跳到主要內容

臺灣博碩士論文加值系統

(18.97.14.87) 您好!臺灣時間:2025/02/17 13:25
字體大小: 字級放大   字級縮小   預設字形  
回查詢結果 :::

詳目顯示

我願授權國圖
: 
twitterline
研究生:黃真真
研究生(外文):Huang, Chenchen
論文名稱:後現代碎形觀-美國新表現繪畫體現之社會心理
論文名稱(外文):The Fractal Perspective of the Postmodern Era: The Socio-psychological Representation in the American Neo-Expressionist Paintings
指導教授:謝東山謝東山引用關係
指導教授(外文):Hsieh, Tungshan
學位類別:碩士
校院名稱:臺南藝術學院
系所名稱:藝術史與藝術評論研究所
學門:藝術學門
學類:綜合藝術學類
論文種類:學術論文
論文出版年:1999
畢業學年度:87
語文別:中文
論文頁數:113
中文關鍵詞:美國新表現繪畫雷根政府許納伯挪用懷舊碎形理論欲望
外文關鍵詞:American Neo-Expressionist PaintingsReagan AdministrationJulian Schnabelappropriationnostalgiafractal theory
相關次數:
  • 被引用被引用:17
  • 點閱點閱:635
  • 評分評分:
  • 下載下載:0
  • 收藏至我的研究室書目清單書目收藏:2
新表現繪畫欲恢復繪畫曾有的光榮的企圖心,與當時美國雷根政府主導的社會氛圍-重振心理合流,使其畫作價格如同華爾街的股票一樣大漲。新表現藝術家在1980年代初的地位可比偶像明星,吸引所有人的目光,各類報導所著重的是他們的名牌衣著、華宅、與富豪平起平坐,及在螢光幕前的驕傲自誇,如藝術家朱利安.許納伯(Julian Schnabel)自稱為本世紀美國最偉大的三大藝術家之一,另兩位他認為是傑克遜.帕洛克(Jackson Pollock)及安迪.沃侯(Andy Warhol)。藝術品不再是藝評家哈洛.羅森堡(Harold Rosenberg)所說的「焦慮的對象」,在新表現畫作的收藏家眼中,它們是「炫耀的對象」。
面對這種藝術企業化的現象,藝術表現要求多元化,而多元主義的作風是否真的放棄了原有的意識形態,給藝術表現更大的空間?還是多元主義本身就是一種更霸權的意識形態?新表現繪畫所呈現的風格雖多樣,但這些藝術家似乎特別鍾情於大眾媒體(如搖滾龐克、色情雜誌漫畫、電視電影)和過時的風格(如引用過去偉大藝術家的圖像以營造懷舊感、帶有寓言廢墟的美感),且重疊(複)循環地使用這些圖像,可是當這類圖像生產過多時,能否達到嘲諷的效果?或有什麼值得注目?風格的挪用、再挪用,反而引發一陣懷舊的狂熱和對世紀末終結論的恐懼,成為每個現代人心中的陰影。
「碎形理論」(fractal theory)是後現代中十分重要的科學理論,其破裂性、自我相似性與非線性的進程,能具體的表述後現代的情狀,可是這一後現代論述在社會人文方面的應用仍待開發,特別是對於藝術現象的發展,它能提供另一種觀察的視野。新表現繪畫作為後現代文化的現象之一,如何以碎形觀點看新表現體現的社會心理?「欲望」是後現代論述的另一焦點,而西格蒙.佛洛伊德(Sigmund Freud)的心理學是根本的源頭,因此本文嘗試重回佛洛依德的視角來審視新表現繪畫的碎形特質,以人文的角度重新看待此一藝術現象。
This thesis regards the American Neo-Expressionist paintings as socio-psychological representation symptomatically. It divided into three parts: the first part retrospects the social and political circumstances during the 1980s, especially the Reagan Administration; then analyses the reason which may cause people madly collect artworks, and why Neo-Expressionism blamed by critics that it is only for buyer’s market. The second part studies the artists’ and the critics’ writings reflecting the changing ideas in the art-world, to examine the strategies, such as nostalgic mood, allegorical aura and appropriated mass media simulacrum which Neo-Expressionist applied to attract people, especially the New Rich. The third part introduces a new way of seeing─“fractal perspective”, adopted from natural science─ to review the postmodern fragmentary condition. There are two distinct characters of fractal theory: one is “self-similarity”, and the other is “non-linear process”. Combining with Freud’s psychoanalysis, those two characters offer another perspective to see the “postmodern subjectivity” is manipulated or active responded in Neo-Expressionist paintings.
第一章 緒論……………………………………………………………….1
第二章 新表現繪畫的歷史系絡與社會環境……………………………11
第一節 一九七0年代美國的社會背景和藝術思想……………......11
一.六八學運後的改變……………………………………...........11
1. 性解放……………………………………………….............12
2.越戰後…………………………………………………............12
二.藝術表現的多樣化…………………………………………….....13
1. 百花齊放的多元主義…………………………………….........14
2.多元紛雜後的積澱與反抗………………………………..........19
第二節 一九八0年代雷根施政對藝術界的影響……………………..20
一.重振美國…………………………………………………….......21
1. 雷根經濟………………………………………………….........21
2. 新保守主義……………………………………………….........22
二.歐洲反撲……………………………………………………….....23
1.歐洲經濟的復甦…………………………………………..........24
2.歐貨傾銷…………………………………………………..........24
第三節 新表現繪畫在經濟市場的狂飆……………………………...25
一.自滿的中產階級……………………………………………….....25
1.消費主義……………………………………………..............25
2.拜物與懷舊感…………………………………..................26
一. 資本主義歷史的終結………………………………………......28
1. 走出資本主義的歷史…………………………………….........29
2. 資本主義的改造與藝術行銷的市場策略……………….........30
第三章 新表現繪畫的當代性………………………………………….32
第一節 新表現主義與形式主義……………………………………....32
一. 形式主義的困境……………………………………………......34
  1.進步與墮落…………………………………………….........36
  2.原創性之弔詭………………………………………….........38
二. 新表現主義的策略…………………………………………......39
1.打破藝術的框架……………………………………….........39
2.挪用、抄襲與轉換…………………………………….........40
第二節 新表現繪畫對藝術理念的探究……………………………....42
一. 前衛(avant-garde)價值的演變………………………….....42
1.前衛的意識形態………………………………………............42
2.超前衛…………………………………………………............44
二. 偽表現主義(pseudo-Expressionism)……………………....45
1.英雄主義………………………………………………. ..........46
2.情感的寄託與轉化……………………………………............47
三. 新中產階級的風格品味……………………………………......48
1.七拼八湊的風格………………………………………............49
2.素樸與野蠻的壞品味…………………………………............50
第四章 新表現繪畫及後現代的「碎形」觀………………………….52
第一節 後現代論述-碎形般的去中心……………………………....52
一. 阿多諾:否定認識論………………………………………......52
1.文化工業標準化的批判………………………………............53
2.整體性的超越…………………………………………............54
二. 詹明信:後現代主義………………………………………......55
1.晚期資本主義的文化邏輯………………..……………..........55
2.碎片化的認知主體……………………….….…………..........55
三. 德勒茲與瓜塔里:反伊底帕斯……………………………......56
1.欲望橫流………………………..………………………..........57
2.資本主義與精神分裂症………………..………………..........57
第二節 碎形觀點、後現代碎裂情境與新表現繪畫………………....58
一. 碎化的碎形…………………………………..……………......58
1.創作的碎形結構…………………………………….…….........58
2.碎形觀點的應用與體現……………………………...….........61
二. 後現代的碎裂狀況…..………………………………………....62
1.超真實…………………………………………….……...........62
2.超空間……………………………………………………..........63
三. 新表現繪畫的碎化夢境……………………………………......65
1.欲望的場域………………………………………………..........65
2.象徵與昇華………………………………………..……..........67
第三節 新表現繪畫與時代精神………………..…………………....68
一. 新表現繪畫的時代意義……………………………………......68
二. 時代精神或時代徵候………………….………………….......69
第五章 結論 ………………………………………………………….71
參考書目………………………………………………………………….75
圖版說明………………………………………………………………….86
圖版出處………………………………………………………………….89
圖版……………………………………………………………………….91
外文部份:
Adams, Brooks. “Julian Schnabel: An American Perspective.” Julian Schnabel: Work on Paper 1975-1988. Ed. Jorg Zutter. Munich: Prestel Verlag, 1990, pp. 27-29.
Adorno, Theodor W. Aesthetic Theory. Trans. C.Lenhardt London: Routledge & Kegan Paul, 1984.
──. “The Culture Industry Reconsidered.” Critical Theory and Society: A Reader. Eds. Stephen Eric Bronner and Douglas Mackay Kellner. London: Routledge, 1989, pp. 128-135.
Alberti, Leon Battista. Leon Battista Alberti on Painting. Trans. John R. Spencer. New Heaven and London: Yale University Press, 1966.
Bahr, Herman. “ Expressionism.” Modern Art and Modernism: A Critical Anthology. Eds. Francis Franscina and Charles Harison. New York: Harper & Row Publishers, 1987, pp. 165-169.
Baudrillard, Jean. Jean Baudrillard: Selected Writings. Ed. Mark Poster. California: Stanford University Press, 1988.
──. “The Hype-realism of Simulation.” Art in Theory 1900-1990: An Anthology of Changing Ideas. Eds. Charles Harrison and Paul Wood. London: Blackwell, 1992, pp. 1049-1051.
Benezra, Neal. ed. Affinities and Intuition: The Gerald S. Elliot Collection of Contemporary Art. New York: Thamas and Hudson & The Art Institution of Chicago, 1990.
Bernson, Michael. “Romantism or Cynicism?Only Salle Knows.” New York Times 27 April 1986, p. c31.
Buchloh, Benjamin. “Figures of Authority and Ciphers of Regression.” October Spring 1981, pp. 39-68.
Buck-Morss, Susan. The Origin of Negative Dialectics. New York: The Free Press, 1977.
Burgin, Victor. “The Absence of Presence.” Art in Theory 1900-1990: An Anthology of Changing Ideas. Eds. Charles Harrison and Paul Wood. London: Blackwell Publishers, 1992, pp. 1097-1101.
Camille, Michael. “Simulation.” Critical Terms for Art History. Ed. Robert S. Nelson and Richard Schiff. Chicago and London: The University of Chicago Press, 1996, pp. 31-44.
Celant, Germano. “The Destiny of Art: Anselm Kiefer.” Anselm Kiefer: Himmel-Erde. Eds. Germano Celan, et al. Milano: Edizioni Charta, 1997, pp. 13-19.
Chase, Linda and McBurnett, Ted. “Interview.” American Artists on Art: From 1940-1980. Ed. Ellen H. Johnson. New York: Icon Editions, 1982, pp. 146-151.
Cheney, Sheldon. “Abstraction and Empathy.” Modern Art and Modernism: A Critical Anthology. Eds. Francis Franscina and Charles Harison. New York: Harper & Row Publishers, 1987, pp. 171-175.
Chia, Sandro. “Interview.” Art in America July 1990, pp. 138-139.
Clark, T.J. Image of the People: Gustave Coubet and the 1848 Revolution. New York: Thames and Hudson, 1973.
──. The Painting of Modern Life. New Jersey: Princeton University Press, 1984.
Conner, Steven. Postmodernist Culture: An Introduction to the Theories of the Contemporary. Oxford: Blackwell Publishers, 1989.
Crane, Diana. The Transformation of the Avant-garde: The New York Art World,1940-1980. Chicago and London: The University of Chicago Press, 1987.
Crimp, Douglas. “About Pictures.” Flash Art: Two Decades of History: XXI Years. Eds. Helena Kontova and Giancarlo Politi. Cambridge, Mass.: MIT Press, 1990, pp. 53-54.
──. On the Museum’s Ruin. London: The MIT Press, 1994.
Crow, Thomas. Modern Art in the Common Culture. New Haven: Yale University Press, 1996.
Crowther, Paul. “Postmodernism in the Visual Arts: A Question of Ends.” Postmodernism and Society. Eds. Roy Boyne and Ali Rattansi. London: The Macmillan Press, 1990, pp. 220-245.
Debord, Guy. The Society of Spectacle. New York: Zone Books, 1995.
Deleuze, Gilles and Guattari, Felix. Anti-Oedipus: Capitalism and Schizophrenia. Trans. Robert Hurley, Helen Lane, and Mark Seem. Minneapoils: University of Minnesota, 1983.
Doesburg, Theo van. “Principles of Neo-Plastic Art.” Art in Theory 1900-1990: An Anthology of Changing Ideas. Eds. Charles Harrison and Paul Wood. London: Blackwell Publishers, 1992, pp. 280-284.
Eagleton,Terry. Ideology: An Introduction. London and New York: Verso, 1991.
Ehrenzweig, Anton. The Hidden Order of Art. Berkeley and Los Angles: University of California Press, 1969.
Fernie, Eric. selected and commented. Art History and Its Methods: A Critical Anthology. London: Phaidon Press, 1995.
Flack, Audrey. “Audrey Flack on Painting.” American Artists on Art: From 1940-1980. Ed. Ellen H. Johnson. New York: Icon Editions, 1982, pp. 157-160.
Forgas, David. “Marxist Literary Theories.” Modern Literary Theory. Eds. Ann Jefferson and David Robey. New York: Barnes & Noble Books, 1984, pp. 134-169.
Foster, Hal. Recodings: Art, Spectacle, Cultural Politics. Washington: Bay Press, 1985.
Foucault, Michel. The Order of Things: An Archaeology of the Human Sciences. New York: Vintage Books, 1994.
Fox, Howard. “Avant-garde in the 80s.” The Post-avant-garde: Painting in the Eighties. Ed. Andreas C. Papadakis. New York: Art & Design, 1987, pp. 28-32.
Franses, Rico. “Postmonumentality: Frame, Grid, Space, Quilt.” The Rhetoric of the Frame: Essays on the Boundaries of the Artwork. Ed. Paul Duro. New York: Cambridge University Press, 1996, pp. 258-273.
Freud, Sigmund. Civilization and Its Discontents. Vol. 21. London: Hogarth Press and the Institute of Psycho-Analysis, 1961.
Fried, Michael. “Art and Objecthood.” Art in Theory 1900-1990: An Anthology of Changing Ideas. Eds. Charles Harrison and Paul Wood. London: Blackwell Publishers, 1992, pp. 822-833.
Gablik, Suzi. Has Modernism Failed? New York: Thames and Hudson, 1984.
──. The Reenchantment of Art. New York: Thames and Hudson, 1991.
Gardner, Paul. “Longo: Making Art for Brave Eyes.” ARTnews May 1985, pp. 56-65.
──. “Gargoyles, Goddesse and Faces in the Crowd.” ARTnews March 1985, pp. 52-59.
Gettinger, Pamela. “A Decade of Change.” 1979-1989: American, Italian, Mexican Art: From the Collection of Francesco Pellizzi. Ed. Francesco Pellizzi. Hofstra: Museum-Hofstra University Press, 1989, pp. 11-30.
Glaser, Bruce. “Questions to Stella and Judd.” American Artists on Art: From 1940-1980. Ed. Ellen H. Johnson. New York: Icon Editions, 1982, pp. 113-120.
Gombrich, E.H. Ideals and Idols: Essays on the Values in History and in Art. London: Phaidon Press, 1994.
Greenberg, Clement. “Modernist Painting.” Art in Theory 1900-1990: An Anthology of Changing Ideas. Eds. Charles Harrison and Paul Wood. London: Blackwell Publishers, 1992, pp. 754-760.
──. Art and Culture, Boston: Beacon Press, 1961.
Hauser, Arnold. The Philosophy of Art History. Evanston: Northwestern University Press, 1985.
Hawthorne, Don. “Saatchi & Saatchi Go Public.” ARTnews May 1985: pp.72-81.
Heartney, Eleanor. “David Salle: Impersonal Effects.” Art in America June 1988: pp. 121-129.
Honnef, Klaus. Contemporary Art. Koln: Benedikt Taschen Verlag, 1988.
Hughes, Robert. “The Artist as Enterpreneur.” The New Republic 17 December 1987: pp. 26-30.
Hunter, Sam. “Pattern and Decoration.” An American Renaissance: Painting and Sculpture since 1940. Ed. Sam Hunter. New York: Abbeville Press, 1986, pp. 203-213.
Hunter, Sam. and Jacob, John. Modern Art. 3rd ed. New York: The Vendome Press, 1992.
Huyssen, Andreas. “The Search for Tradition: Avant-garde and Post-modernism in the 1970s.” Postmodernism: A Reader. Ed. Thomas Docherty. New York: Columbia University Press, 1993, pp. 220-235.
Jameson, Fredric. Postmodernism or, the Cultural Logic of Late Capitalism. Durham, North Carolina: Duke University Press, 1992.
Joachimedes, Christos M.“A New Spirit in Painting.” A New Spirit in Painting. Et al., eds. Christos M. Joachimedes. London: Royal Academy of Art, 1981, pp. 14-16.
──, et al., ed. German Art in the 20th Century: Painting and Sculpture 1905-1985. Munich: Prestel Verlag, 1985.
Joachimedes, Christos M. and Rosenthal, Norman eds. American Art in the 20th Century: Painting and Sculpture, 1913-1993. Munich: Prestel Verlag, 1993.
Judd, Donald. “Specific Objects.” American Artists on Art: From 1940-1980. Ed. Ellen H. Johnson. New York: Icon Editions, 1982, pp. 105-113.
Koehler, Karen. “The Art of Cultural Violence.” An American Renaissance: Painting and Sculpture since 1940. Ed. Sam Hunter. New York: Abbeville Press, 1986, pp. 177-202.
Kosuth, Joseph. “Art After Philosophy.” American Artists on Art: From 1940-1980. Ed. Ellen H. Johnson. New York: Icon Editions, 1982, pp. 134-137.
Kramer, Hilton. “Signs of Passion.” Zeitgeist. Eds. Christos M. Joachimides and Norman Rosenthal. New York: George Braziller, 1983, pp. 16-23.
Krauss, Rosalind E. The Originality of the Avant-garde and Other Modernist Mtyhs. Massachusetts: The MIT Press, 1996.
Kristol, Irving. Reflection of A Neo-Conservative. New York: Basic Books Inc., 1983.
Kroker, Arthur. “Panic Value: Bacon, Colville, Baudrillard and the Aesthetics of Deprivation.” Life after Postmodernism. Ed. John Fekete. New York: St. Martin’s Press, 1987, pp. 181-193.
Kroker, Arthur and Cook, David. The Postmodern Scene. New York: St. Martin’s Press, 1986.
Kubler, George. The Shape of Time: Remarks on the History of Things. New Haven and London: Yale University Press, 1962.
Kuspit, Donald. Clement Greenberg: Art Critic. Madison: The University of Wisconsin Press, 1979.
──. The Dialectics of Decadence. New York: Stux Press, 1993.
──. “The Contradictory Character of Postmodernism.” Contemporary Philosophy of Art: Readings in Aesthetics. Eds. John W. Bender and H. Gene Blocker. New York: Prentice Hall, 1993, pp. 93-105.
──. “Author’s Comments on The Cult of the Avant-garde Artist.” Art Criticism 11 (1996): pp. 90-100.
Lawson, Thomas. “The Last Exit: Painting.” Theories of Contemporary Art. 2nd ed. Ed. Richard Hertz. Englewood Cliffs, New Jersey: Prentice Hall, 1993, pp. 79-91.
──. “The Uses of Representation: Making Some Distinction.” Flash Art: two decades of history: XXI years. Eds. Helena Kontova and Giancarlo Politi. Cambridge, Mass.: MIT Press, 1990, pp. 55-56.
Lechte, John. Fifty Key Contemporary Thinkers: From Structuralism to Poststructuralism. London: Routledge, 1994.
Lash, Scott. Sociology of Postmodernism. London: Routledge, 1990.
Levin, Kim. “Appropriation the Past: Neo-Expressionism, Neo-Primitives, and the Revival of Abstraction.” An American Renaissance: Painting and Sculpture since 1940. Ed. Sam Hunter. New York: Abbeville Press, 1986, pp. 215-253.
LeWitt, Sol. “Sentences on Conceptual Art.” American Artists on Art: From 1940-1980. Ed. Ellen H. Johnson. New York: Icon Editions, 1982, pp. 125-127.
Lippard, Lucy R. Pop Art. New York: Thames and Hudson, 1970.
──. Overlay: Contemporary Art and the Art of Prehistory. New York: The New Press, 1983.
──. “Postface to Six Years.” Art in Theory 1900-1990: An Anthology of Changing Ideas. Eds. Charles Harrison and Paul Wood. London: Blackwell Publishers, 1992, pp. 895-896.
Lotringer, Sylvere. “Third Wave: Art and Commodification of Theory.” Theories of Contemporary Art. 2nd ed. Ed. Richard Hertz. Englewood Cliffs, New Jersey: Prentice Hall, 1993, pp. 93-103.
Lucie-Smith, Edward. Visual Arts in the Twentieth Century. New York: Harry N. Abrams Publishers, 1997.
Lyotard, Jean-Francois. The Postmodern Condition: A Report on Knowledge. Manchester: Manchester University Press, 1986.
Maslow, Abraham H. Motivation and personality. 2nd ed. New York: Harper & Row, 1970.
Marc, Franz. “The Savages of Germany.” The Blaue Reiter Almanac. Eds. Wassily Kandinsky and Franz Marc. New York: Viking Press, 1989, pp. 61-65.
McEvilley, Thomas. “Read This.” Julian Schnabel: Fox Farm Painting. New York: The Pace Gallery, 1989, pp. 5-11.
──. Art & Discontent. New York: Documentext, 1991.
Morris, Robert. “Anti Form.” American Artists on Art: From 1940-1980. Ed. Ellen H. Johnson. New York: Icon Editions, 1982, pp. 184-188.
Nelson, Robert S. and Schiff, Richard eds. Critical Terms for Art History. Chicago and London: The University of Chicago Press, 1996.
Newman. Charles. The Post-Modern Aura: The Act of Fiction in An Age of Inflation. Evanston: Northwestern University Press, 1985.
Noland, Kenneth. “Statement.” American Artists on Art: From 1940-1980. Ed. Ellen H. Johnson. New York: Icon Editions, 1982, pp. 47-50.
Oliva, Achille Bonito. “The International Trans-Avant-Garde.” Postmodernism: A Reader. Ed. Thomas Docherty. New York: Columbia University Press, 1993, pp. 257-262.
Owens, Craig. “Honor, Power and the Love of Women.” Art in America January 1983: pp. 7-13.
──. “The Allegorical Impulse: Towards a Theory of Postmodernism.” Art in Theory 1900-1990: An Anthology of Changing Ideas. Eds. Charles Harrison and Paul Wood. London: Blackwell Publishers, 1992, pp. 1051-1059.
──. “The Discourse of Others: Feminists and Postmodernism.” The Post-Modern Reader. Ed. Charles Jencks. New York: St. Martin’s Press, 1992, pp. 333-348.
Plagens, Peter. “The Academy of Bad.” Theories of Contemporary Art. 2nd ed. Ed. Richard Hertz. Englewood Cliffs, New Jersey: Prentice Hall, 1993, pp. 35-42.
Plant, Magaret. “Endisms and apocalypses in the 1980s.” Art and Text May 1991, pp. 29-36.
Ratcliff, Carter. “The End of American Era.” Saturday Review September 1981, pp. 42-43.
──. “Art Stars for the Eighties,” Saturday Review February 1981, pp. 12-20.
Rees, A.L. and Borzello, Frances eds. The New Art History. London: Camden Press, 1986.
Rose, Barbara. “ABC Art.” Minimal Art: A Critical Anthology. Ed. Gregory Battcock. Berkeley, Los Angles and London: University of California Press, 1995, pp. 274-297.
──. American Painting: The Eighties, A Critical Interpretation. New York: VISTA Press, 1987.
Rosenthal, Norman. “C.C.C.P: Back to the Future.” Italian Art in the 20th Century: Painting and Sculpture 1900-1988. Ed. Emily Braun. Munich: Prestel Verlag, 1989, pp. 369-375.
Rothko, Mark. “Letter to The New York Times.” American Artists on Art: From 1940-1980. Ed. Ellen H. Johnson. New York: Icon Editions, 1982, pp. 10-14.
Salle, David. “New Image Painting.” Flash Art: Two Decades of History: XXI Years. Eds. Helena Kontova and Giancarlo Politi. Cambridge, Mass.: MIT Press, 1990, pp. 57-58.
Sandler, Irving. Art of tthe Postmodern Era: From the Late 1960s to the Early 1990s. New York: Harper Collins Publishers, 1996.
Sarnoff, Richard. “Return to Realism.” An American Renaissance: Painting and Sculpture since 1940. Ed. Sam Hunter. New York: Abbeville Press, 1986, pp. 129-146.
Schjeldahl, Peter. Salle, New York: Elizabeth Avedon Editions, 1988.
Schnabel, Julian. “Journals.” Artforum February 1987, p. 6.
──. “Statements(1978,1983).” Theories and Documents of Contemporary Art. Eds. Kristine Stiles and Peter Selz. Berkeley: California University Press, 1996, pp. 266-268.
Sontag, Susan. “Against Interpretation, 1964.” Art History and Its Methods: A Critical Anthology. Selected and commented by Eric Fernie. London: Phaidon Press, 1995, pp. 216-218.
Storr, Robert. “Salle’s Gender Machine.” Art in America June 1988, pp. 24-25.
Taylor, Paul. “Painter of the Apocalypse.” New York Times Magazine 16 October 1988, pp. 103-108.
Tuchman, Phyllis. “An Interview with Carl Andre.” American Artists on Art: From 1940-1980. Ed. Ellen H. Johnson. New York: Icon Editions, 1982, pp. 120-125.
Tuten, Frederic. “Fischl’s Italian Hours.” Art in American November 1996, pp. 77-82.
Volpe, Galvo Della. Critique of Taste. Trans. Michael Caesar. New York and London: Verso, 1978.
Walker, Richard W. “The Saatchi Factor.” ARTnews January 1987, pp. 117-121.
Waldman, Diane. “Enzo Cucchi.” Enzo Cucchi. Ed. Diane Waldman. New York: Solomon R. Guggenheim Museum, 1986, pp. 17-27.
Wheeler, Daniel. Art since Mid-Century: 1945 to the Present. New York: The Vendome Press, 1991.
Whitney, David. Davidsalle. New York: Rizzoli, 1994.
Wolfflin, Heinrich. Principles of Art History: the Problem of the Development of the Style in Later Art, Trans. M.D. Hottinger. New York: Dover Publications Inc.,1960.
中文部份:
Albert, Michel。《兩種資本主義之戰》(Capitalism against Capitalism)。莊武英譯。台北:聯經出版社,1995。
Althusser, Louis。《保衛馬克思》(For Marx)。陳墇津譯。台北:遠流出版公司,1995。
Atkins, Robert。 《藝術開講》(Art Speak)。黃麗絹譯。台北:藝術家出版社,1996。
Barthes, Roland。《寫作的零度:結構主義文學理論文選》(Le Degre zero de l’ ecriture)。李幼蒸譯。台北:時報文化出版公司,1995。
──。《明室-攝影扎記》。許綺玲譯。台北:臺灣攝影工作室,1997。
Battcock, Gregory。《觀念藝術》(Idea Art)。連德誠譯。台北:遠流出版社,1994。
Baudrillard, Jean等。《藝術與哲學》(Art and Philosophy)。路況譯。台北:遠流出版社,1996。
Baudrillard, Jean。《擬仿物與擬像》(Simulacres et Simulation)。洪凌譯。台北:時報出版公司,1998。
Bell, Daniel。《後工業社會的來臨》(The Coming of Post-Industrial Society)。台北:桂冠圖書公司,1995。
Benjamin, Walter。《迎向靈光消失的年代》。許綺玲譯。台北:臺灣攝影工作室,1998。
Best, Steven and Kellner, Douglas。《後現代理論─批判的質疑》(Postmodern Theory: Critical Interrogation)。朱元鴻等譯。台北:巨流出版社,1996。
Briggs, John and Peat, David F. 。《渾沌魔鏡》(Turbulent Mirror)。王彥文譯。台北:牛頓出版社,1995。
Burger, Peter。《前衛藝術理論》(Theorie der Avantgarde)。蔡佩君、徐明松譯。台北:時報出版社,1997。
Cassirer, Ernst。《國家的神話》(The Myth of the State)。范進等譯。台北:桂冠圖書公司,1994。
Chalumeau, Jean-Luc。《藝術解讀》(Lectures de L’Art)。王玉齡、黃海鳴譯。遠流出版社,1996。
Connor, Steven。《後現代文化導論》(Postmodernist Culture)。唐維敏譯。台北:五南圖書出版公司,1999。
Damus, Martin。《造型藝術在資本主義的功能》(Funktionen der Bildenden Kunst im Spatkapitalismus)。吳瑪俐譯。台北:遠流出版社,1996。
Crane, Diana。《前衛藝術的轉型》(The Transformation of the Avant-garde: The New York Art World,1940-1984)。張心龍譯。台北:遠流出版社,1996。
Eagleton,Terry。《文學理論導讀》(Literary Theory: An Introduction)。吳新發譯。台北:書林出版社,1993。
Focillon, Henri。《造形的生命》(The Life of Form in Art)。吳玉成譯。台北:傑出出版社,1993。
Foster, Hal主編。《反美學》(The Anti-Aesthetic)。呂健忠譯。台北:立緒出版社,1998。
Freud, Sigmund。《精神分析引論、精神分析新論》(Vorlesungen zur Einfuhrung in die Psychoanalyse. Neue Folge der Vorlesungen zur Einfuhrung in die Psychoanalyse)。葉頌壽譯。台北:志文出版社,1993。
Fukuyama, Francis。《歷史之終結與最後一人》(The End of History and the Last Man)。李永熾譯。台北:時報出版社,1993。
Gablik, Suzi。《現代主義失敗了嗎?》(Has Modernism Failed?)。滕立平譯。台北:遠流出版社,1995。
Darley、Glucksberg、Kinchla。《心裡學概論》(Psychology)。楊語芸譯。台北:桂冠圖書公司,1995。
Galbraith, John Kenneth。《自滿年代》(The Culture of Contentment)。楊麗君、王加源譯。台北:時報出版社,1992。
Gleik, James。《混沌︰不測風雲的背後》(Chaos: Making a New Science),林和譯。台北︰天下文化出版社,1998。
Halal, William E.。《新資本主義》(New Capitalism)。馮韻文、黃育馥譯。北京:北京社會學文獻出版社,1991。
Hamilton, Edith。《希臘羅馬神話故事》(Mythology)。宋碧雲譯。台北:志文出版社,1990。
Hokeheimer, Max and Adorno, Theodor。《啟蒙辨證法》(Dialektik der Aufklarung)。洪佩郁等譯。重慶:重慶出版社,1990。
Huges, Robert。〈對大衛‧沙勒的懷疑 〉。紀倫‧薄譯。 《雄獅美術》第245期,1991年7月,頁131-133。
James, Jall。《葛蘭西》(A. Gramsci)。石智青校閱。台北:桂冠圖書公司,1994。
Jameson, Fredric。《後現代主義與文化理論》。唐小兵譯。台北:合志文化公司,1989。
──。《馬克思主義:後冷戰時代的思索》。張京媛譯。香港:牛津大學出版社,1994。
Jay, Martin。《阿多諾》(T. Adorno)。李健鴻校閱。台北:桂冠圖書公司,1989。
──。《法蘭克福學派史》(The Dialectical Imagination: A History of Frankfur School and the Institute of social Research)。單世聯譯。廣東:廣東人民出版社,1996。
Jung, Carl Gustav。《分析心理學-集體的無意識》(Analytical Psychology)。鴻鈞譯。台北:結構群出版社,1990。
Kandisky, Wassaly。《藝術的精神性》(Uber das Geistige in der Kunst)。吳瑪琍譯。台北:藝術家出版社,1985。
Krieger, Murray。《批評旅途:六十年代之後》。李自修等譯。北京:中國社會科學出版社,1998。
Langer, Susanne。《情感與形式》(Feeling and Form)。劉大基等譯。台北:商鼎文化出版社,1991。
Lucie-Smith, Edward。《西方當代美術》(Art Today: From Abstract Expressionism to superrealism)。柴小剛等譯。南京:江蘇美術出版社,1995。
Madoff, Steven Henry。《繪畫中的後現代主義》。羅青譯。台北:徐氏基金會出版,1989。
Naisbitt, John and Aburdence, Patricia。《2000年大趨勢》(Megatrends 2000),軍事科學外國軍事研究部譯。河北:中共中央黨部出版社,1990。
Oliva, Achille Bonito。〈大都會藝術 〉。吳瑪琍譯。《雄獅美術》第 258期,1992年8月,頁29-35。
──等。《國際超前衛》(Transavantgarde international)。陳國強等譯。台北:遠流出版社,1996。
Pivĉević, Edo。《胡賽爾與現象學》(Husserl and Phenomenology)。廖仁義譯。二版。台北︰桂冠出版社,1997。
Poggioli, Renato。《前衛藝術的理論》(Theorie dell’arte d’avanguardian)。張心龍譯。台北:遠流出版社,1996。
Ritzer, George。《社會學理論》(Sociological Theory)。馬康莊、陳信木譯。台北:巨流圖書公司,1992。
Rober, Bocock。《消費》(Consumption)。張君玫、黃鵬仁譯。台北:巨流圖書公司,1997。
Russell, John。《現代藝術的意義》(Significance of Modern Art)。陳世懷等譯。南京:江蘇美術出版社,1998。
Schilling, Jurgen。《行動藝術》(Aktionst: Identitat von Kunst und Leben? Eine Dokumentation)。吳瑪俐譯。台北:遠流出版社,1993。
Siegel, Jeanne。《藝聞錄:六、七0年代藝術對話》 (Artwords 1: Discourse on the 60s and 70s)。林淑琴譯。台北:遠流出版社,1996。
──編。《藝聞錄:八0年代早期藝術對話》(Artwords 2: Discourse on the Early 80s)。王元貞譯。台北:遠流出版社,1996。
Smart, Barry。《後現代性》(Postmodernity)。李衣雲等譯。台北:巨流圖書公司,1998。
Soros, George。《全球資本主義危機》(The Crisis of Global Capitalism)。聯合報編譯組譯。台北:聯經出版社,1998。
王川岳、尚水編譯。《後現代主義文化與美學》。北京:北京大學出版社,1993。
伍啟元。《美國世紀》 。台北:臺灣商務印書館,1994。
朱立民主編。《現代西方美學史》。台北:淑馨出版社,1997。
李幼蒸。《欲望倫理學》。嘉義:南華管理學院,1998。
──。《結構與意義-現代西方哲學論集》。台北:聯經出版社,1994。
杜聲鋒。《拉康結構主精神分析學》。台北:遠流出版社,1997。
林鍾沂。《公共事務的設計與執行》。台北:幼獅出版社,1992。
周憲。〈文化的分化與去分化〉。《文藝研究》第五期,1997年,頁23-36。
南方朔。《憤怒之愛-六0年代美國學生運動》。台北:久大文化公司,1991。
倪再沁。《台灣當代美術初探》。台北:皇冠文學出版社,1993。
陸蓉之。《後現代的藝術現象》。台北:藝術家出版社,1990。
陳文郎。〈雷根政府經濟政策之回顧與檢討〉。《美國月刊》第三卷第十期,1989年2月,頁29-35。
陳國強等。〈前衛-超前衛:他們怎麼說 奧利瓦來台座談實錄〉。《雄獅美術》,第255期,1992年5月,頁80-91。
陳傳興。《憂鬱文件》。台北:雄獅圖書公司,1992。
盛寧。《二十世紀美國文論》。台北:淑馨出版社,1994。
傅偉勳。《西洋哲學史》。台北:三民書局,1994。
楊小濱。《否定的美學》。台北:麥田出版社,1995。
楊逢泰。〈雷根總統的外交政策〉。《美國月刊》第三卷第十期,1989年2月,頁4-19。
蔡錚雲。《從現象學到後現代》。台北:唐山出版社,1995。
羅貴祥。《德勒茲》。台北:東大圖書公司,1997。
謝東山。《當代藝術批評的疆界》。台北:帝門藝術教育基金會,1996。
QRCODE
 
 
 
 
 
                                                                                                                                                                                                                                                                                                                                                                                                               
第一頁 上一頁 下一頁 最後一頁 top