝術作為酷兒世界建構與群體實踐的場域。 Explore how queer theory reframes the body, desire, and identity. Study LGBTQ+ artists who disrupt binaries and use art as queer world-making.

  講授：

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• 後人類主義 (Posthuman Theory)

  質疑人類、機器與環境的邊界如何在當代藝術中被重新設定。分析後人類視角如何改寫性別、生殖與身體的理解，並探討生物藝術、賽博格理論與生態女性主義在美術脈絡中的應用。 Interrogate the boundaries between human, machine, and environment. Discuss bio-art, cyborg theory, and ecological feminism in fine art contexts.

  講授：

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• 後資本主義 (Hypercapitalism)

  思考全球資本主義如何將性別化身體商品化於藝術市場。批判奢侈、美學與奇觀文化中的後資本主義形式，並研究抵抗新自由主義剝削與不穩定勞動的藝術實踐。 Consider how global capitalism commodifies gendered bodies in the art market. Critique hypercapitalist aesthetics and study activist works resisting neoliberal precarity.

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• 東方化 (Easternization)

  檢視西方美術如何將「東方」建構為充滿性別化與性幻想的意象。探討亞洲藝術家如何透過作品回收再現權，並連結東方主義與女性主義、酷兒理論對文化刻板印象的批判。 Examine how Western fine art appropriates “the East” as a sexualized imaginary, and how Asian artists reclaim representation and resist stereotypes.

  講授：

  3

• 科技東方主義 (Techno-Orientalism)

  探討未來主義對亞洲的想像如何在美術中與性別刻板印象交織。分析賽博龐克、機器人與人工智慧在藝術中的呈現，並透過女性主義與酷兒批判重新審視。研究亞洲藝術家如何以另類美學回應科技東方主義。 Explore how futuristic images of Asia intersect with gendered stereotypes. Analyze cyberpunk, robotics, and AI representations through feminist/queer critique, and consider Asian artists’ alternative aesthetics.

  講授：

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• 期中計畫提案 (Midterm Proposal)

  在課程進行到前半段時，每位學生需提交一個具體的中期藝術製作或研究構想。此提案應包含以下要素：主題／議題、理論框架、視覺或媒材策略、操作流程草圖／樣本（sketch / maquette / mockup）與研究脈絡說明。 學生在提案階段需進行文獻調查、案例分析與視覺探索，以作為後段製作的理論與形式基礎。 在提案發表日，學生將向全班與教師口頭簡報其構想，並展示初步視覺草稿或實驗樣本以供討論。 評論將聚焦於構想的清晰度、可行性、理論與美術邏輯銜接、媒材可能性與可發展性。 At mid-semester, each student must submit a concrete proposal for an artistic project or research inquiry. The proposal should include: topic/theme, theoretical framework, visual or material strategies, sketches/maquettes/mockups, and contextual research. Students are expected to conduct literature reviews, case studies, and visual experiments to establish a foundation for further work. On presentation day, students will orally present their proposal to the class and show preliminary visual samples. Feedback will focus on clarity, feasibility, theoretical integration, material exploration, and potential for development.

  實作：

  6

  備註：1. 學生能將課堂理論（如交織性、去殖民、酷兒、後人類等）和藝術實踐綁定，提出具體可做的藝術企劃。 2. 學生能以跨媒材與跨理論視角思考他們的藝術構成、操作流程和材料策略。 3. 學生透過草圖與實驗性樣本，驗證構想的可行性與潛在視覺效果。 4. 學生在口頭簡報中練習批判性表述能力，回應師生建議與質疑。 1. Students will connect course theories (intersectionality, decolonization, queer, posthuman, etc.) with their artistic practice in concrete project proposals. 2. Students will develop cross-media and cross-theoretical approaches to composition, processes, and material strategies. 3. Students will test feasibility and potential visual effects through sketches and experimental samples. 4. Students will practice critical articulation and oral defense skills during proposal presentations.

• 期末作品發表 (Final Critique & Final Project)

  期末作品可採藝術創作、研究／展覽策劃、裝置、錄影、表演與混合媒材等形式，必須延伸或呼應中期提案主題。 學生需撰寫一份藝術家說明（Artist Statement）與短篇論述 / 理論報告，說明作品與課程理論之關聯、創作歷程、媒材挑戰與觀眾互動策略。 在期末評會 (Final Critique)，每位學生需向全班與邀請評審（或師長）展示最終作品，並進行口頭分享與答辯。可搭配視覺投影片、過程記錄與樣本展示。 評論重點將包括：概念深度、形式／媒材執行、理論與作品之對話、美術視覺品質、觀眾導向與展現完整性。 The final project may take the form of an artwork, curatorial project, installation, video, performance, or mixed media, and must build on the midterm proposal. Students are required to submit an Artist Statement and a short theoretical/analytical essay discussing the project’s relation to course theories, creative process, material challenges, and strategies of audience engagement. In the Final Critique, students will present their completed projects to the class and invited reviewers/faculty, with oral explanations and Q&A. Presentations may include slides, process documentation, and samples. Critique will focus on conceptual depth, formal/material execution, dialogue between theory and practice, visual/artistic quality, audience engagement, and overall coherence.

  實作：

  9

  備註：1. 學生能從中期提案進一步發展成熟的藝術作品，展示理論與視覺實踐的融合能力。 2. 學生能清楚書寫藝術家說明，論述其作品如何回應當代性／性別／權力議題。 3. 學生在批判中學會接受具體回饋、調整作品觀點，同時訓練回應批評與口頭答辯能力。 4. 學生將最終作品作為可進入更大公開展覽或專業作品集的一部分。 1. Students will expand their midterm proposal into a fully developed artwork, demonstrating integration of theory and visual practice. 2. Students will write clear Artist Statements articulating how their work addresses contemporary issues of sex, gender, and power. 3. Students will learn to accept constructive critique, refine their artistic perspectives, and strengthen oral defense skills. 4. Students will prepare their final work as part of a broader exhibition context or professional portfolio.

廖新田（2008）。論藝術品的神聖性－從社會科學的思考出發。書畫藝術學刊，(5)，95-109。https://doi.org/10.29831/TDPC.200812.0006 Butler, J. (2024). Who’s afraid of gender? Farrar, Straus and Giroux. Halberstam, J. J. (2012). Gaga manifesto. In Gaga feminism: Sex, gender, and the end of normal (pp. 206–232). Beacon Press. Online Resources: Artstor - www.jstor.org/site/artstor/, Artstor is a nonprofit organization that builds and distributes the Digital Library, an online resource of more than 2.5 million images in the arts, architecture, humanities, and sciences, and Shared Shelf, a Web-based cataloging and image management software service that allows institutions to catalog, edit, store, and share local collections. Artsy - www.artsy.net/, Artsy, formally known as Art.sy Inc is a New York City based online art brokerage. Its main business is developing and hosting website for numerous galleries as well as selling art for them. It utilizes a search engine and database to draw connections and map relationships among works of art. Rhizome - rhizome.org/, Rhizome is an American not-for-profit arts organization that supports and provides a platform for new media art. JSTOR - www.jstor.org, JSTOR is a digital library of academic journals, books, and primary sources. Video Data Bank (VDB) - www.vdb.org, Video Data Bank (VDB) is a leading resource in the United States for video by and about contemporary artists. The VDB’s collection has grown to include the work of more than 600 artists and 6,000 video art titles. VDB is dedicated to fostering awareness and scholarship of the history and contemporary practice of video and media art through its distribution, education, and preservation programs. Art 21 - art21.org, founded in 1997, Art21 is a nonprofit organization that produces documentary films about contemporary artists from across the globe. It produces three film series: "Art in the Twenty-First Century" on PBS, "New York Close Up," and "Extended Play." The main office is located in New York City. All Art21 films are available to stream for free online.

地點

Online and flexible locations upon inquiries

時間

Self sign-up system via public Google sheet

聯絡方式

NYCU e-mail and Line