臺灣現代藝術的發展，緣起於日治時期跟隨殖民母國藝術的支流開始萌芽，戰後則在強力東漸的西方藝術潮流影響中成長。在這樣的歷史背景下，臺灣藝術界一方面希望能得到強勢文化如歐美的認可，另方面卻又憂心自身藝術風格過度受外來影響而隱沒，自戰後至今，這樣的矛盾與衝突持續存在。面對以西方為中心的藝術世界，臺灣藝術的發展始終伴隨著因西方強勢影響而導致的焦慮，同時也在這樣的情境中確立其定位。本文以檔案、報紙、雜誌、口述訪談等史料為文本進行論述分析，重新思考臺灣藝術發展中受西方影響的歷史因素，透過美國新聞處及華美協進社、美國國務院邀請臺灣藝術家訪問美國計劃、及臺灣參加巴西聖保羅雙年展、臺灣藝術家作品在海外展覽等幾個機制的運作為標的，從社會與文化面向探討戰後臺灣現代藝術在發展過程中，以歐美藝術世界為中心的「西方」是在何等歷史因素下被建構、臺灣藝術界如何與之互動並繼而生產出想像的西方知識。

Modern art in Taiwan which burgeoned during the Japanese colonial era and further developed after World War II has been heavily influenced by Western art. In such a historical context, Taiwanese modern art world on the one hand has been eager to gain recognition from the West, particularly Europe and North America; while on the other hand, has been apprehensive about being assimilated or fading into oblivion. The development of Taiwanese modern art has been the result of power relations between Western culture, local politics and institutions. With reference to related archives, newspapers, magazines, diaries and oral histories, this study uses the method of discourse analysis to examine the impact of Western art and culture on Taiwanese modern art through the perspective of cultural politics.

臺灣現代藝術;美援;美國新聞處;聖保羅雙年展;西化

Taiwanese Modern Art; United States Foreign Aid; United States Information Service; São Paulo Biennial; Westernization