| 摘要(英) |
American artist Miriam Schapiro (1923-) began her work within the style of abstract Expressionism which led to a long-lasting career that finds its roots deep in Modernist art. As decoration was a highlighted topic of debate at both the rise and decline of Modernism, this thesis mainly focuses on Schapiro’s practice of decorative art in the 1970’s, a form of art she coins as ‘Femmage’. Femmage, as a term putting together of ‘female’ and ‘image’ that finds its origin in the feminist artistic movement, denotes art works made out of decorative objects in the daily lives of women. As a strategy for feminine identification and a means to empower women with speech, Femmage is in resistance to traditional art institutions in their negligence of the other. In the later Pattern and Decoration Movement, which employs decoration directly as its subject of art-making, the visually resplendent Femmage is used to counter and expand the somber frames trimmed down by Minimalism. In this act of publicly displaying the practicality of decoration and elevating its values, the orthodox conventions of the art world perpetuating hierarchy are also interrogated. Femmage, in its attempt to subvert modernist values, is thus of high political implication.Although it may appear as if Femmage marks a turning point of Schapiro’s career, it is the intent of this thesis to argue for a continuity between Femmage and the artist’s overall career. That is, with an emphasis placed on the artist’s embodiment of Modernism as well as her condition of co-existence with contemporary art institutions, a relationship can be traced from the stages of her career to her engagement with Femmage that would render consistency in what may initially be taken as rupture. Furthermore, beyond the subversiveness inherent in both movements, the art historical context embedded in Femmage will be identified from the perspective of decoration.First, the intertwining relationship between decoration and modernism will be delineated. Even though modernism deems decoration as trivial and lacking meaning, a thorough observation of abstractionism will reveal that it is rich with decorative elements. This thesis will prove that decoration and abstractionism indeed share common grounds at their early stages of development and discuss how this close relationship later diverged into two distinct styles. In addition, with the engagement of decoration with social life and the employment of the technique of collage, Femmage will be traced to avant-garde art since dadaism and surrealism. Finally, through the lens of the art criticism’s popular concept of appropriation by since the 1980’s and the visually pleasure and the political significance of decoration, a revisit of Femmage will conclude this thesis in locating possible exits of contemporary art practice opened up by Femmage.
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| 參考文獻 |
英文書目
Abruzzo, Emily. Solomon, Jonathan D. eds. Decoration. New York: 306090, Inc, 2006.
Brett, David. Rethinking Decoration: Pleasure & Ideology in the Visual Arts. New York: Cambridge University Press, 2005.
Broude, Norma. Garrard, Mary D. eds. The Power of Feminist Art: The American Movement of the 1970s, History and Impact. New York: H.N. Abrams, 1994.
Bürger, Peter. Theory of the avant-garde, trans. Michael Shaw. Minneapolis : University of Minnesota Press, 1984.
Burgin, Victor. In/Different Spaces Place and Memory in Visual Culture. Berkeley: University of California Press, 1996.
Crimp, Douglas. On the Museum’s Ruins. Cambridge, Mass : MIT Press,1993.
Evans, Dylan. An Introductory Dictionary of Lacanian Psychoanalysis. London: Routledge, 1996.
Evens, David. ed. Appropriation. London: MIT, 2009
Foster, Hal. Ed. The Anti-Aesthetic: Essay on Postmodern Culture. Seattle: Bay Press, 1983.
Fuss Diana. Essentially speaking : feminism, nature & difference. New York : Routledge, 1989.
Gombrich, Ernst. The Sense of Order: A Study in the Psychology of Decorative Art. The Wrightsman lectures, v. 9. Oxford : Phaidon, 1979.
Gouma-Peterson, Thalia. ed. Miriam Schapiro, a Retrospective, 1953-1980. Wooster, Ohio: College of Wooster, 1980.
Gouma-Peterson, Thalia. Miriam Schapiro: Shaping the Fragments of Art and Life. New York: Harry N. Abrams Publishers, 1999.
Greenberg, Clement. Art and Culture; Critical Essays. Boston: Beacon Press, 1961.
Harrison, Charles, and Paul Wood, eds. Art in Theory 1900-1990 An Anthology of Changing Ideas. Oxford: Blackwell Publishers,1992.
Huyssen, Andreas. After The Great Divide. Bloomington: Indiana University Press, 1986.
James, Trilling. Ornament: A Modern Perspective. Seattle: University of Washington Press, 2003.
Morgan, Robert C. ed. Clement Greenberg Late Writings. Minneapolis: University of Minnesota Press, 2003.
Nelson, Robert S. and Richard Shiff, eds. Critical Terms for Art History. Chicago: University of Chicago Press, 2003.
Oliver, Kelly. ed. The Portable Kristeva. New York: Columbia University Press, 1997.
Phelan, Peggy. and Helena Reckitt. Art and Feminism. London ; New York, NY : Phaidon, 2001.
Robinson, Hilary. Feminism Art Theory: an anthology, 1968-2000. Blackwell Publisher Ltd, 2001.
Rose, Jacqueline. Feminine Sexuality: Jacques Lacan and the école freudienne.New York: W.W. Norton, 1985.
Sandler, Irving. Art of The Postmodern Era: From the Late 1960s to the Early 1990s. New York: IconEditions, 1996.
Schapiro, Miriam. Femmages 1971-1985. Missouri: Brentwood Gallery, 1985.
Schapiro, Miriam. Miriam Schapiro Works on Paper A Thirty Year Retrospective. Topeka, Kan: Tuscon Museum of Art, 1985.
Snodin, Michael. and Maurice Howard. Ornament: A Social History Since 1450. New Haven: Yale University Press, 1996)
Swartz, Anna, ed. Pattern and Decoration: An Ideal Vision in America Art, 1975-1985. Yonkers, N.Y.: Hudson River Museum, 2007.
Wallis, Brian. ed. Art After Modernism: Rethinking Representation. New York : New Museum of Contemporary Art, 1984.
期刊論文
Alloway. Lawrence. “Woman’s Art in Seventies.” Art in America 64.3 (May/June, 1976):64-72
Auther, Ellisa. “The Decorative, Abstraction, and the Hierarchy of Art and Craft in he Art Criticism of Greenberg.” Oxford Art Journal 27. 3 (2004):339-346
Bradley, Paula. Miriam Schapiro: The Feminist Transformation of an Avant-Garde Artist. PhD. dissertation , University of North Carolina at Chapel Hill, 1983
Crowther, Paul. “More Than Ornament: The Significance of Riegl.” Art History 17 (September, 1994):482-494
Delamater, John D. and Janet Shibley Hyde, “Essentialism vs. Social Constructionism in the Study of Human Sexuality.” The Journal of Sex Research 15. 1 (1998):10-18
Foster, Hal. “What is Neo about the Neo-Avant-Garde?” October 70 (Autumn, 1994):5-32
Foster, Hal. “Wild Signs: The Breakup of the Sign in Seventies' Art.” Social Text 21 (1989):251-268
Fu, Chia-Wen Lien(傅嘉琿) . The Body Politics of Decoration and Handicraft: Re-visioning 1970s Feminist Art, Ph.D. dissertation, The City University of New York, 2002.
Gouma-Peterson, Thalia. “Miriam Schapiro: An Art of Becoming.” American Art, 11.1(Spring, 1997):10-45
Gouma-Peterson, Thalia. and Patricia Mathews, “The Feminist Critique of Art History.” Art Bulletin,69.3 (1987):326-357
Gusevich, Miriam. “Decoration and Decorum, Adolf Loos's Critique of Kitsch.” New German Critique, 43.Special Issue on Austria (Winter,1988):97-123
Harper, Paula. “The First Feminist Art Program: A View from the 1980s.” Signs 10.4 (Sum, 1985):762-781
Lippard, Lucy R. “Sweeping Exchanges: The Contribution of Feminism to the Art of the 1970s.” Art Journal 40.1/2 (Autumn-Winter, 1980):362-365
Nemser, Cindy. “The Woman Artist’s Movement.” Art Education 28.7 (Nov, 1975):18-22
Schapiro, Miriam. “The Education of Woman as Artist: Project Womanhouse.” Art Journal, 31.3 (1972):268-270
中文書目
Bürger, Peter，蔡美君、徐明松譯，《前衛藝術理論》，台北市：時報文化，1998。
Crane, Diana，張心龍譯，《前衛藝術的轉型》，台北市：遠流，1996。
Danto, Arthur C.，林雅琪、鄭慧雯，《在藝術終結之後-當代藝術與歷史藩籬》，台北：麥田，2004。
Gombrich, Ernst，范景中等譯，《秩序感》，長沙：湖南科學技術，2006。
Kester, Grant H.，吳瑪悧等譯，《對話性創作：現代藝術中的社群與溝通》，台北市：遠流，2006。
陳平，《里格爾與藝術科學》，杭州：中國美術學院，2001。
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