愛德華多．包洛奇Bunk系列作研究;Eduardo Paolozzi′s Bunk Series

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題名:	愛德華多．包洛奇Bunk系列作研究;Eduardo Paolozzi′s Bunk Series
作者:	馬千棣;Ma,Chien-ti
貢獻者:	藝術學研究所
關鍵詞:	愛德華多‧包洛奇;版畫系列;拼貼;英國;獨立團體;藝術與生活的並行;這就是明天;阿洛威;新寫實主義;粗獷主義;普普藝術;英國普普;歐洲普普;1950年代;大眾文化;前衛;新前衛;媚俗;複製;原件;原創性;藝術世界;Eduardo Paolozzi;Bunk;prints;print series;collage;the UK;Independent Group;Parallel of Life and Art;This is Tomorrow;Lawrence Alloway;New Realism;Brutalism;Pop Art;British Pop Art;Euro pop;1950s;popular culture;Avant-Garde;Neo-Avant-Garde;Kitsch;reproduce;reproduction;originals;originality;artworld
日期:	2014-08-28
上傳時間:	2014-10-15 17:22:53 (UTC+8)
出版者:	國立中央大學
摘要:	蘇格蘭藝術家愛德華多‧包洛奇（Sir Eduardo Luigi Paolozzi,1924-2005）作為50年代倫敦藝術圈獨立團體（Independent Group）中的要員，對普普藝術發展有深遠的影響。在1952年獨立團體成員的一場聚會中，包洛奇以幻燈片形式呈現了他自1947年以來的剪貼簿圖像蒐藏，圖像內容包括剪貼簿插圖、漫畫、明信片、雜誌、廣告等大眾文化圖像拼貼。這些圖像的展示引發了獨立團體成員們的議論，並被視為是最早的普普藝術先驅之一。包洛奇在1972年以絹印、平版、照相平版、拼貼等技法將這批拼貼圖像重製為版畫系列作，命名為Bunk。本文首先從藝術家本人與獨立團體的重要展覽和團體成員們的藝術觀著手，探究英國普普與Bunk出現的背景、成因。其次，從Bunk由50年代到70年代的發展脈絡，試析Bunk的再製過程與丹托(Arthur Danto,1924-2013)所言藝術世界中藝術理論的氛圍、藝術歷史之間可能的關連與影響。最後，以前衛與大眾文化相關論述，探討藝術家本人的藝術觀點，並進一步討論Bunk關於原創性、複製性的問題。Bunk本身的作品歷史猶如在時空中延續伸展的文本，同時也是普普藝術家所致力藝術與生活的連結的起點，Bunk不僅是包洛奇的生活，也是包洛奇的藝術。 ;A significant member of Independent Group, Scottish artist Eduardo Paolozzi (1925-2005) greatly influenced the development of Pop Art. Having kept a scrapbook of images since 1947, he reproduced the pages for viewing during a lecture to the Independent Group in 1952. He presented slides of collages made from images of popular culture such as scrapbook images, fragments from comic books, postcards, magazines and advertisements. The presentation of these collage images sparked a controversial debate among the Group′s members; these images are now considered amongst the earliest forerunners of Pop Art. The artist reproduced these early images as print series using screen printing, lithography, photolithography and collage techniques in 1972, named Bunk. This dissertation starts from the points of view on art of Paolozzi and his Independent Group fellows, discussing the background of British Pop Art, also makes further analysis on artworld which Arthur Danto have put forward, including atmospheres of artistic theory, knowledge of the history of art through the developing context of Bunk from 1950s to 1970s. In addition, this dissertation focuses on Paolozzi’s creative ideas through several avant-garde and popular culture discourses as well as originality/reproducibility issues on Bunk. The history of the artistic enfranchisement of Bunk is just like a text extended in time and space, a milestone that pop artists have been endeavored to. Bunk is, so to speak, not only life but also art for Paolozzi.
顯示於類別:	[藝術學研究所 ] 博碩士論文

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