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姓名 姚建如(Chien-Ju Yao)  查詢紙本館藏   畢業系所 藝術學研究所
論文名稱 日常的反身與政治—安內‧梅莎潔1970年代藝術實踐
(The Everyday Reflection and Politics: Annette Messager’s Artistic Practice in the 1970s)
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摘要(中) 安內.梅莎潔(Annette Messager, 1943- )自1970年代初出藝壇至今創作不懈,她的作品跨越裝置、文件、攝影、繪畫、雕塑及織物等多元媒材,始終保有新穎的藝術活力,近年來更於世界各地舉行回顧展,成為法國當代舉足輕重的女性藝術家之代表。本論文聚焦在她早期1970年代的作品,主要為《寄宿生》(The Boarders, 1971-72)與《收集冊》(Collection Albums, 1971-1980),在此兩個重要系列中,梅莎潔捐棄先前學院所教授的傳統藝術途徑,選擇以生活中常見、簡樸的日常素材及形式進行創作,並且在陽剛標準主導的藝術領域中,有意識地投身於與自己切身相關的女性題材,這在1970年代法國與「日常」相關的文化政治,以及同代歐美女性藝術的勃興之脈絡下顯得別具意義。本論文的寫作目的與關注議題,即在於梅莎潔作品中所顯露的「日常性」(everydayness),亦即再現這些原被歸屬於家庭或私領域的瑣碎日常經驗,其作品虛實建構的特質,以及「女性氣質」(femininity)指涉與身分分化,於進入當時男性中心的藝術體制中所激發的提問與探究中,進一步形塑其1970年代藝術實踐中所蘊含的政治批判能量及個人娛嬉(playful)藝術型態。
摘要(英) Since the early 1970s, Annette Messager (1943- ) has long created works vigorously across multiple mediums such as installation, document, photography, painting, sculpture and hand knitting stuffs. Being a major contemporary French female artist, Messager has recently traveled around the world for her retrospective exhibitions, and received much more attention to her artistic achievements. This thesis will focus on art works that Messager created in the 1970s, mainly on her two representative series: The Boarders (1971-72) and Collection Albums (1971-1980), and illustrate her characteristic approach and the connotation holds within these works. In these works, Messager abandoned the traditional approach favoured by the academic instruction, and chose to use the common materials and object form in everyday life. Most significantly, she consciously dedicates herself to the feminine issues differentiated from masculine art canons. Thus, this thesis aims to address the significance of Annette Messager’s artistic practice in the 1970s by examining under the institutional context of the everyday cultural politics and 1970s women art revolution, for she exposes the daily experiences concerned women’s traditional domestic sphere in an intimate approach and fictional construction with the real fragments in popular life. Then, the thesis will further illustrate her idiosyncratic strategy of the division of identity which suggests helping herself for acquire more flexible expressive space in art establishments and interpret the playfulness within her art works.
關鍵字(中) ★ 法國女性主義
★ 娛嬉
★ 1970年代女性藝術
★ 日常政治
★ 身分
★ 女性氣質
★ 日常
★ 安內‧梅莎潔
關鍵字(英) ★ Annette Messager
★ everyday
★ femininity
★ identity
★ the politics of everyday life
★ 1970s women's art
★ playfulness
★ French feminism
論文目次 中文摘要………………………………………………………… i
英文摘要………………………………………………………… ii
誌辭……………………………………………………………… iii
目次……………………………………………………………… iv
緒論
研究動機與主旨…………………………………………… 1
文獻回顧…………………………………………………… 6
章節架構………………………………………………… 12
第一章 日常的私我轉作與政治隱喻
第一節 虛實建構的日常文件………………………… 14
第二節 私生活再現的日常政治……………………… 23
第二章 身分演練
第一節 「我」的遊戲:個人身分的喬扮與營設…… 32
第二節 「她」的生活:女性身分的離間與對演…… 40
第三章 融眾於私―共響與歧音………………………………… 46
結論………………………………………………………………… 63
參考書目 …………………………………………………………… 67
圖版……………………………………………………………………71
參考文獻 西文參考書目
Annette Messager: the messengers. Paris: Centre Pompidou, 2007.
Annette Messager [Exhibition catalog]. New York: The Museum of Modern Art, 1995.
Annette Messager: Faire Parade 1971-1995. Paris: Museé d’Art Moderne de la Ville de Paris, 1995.
Bernadac, Marie-Laure (ed. ). Annette Messager: Word for Word. New York: D. A. P. / Distributed Art Publishers, 2006.
Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 1990.
Caillois, Roger. Les jeux et les hommes. Paris: Gallimard, 1991, [1958].
Cottingham, Laura. Seeing through the Seventies: Essays on Feminism and Art. Amsterdam: G+B Arts Intentional, 2000.
Danto, Arthur C. Unnatural Wonders: Essays from the gap between art and life. New York: Farrar, Straus and Giroux, 2005.
DeRoo, Rebecca J. The Museum Establishment and Contemporary Art: The Politics of Artistic Display in France after 1968. New York: Cambridge University Press, 2006.
Elaine Marks and Isabelle de Courtivron (eds.). New French Feminisms: an Anthology. New York: Schocken Books, 1981.
Grenier, Catherine. Annette Messager. Paris: Flammarion, 2001.
Henry Madoff, Steven (ed.). Pop Art: a Critical History. Berkeley, California: University of California Press, 1997.
Highmore, Ben. Everyday Life and Cultural Theory: An Introduction. New York: Routledge, 2003.
Hutcheon, Linda. A Theory of Parody. New York: Routledge, 1985.
Johnstone, Stephen. The Everyday: Documents of Contemporary Art. Cambridge: the MIT Press, 2008.
Jones, Amelia (ed.). A Companion to Contemporary Art since 1945. Malden, MA ; Oxford : Blackwell Pub., 2006.
Laubier, Claire (ed.). The Condition of Women in France, 1945 to the Present: A Documentary Anthology. London: Routledge, 1990.
Lefebvre, Henri, translated by John Moore. Critique of Everyday Life: Volume 1. London: Verso, 1991 [1947/1958].
Lippard, Lucy R. From the Center: Feminist Essays on Women’s Art. New York: E. P. Dutton, 1976.
Mark, Lisa Gabrielle (ed.). WACK! Art and the Feminist Revolution. Cambridge, Mass.: The MIT Press, 2007.
Meskimmon, Marsha (ed.). Women Making Art: History, Subjectivity, Aesthetics. London and New York: Routledge, 2003.
Michael Newman and Jon Bird (eds.). Rewriting Conceptual Art. London: Reaktion Books Ltd, 1999.
Moore, Catrion (ed.). Dissonance: Feminism and the Arts 1970-90. NSW, Australia: Artspace, 1994.
Norma Broude and Mary D. Garrard (eds.). The Power of Feminist Art: the American Movement of the 1970s, History and Impact. New York: H. N. Abramas, 1994.
Robinson, Hilary (ed.). Feminism-Art-Theory : an Anthology, 1968-2000. Malden, Mass.: Blackwell Publishers, 2001.
Rozsika Paker and Griselda Pollock (eds.). Framing Feminism: Art and the Women’s Movement 1970-1985. London: Pandora Press, 1987.
Sandler, Irving. Art of the Postmodern Era: from the Late 1960s to the Early 1990s. Colorado: Westview Press, 1998.
Sheryl Conkelton and Carol S. Eliel (eds.). Annette Messager. New York : Museum of Modern Art ; London : Thames & Hudson [distributor], 1995.
Stimpson, Cathar. Where the Meanings Are: Feminism and Cultural Spaces. New York and London: Methuen, 1988.
Warr, Tracey (ed.). The Artist’s Body. London: Phaidon, 2000.
Winzen, Matthias. Deep Storage: Collecting, Storing and Achieving in Art. New York: Prestel, 1998.
西文期刊
Foray, Jean-Michel. “Annette Messager Collectionneuse d’histoires,” Art Press, no. 147, 1990.
Fredrickson, Laurel. “Memory and Projection in Annette Messager’s Early Work,” Art Criticism, Vol. 18, No. 2, 2003, pp. 36-64.
Hall, Stuart. “Ethnicity: Identity and Difference,” Radical America, Vol. 13, No. 4, June: 1991, pp. 9-20.
Langbauer, Laurie. “Cultural Studies and the Politics of the Everyday,” Diacritics, Vol. 22, No. 1, Spring: 1992, pp. 47-65.
Obrist, Hans-Ulrich. “Mind over Matter,” Artforum International, Vol. 35, November: 1996.
Pohlen, Annelie. “The Utopian Adventures of Annette Messager,” Artforum, Vol. 1, No. 29, September: 1990, pp. 111-116.
Rembert, Virginia Pitts. “Annette Messager,” Woman’s Art Journal, Vol. 17, No. 2, Autumn, 1996 – Winter, 1997.
Roger, Célestin (ed.). Beyond French Feminisms: Debates on women, Politics, and Culture in France, 1981-2001. New York: Palgrave Macmillan, 2003.
Rowlands, Penelope. “Art that Annoys,” ARTnews, October 1995, pp. 132-135.
Russell, John. “ART; Exploring Human Identity as a Hybrid of Hard Facts,” New York Times, October 15, 1995.
Troncy, Eric. “Annette Messager: From Statements on a Life of Mediocrity to the Wondrous Postulates of Fiction,” Flash Art, Vol. 24, No. 159, Summer: 1991, pp. 103-105.
論文
DeRoo Rebecca J. “Private objects, public institutions: French art and the reinvention of the museum, 1968—1978,” Ph. D. dissertation, The University of Chicago, 2000.
Bradford, Thomasine Haynes. “The relations of American and French feminism as seen in the art of Annette Messager,” Ph. D. dissertation, State University of New York at Stony Brook, 2000.
中文參考書目
Barthes, Roland著,許薔薔、許綺玲譯,《神話學》,台北:桂冠,1997。
Butler, Judith著,林郁庭譯,《性卅別惑亂―女性主義與身分顛覆》,台北:桂冠,2008。
Ducan, Carol著,王雅各譯,《文明化的儀式:公共美術館之內》,台北:遠流,1998。
Goffman, Erving著,《日常生活中的自我表演》,徐江敏、李姚軍譯,台北:桂冠,1999。
Huizinga, Johan著,多人譯,《遊戲的人》,杭州:中國美術學院出版社,1996。
Hutcheon, Linda著,劉自荃譯,《後現代主義的政治學》,台北:駱駝,1996。
Irigaray, Luce著,李金梅譯,《此性非一》,台北:桂冠,2005。
Isaak, Jo Anna著,陳淑珍譯,《女性笑聲的革命性力量:女性主義與當代藝術》,台北:遠流,2000。
Moi, Toril著,陳潔詩譯,《性別/文本政治:女性主義文學理論》,台北:駱駝,1995。
Pollock, Griselda著,陳香君譯,《視線與差異:陰柔氣質、女性主義與藝術歷史》,台北:遠流,2000。
Seven Best、Douglas Kellner著,朱元鴻等譯,《後現代理論:批判的質疑》,台北:巨流,1994。
顧燕翎主編,《女性主義理論與流派》,台北:女書文化,1996。
廖炳惠編著,《關鍵詞200:文學與批評研究的通用辭彙編》,台北:麥田,2003。
王德威著,《從劉鶚到王禎和》,台北:時報文化,1993。
紀蔚然,《現代戲劇敘事觀:建構與解構》,台北:書林,2007。
朱崇儀,〈性別與書寫的關連―談陰性書寫〉,《中興大學文史學報》,第30期,2000年6月,頁37-51。
劉瑞琪,〈迫切地追尋女性觀者:辛蒂.雪曼的《無題電影停格》系列〉,《女學學誌:婦女與性別研究》,第15期,2003年5月,頁153-194。
指導教授 曾少千(Shao-chienTseng(曾少千)) 審核日期 2010-7-30
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