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研究生:江宜靜
研究生(外文):Yi-Ching Chiang
論文名稱:傑斯伯‧瓊斯藝術的研究
指導教授:王哲雄王哲雄引用關係
學位類別:碩士
校院名稱:臺北市立師範學院
系所名稱:視覺藝術研究所
學門:藝術學門
學類:視覺藝術學類
論文種類:學術論文
論文出版年:2001
畢業學年度:89
語文別:中文
論文頁數:225
中文關鍵詞:瓊斯抽象表現主義普普藝術新達達
外文關鍵詞:JohnsAbstract ExpressionismPop ArtNeo-Dadaism
相關次數:
  • 被引用被引用:3
  • 點閱點閱:1280
  • 評分評分:
  • 下載下載:77
  • 收藏至我的研究室書目清單書目收藏:5
中文摘要
關鍵字詞:瓊斯、抽象表現主義、普普藝術、新達達
傑斯伯‧瓊斯,以大眾所熟悉的事物,如:美國國旗、箭靶、數字或字母等為創作題材,不停的變化主題並擴展到他的創作生涯中,日常生活所見的物件因為瓊斯而被賦予不同層次的意義,瓊斯將一件普通的實物從社會、經濟和功能性中轉移出來,使之成為一件藝術品。瓊斯總是藉著他的作品,不斷地向觀眾提出疑問,他著名的國旗畫作便引起這樣的爭議,「這是一面國旗,還是一幅畫?」。瓊斯的作品傳達出這種矛盾性,而這種矛盾性存在於真實物體和藝術之間。而這種矛盾性也同時存在於他的雕塑作品之中,一個咖啡罐、一罐啤酒罐和一只電燈泡、手電筒,都造成觀眾面對作品產生焦慮,這些焦慮之物,造成一種緊張和混亂的情況。
瓊斯在一九五○年至一九六○年的藝術發展史上,扮演一個關鍵性的角色,當抽象表現主義依舊盛行之際,瓊斯開始描述物體的主體,利用這些物體在內容、形式和畫面上的肌理創造出抽象的繪畫,他利用抽象表現主義的技巧,卻捨棄它的超卓,利用大眾眾所皆知的主題,接近普普藝術,卻不應用普普的技巧,成為抽象表現主義和普普藝術之間重要的橋樑,也就是新達達。
Abstract
Keywords: Johns、Abstract Expressionism、Pop Art、Neo-DaDa
By adopting things that everybody are familiar with like: American Flag, target, numbers or alphabets etc. as creative theme, Jasper Johns continuously changes the theme and expand his creative career. Objects seen in daily life have been given with meaning of different level because of Johns. Johns brings out an ordinary real article from the society, economics and its functions and transform it into a piece of art. Through his works, Johns can always raise questions on his viewers like his famous national flag that has induced this kind of disputes, 「This is a flag, or it is a painting?」. Johns’ work can transmit this kind of contradiction that exists between real objects and art. At the same time, this kind of contradiction also exist in his sculptures that even just a coffee tin, a can of beer and a battery bulb and flashlight can generate anxiety on the viewers and thereby these anxious matters can cause a kind of tension and confusion.
In the art development history from 1950 to 1960, Johns played a key role. When Abstract Expressionism was still popular, Johns started to describe the subject of the object and by means of these and in its contents, forms and general appearance of skin on the painting, he created these abstract paintings. He utilized the techniques of Abstract Expressionism but he abandoned its superiority and he made use of topics that everybody knew to approach Pop Art but instead he did not apply Pop Art. It became an important bridge between Abstract Expressionism and Pop Art and that is Neo-DaDa.
目 次
緒論
一、研究動機------------------------------------------------------------Ⅰ
二、研究目的------------------------------------------------------------Ⅱ
三、研究內容及本研究的方向------------------------------------------------------------Ⅱ
四、目前學界研究的概-況------------------------------------------------------------Ⅴ
五、研究方法------------------------------------------------------------Ⅵ
第一章 瓊斯的藝術形式之形成
第一節 童年生活與藝術的啟蒙------------------------------------------------------------1
第二節 瓊斯與羅森柏格-----------------------------------------------------------13
第三節 瓊斯和維根斯坦的學說-----------------------------------------------------------33
第二章 瓊斯畫作分析
第一節 美國國旗與箭靶------------------------------------------------------------45
第二節 數字及美國地圖------------------------------------------------------------59
第三節 交叉平行線風格-----------------------------------------------------------75
第四節 大型作品-----------------------------------------------------------86
第五節 四季-----------------------------------------------------------95
第三章 瓊斯的版畫作品和雕塑
第一節 版畫作品-----------------------------------------------------------104
第二節 雕塑作品-----------------------------------------------------------122
第四章 瓊斯的成就影響及評價
第一節 瓊斯對現代藝術的影響-----------------------------------------------------------141
第二節 藝評家對瓊斯的評論-----------------------------------------------------------146
結論---------------------------------------------------------154
年表---------------------------------------------------------159參考書目-----------------------------------------------------------177
人名索引-----------------------------------------------------------186
圖錄---------------------------------------------------------192
圖版---------------------------------------------------------199
參考書目
一、 西文部份
(一) 專論書籍
Bertozzi, B. (1996).“The Seasons”Jasper Johns. Italy: Edizioni Charta.
Bernstein, R. (1992). Japer Johns. Rizzoli.
Bernstein, R. (1985). Jasper Johns’ painting and sculptures 1954-1974 : ‘The changing focus of the eye.Ann Arbor,Mich.: UMI Research.
Boudaille, G. (1989). Jasper Johns. New York: Rizzoli.
Castelli, L. (1997). Jasper Johns. New York: Universe.
Castleman, R. (1986). Jasper Johns: A print retrospective. New York: The Museum of Modern Art.
Crichton, M. (1977). Jasper Johns. New York: Abrams.
Feinstein, R.(1990).Random order: The first fifteen years of Robert Rauschenberg’s art , 1949-1964(New York University,1990).Dissertation Abstracts International,51.
Francis, R. (1984). Jasper Johns. New York: Abbeville Press.
Gilbert-Rolfe, J. (1992). Jasper Johns, Brice Marden, Terry Winters Drawings. Los Angeles: Margo Leavin Gallery.
Johnston, J. (1996). Jasper Johns: Privileged information. London: Thames and Hudson.
Katz, J. D. (1996). Opposition, Inc: The Homosexualization of postwar American art. (Northwestern University,1995) Dissertation Abstracts International, 56.
Kozloff, M. (1972). Jasper Johns. New York: Abrams.
Maria, F.J. (1996). Johns. New York: Harry N. Abrams.
Nauman, F. M. (1992). Jasper Johns: According to what with watchman. New York: Gagosian Gallery.
Rosenthal,N., Fine ,R. E., Prather, M. & Zorn, A.M. (1990).The Drawing of Jasper Johns. Washington: National Gallery of Art.
Orton, F. (1996). Figuring Jasper Johns. Cambridge: Harvard University.
Solomon, A. R. (1964). Jasper Johns. New York: The Jewish Museum.
Rosenthal, M. (1990). Jasper Johns work since 1974. New York: Thames and Hudson.
Sylvester, D. (1996). Jasper Johns Flags 1955-1994.London: Anthony d’Offay Gallery.
Varnedoe, K. &Berstein, R. (1996). Jasper Johns: A retrospective. New York: The Museum of Modern Art.
Varnedoe, K. (1996). Jasper Johns: Writing, sketchbook notes, interviews. New York: The Museum of Modern Art.
Yau, J. (1996). The United States of Jasper Johns. Cambridge: Zoland Books.
(二) 相關書籍
Alloway, L. (1974). American Pop art. New York: Whitney Museum of American Art.
Archer, M. (1997) .Art since 1960. New York: Thames and Hudson.
Arnason, H.H. (1986). A history of modern art. Third edition. London: Thames and Hudson.
Castman, R. (1988). Prints of the 20th century. New York: Thames and Hudson.
Charwick, W. & De Courtivron, I. (1996) Significant Others: Creativity & Intimate Partnership. Slovenia: Thames and Hudson.
Crane, D. (1987). The transformation of the Avant-Garde: The New York art world,1940-1985.Chicago:The University of Chicago.
Crow, T. (1996). The Rise of the Sixties: American and European Art in the Era of Dissent1955-1959. London, Calmann and King Ltd.
Docker, J. (1994). Postmodernism and popular culture. New York: Cambridge
Harrison, C. & Wood, P.ed. (1992). Art in theory 1900-1990: An anthology of changing ideas. Cambridge: Blackwell.
Hoffman, K.(1991). Explorations: The visual arts since 1945.New York: Harper & Row.
Johnston, Ellen H. (1982) American artists on Art from 1940-1980.New York: Harper & Row.
Lippard, Lucy R.﹙ed﹚﹙1966﹚Pop Art. New York: Thames and Hudson INC.
Livingstone, M. (1990). Pop Art: A continuing history. New York: Harry N. Abrams.
Lynton, N. (1989). The story of modern art. London: Phaidon.
Marshall, R. & Mapplethorpe, R.(1986). 50 NEW YORK artists a critical sellection of painters and sculptors worning. San Francisco:Chronicle Books.
Osborne H. ed. (1984). The Oxford companion to twentieth-century art. New York: Oxford University.
Osterwold,T.(1991).Pop art. Cologne: Benedict Taschen.
Rosenberg, Harold. (1982). The anxious object. The University of Chicago Press, U.S.A.
Scheps, M.(1966). 20th century art museum ludwig cologne. Italy:Taschen.
Schmalenbach, W.(1990).Mastrpieces of 20th-century art : From the Kunstsammlung Nordrhein-estfalen,Dusseldorf. Munich: Prestel-Verlag.
Smith, Edward- L. (1989). Art today. Oxford: Phaidon Press Limited.
ˍ. (1995). Movements in art since 1945. London: Thames and Hudson.
Stagos, N.(1995).Concepts of modern art from Fauvism to Postmodernism. London: Thames and Hudson.
Steinberg, L. (1972). Contemporary art and the plight of its public, Other Criteria: Confrontations with Twentieth Century Art. New York: Oxford University.
Stern, D.G. (1995). Wittgenstein on mind and language. New York: Oxford University.
Stich, S. (1987). Made in U.S.A.: An Americanization in modern art, the ‘50s & ‘60s.Berkekey,Calif.: University of California Press.
Sylvester, D. (1997). About modern art critical essays 1948-1997.New York: Pimlico.
Tomkins, C. (1981) Off the Wall: Robert Rauschenberg and the Art World of Our Time, New York: Penguin Books.
Wittgenstein, L. (1970). Zettel. Anscombe G.E.M. & Von
Wright.G.H. Calif.: University of California Press.
(三) 期刊
Baker, K. (1996). San Francisco gets Anderson prints.Art News,95,60.
Barnes,C.(1991).Travels Along the Dialectic. Art Journal, 50, 26-32.
Bowman, R.(1985).Words and Images :a Persistent Paradox. Art Journal, 45,335-343.
Castelli,L.(1987).Jasper Johns. Artforum, 25 ,142.
Danto,C. (1997).Jasper Johns. The Nation, 264,32-35.
Duncan, M. (1993). Painterly Pop. Art in America, 81,86-89.
Esterow, M. (1993).The Second Time Around.Art News,92,148-153.
Fairfield, P. (1964). The Education of Jasper Johns. Art News,62, 44.
Feinstein, R. (1997). Jasper Johns: The Examined Life. Art in America, 85, 78-88.
Gardner, P. (1993). Leo and Jasper: Still on Target. Art News,92, 40.
Goldman,J.(1994,September).Jasper Johns Seeing Becomes Feeling. Art News, 87
Heartney, E. (1991). Reviews. Art News.90,145-146.
Hindry,A.(1989). Conversation with Jasper Johns. Artstudio, 12.
Hirsch F. (1990). Master of the reflected life: the allegories of Jasper Johns. Arts Magazine, 65, 38-41
Hirsch, (1991,May).Jasper Johns. Arts Magazine, 65, 77.
Hughes, R. (1996). Behind the Sacred Aura. Time, 148,76-78.
—JH(1996).Jasper Johns. Artforum, 35,121.
Johnson, J. (1988).Jasper Johns ,Artful Dodging. Art News,87, 156-159.
Johnson, J. (1991). Trafficking With X. Art in America,79,103-111.
Kent ,S.(1990).Jasper Johns:Strokes of Genius. Time Out,15
Koestenbaum, W.(1994).Jasper Johns :In memory of my feelings-Frank O’Hara,1961. Artforum,32,75,119.
Krauss, R. E Kight, C.(1996).Split decisions: Jasper Johns in retrospect. Artforum,32,79-85.
Kuspit , D.(1990).Jasper Johns. Artforum,28,143-144.
Larson, K. (1996). Trying to escape from himself. Art News,95,110-112.
Perl,J.(1996).Flag burning. The News Republic,215,42.
Plagens, P.(1996).Really Round the Flag, Boys. Newsweek,128, 72-73.
Ratcliff , C.(1994).Jackson Pollock & American Painting’s Whitmanesque Episode.Art in America,82,64-69.
Rimanelli,D.(1991).Jasper Johns. Artforum,29,141-142.
Rubinstein,R.(1995).Full Circle. Art in America, 83,108-109.
Scott, S.(1993,April).It Started with a Flag. Art News, 127.
Sheets, Hilarie M.(1994,November).Johns Re-viewed. Art News,104.
Shiff,R.(1991).Constructing Physicality. Art Journal,50,42-47.
Stevens,M.(1996).Signs of the Times.New York,29, 131-132.
Stuckey, C. (1997).Johns: Hidden & Revealed. Art in America, 85, 33-39.
Swenson G.H. (1963).What is Pop Art? Art News,62, 43.
Sylvester, D. (1997).Shots at a Moving Target. Art in America, 85,
91-97.
Tallman, S.(1990).Jasper Johns. Arts Magazine,65,17-18.
Tomkins, C. (1996).The Changing Picture. The New Yorker , 72,120-123.
Wechsler, J. (1993). Illustracting Samuel Beckett: the issue of the supererogatory. Art Journal, 52,33-40.
Welish, M. (1991).When Is a Door Not a Door? Art Journal, 50,48-51.
Worth, A. (1996).Jasper Johns.Art News,95,121.
Yau, J.(1989).The Phoenix of the Self. Artforum, 27,145-151.
Yau, J. (1989).Jasper Johns. Artforum,27,145-151.
Zimmer, W. (1989).Gagosian Gallery, NewYork: exhibit. Art News, 88,157.
(四)視聽媒體資料
De Antonio (1972).PAINTERS PAINTING the New York art scene 1940-1970 [film].(Mystic Fire Video, Inc. PO Box 422,Prince Street Station, New York).
Tejada-Fflores,Rick(1992).Jasper Johns: Ideas in Paint [film]. (WHYY ,Inc. Productions and WNET,New York).
二、中文部份
(一) 相關書籍
王玉齡、黃海鳴譯,夏綠莫著(Jean-Luc Chalumeau,1996)。藝術解讀(初版)。台北市:遠流。(原著出版:1991年)
尚志英譯,維根斯坦著(Luduing wittgenstein,1995)。哲學研究。台北市:桂冠。
林淑琴譯,珍‧席格爾著(Jeanne Siegel,1996)。藝聞錄:六、七0年代藝術對話。(初版)。台北市:遠流。(原著出版:1988年)
徐洵蔚、鄭湛譯,保羅‧泰勒著(Paul Taylor,1996)。後普普藝術。(初版)。台北市:遠流。(原著出版:1989年)
許綬南譯,大衛‧柏納著(David Burner,1998)。六0年代。(初版)。台北市:麥田。(原著出版:1996年)
許靜月(1998)。杜象與觀眾─邁向接受理論。視覺藝術新展望。臺北市立師範學院視覺藝術研究所。
郭昭蘭(1996)。羅森柏格的串連繪畫及其後續之研究藝術與生活的結合。國立台灣師範大學美術研究所。
傅嘉琿譯,伊迪‧沃爾夫朗(Eddie Wolfram,1992)。拼貼藝術之歷史。(初版)台北市:遠流。(原著出版:1975年)
趙敦華(1988)。維特根斯坦。台北市:遠流。
鄧元忠(1995)。西洋現代文化史。台北市:五南。
鄭凱文(1997)。語言與世界之間的關係─一個維根斯坦《邏輯哲學推論》的詮釋。國立中央大學哲學研究所。
劉福增(1987)。維根斯坦哲學:他的前期哲學的詮釋、批判和深究。台北市:劉福增。
劉福增譯,羅伯特‧福吉林著(Robert J. Fogelin,1994)。維根斯坦。(初版)。台北市:國立編譯館。(原著出版:1987年)
廖修平(1985)。版畫藝術。台北市:雄獅。
(二) 期刊
方振寧(民86.08)。美國現代美術巨匠:傑士伯‧瓊斯(Jasper Johns)─四十年的軌跡。藝術家,267期,頁210-234。
陳文祥(民80.12)。看賈斯陪˙瓊斯(Jasper Johns)的素描─兼談素描的定義問題。現代美術,39期。頁27-31。
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