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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/69126


    Title: 再探現代主義: 以Sherrie Levine與Louise Lawler的攝影為例;Rethinking Modernism: Sherrie Levine and Louise Lawler’s Photography
    Authors: 趙健宏;Jhao,jian-hung
    Contributors: 藝術學研究所
    Keywords: 圖像世代;Sherrie Levine;Louise Lawler;攝影;現代主義;圖像;The Pictures Generation;Sherrie Levine;Louise Lawler;Photography;Modernism;pictures
    Date: 2015-07-21
    Issue Date: 2015-09-23 15:29:45 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 1977年評論家Douglas Crimp (1944-),策劃一場名叫《圖像》(Pictures)的展覽,確立了有別於現代主義的一種新傾向,並被視為後現代主義的先聲。這一群藝術家對於圖像有著一種全然不同的感知,所關心的不是圖像所描述的內容,而是圖像本身究竟是怎麼樣的一種事物。Sherrie Levine (1947-)是其中最為人所熟知的藝術家,她在1980年代翻拍了一系列藝術家的作品,除了對現代主義的「原創性」提出質疑外,同時也反映了當時藝術發展環境所產生的變革。與她同時期的藝術家Louise Lawler(1947-),則是利用攝影捕捉藝術品所在的情境脈絡,不只牽涉到藝術體制的批評,也包含藝術家作者身分、藝術生產分工等議題,同樣對現代主義概念提出質疑。

    通常人們第一眼會把Levine與Lawler的作品定調為不同的目的取向,但她們在部分創作理念與處理的議題是類似的,尤其對現代主義,皆抱持著一個質疑的態度。不僅如此,同樣面對在1980年代興起的新表現主義,Levine、Lawler基本上與這一群藝術家處於一種對立關係。有鑒於此,本文以Levine與Lawler在1980年代完成的攝影作品作為主要探討對象。首先,認識圖像藝術家興起的背景、創作理念與手法。第二章討論Levine的攝影,包含創作手法、理念,以及她如何針對現代主義原創性提出新詮釋。第三章則是討論Lawler的攝影,除了創作手法、理念外,Lawler如何對藝術品的脈絡與生產提出不同詮釋也是本章重點。本文除了要探究她們的作品與現代主義的關係外,也希望能更具體描繪出這一股在1980年代新興的藝術勢力。即使圖像藝術家在當時被藝評家視為與現代主義產生斷裂,以今日的角度來看,我們仍須對此看法抱持一種保留的態度,並視圖像世代藝術家的創作為對現代主義的擴充。;In 1977, art crtic Douglas Crimp (1944-) curated an exhibition named “Pictures,” establishing a new wave in contemporary art which is different from Modernism, and pioneering the tendency of Postmodernism. These artists have a whole new sense for pictures. They are not concerned with what pictures depict. All they care is what pictures are about. Sherrie Levine (1947-) is one of best-known artists among them. In the 1980s, she rephotographed a series of artists‟ works. She not only questioned Modernism‟s principle of “originality,” but also reflected on how the development of artisitic enviroment had changed. Her fellow artist Louise Lawler (1947-) used the camera to record the setting and context of art works. Besides institutional critique, Lawler‟s works also dealt with issues like artists‟ authorship, labor division in art production and questioned Modernism‟s concepts as Levine did.

    We may see Levine‟s and Lawler‟s works have different goals at the first glance, but parts of their artistic concepts and interested issues are similar. Especially they seem to have adopted a questioning attitude toward Modernism. Furthormore, facing Neo-expressionism arising in the 1980s, Levine and Lawler had an oppositional stance to these artists. Based on these common aspects, this thesis focuses on Levine‟s and Lawler‟s photography produced in the 1980s. The first chapter seeks to understand the Pictures Generation artists‟ formative background, creative concepts and production means. In chapter two, I discuss Levine‟s photography including her production approaches, creative concepts, and how she reinterpreted Modernism‟s principle of “originality.” In chapter three, I discuss Lawler‟s photography in terms of methods, creative concepts, and how she reinterpreted the context and production of art works. This thesis not only examines their works‟ relationship with Modernism but also aims to describe the rising force of the Pictures Generation in the 1980s more clearly. Though at that time art critics considered that Pictures artists had broken away from Modernism, from today‟s view, we need to question this opinion, and see the Pictures artists expanding Modernism‟s boundaries.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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