現當代藝術史
History of Modern and Contemporary Art
學期
111-1
學分
3
學分
當期課號
133302
永久課號
SHVC30019
開課單位
視覺文化研究所
授課教師
劉瑞琪
校區
陽明
類別
選修
上課時間表
| 節 | 週二 |
|---|---|
5 13:20–14:10 | 現當代藝術史 YX322 3 節連堂 |
6 14:20–15:10 | |
7 15:30–16:20 |
* 根據陽明交大上課時間表所列
概述
這門課程將探討從十九世紀中印象派迄今,在歐美現代性與後現代性的發展歷程中,現當代藝術史中的重要與前瞻議題,包括城市、漫遊者(flaneur)、機器(美學)、戰爭、原始主義、殖民主義、社會烏托邦、消費、大眾文化、前衛藝術、藝術機制、擬像(simulacra)、身體、認同、性/別、性別化的空間、(性與商品)拜物主義、多元文化、全球化、檔案熱、創傷、真實、哀悼與抑鬱等等議題。課程的進行將搭配研讀清晰的入門論文、深入的經典論文以及新興的研究成果,探究領導學者們如何從形式主義、符號學、精神分析、接受理論、社會主義、後殖民論述、女性主義、同志學等等進路,介入現當代藝術的解讀,並藉由powerpoint訓練學生藝術作品的識讀能力。課程的目標將透過閱讀、觀看、討論、口頭報告、書面報告等等,訓練學生運用課堂所學的理論與觀點,發展自己具有開拓性與創新性的分析與研究能力。
教學方式
這門課程的閱讀資料以英文的重要研究入門論文、深入的經典論文以及新興的研究成果為主,中文翻譯與研究論文為輔,請學生課前閱讀後,在課堂以powerpoint輔助作口頭報告、交互討論以及視覺識讀能力訓練,以培養學生的閱讀、觀看、表達、討論、詮釋等等能力。課程亦將透過期中書面報告、期末口頭報告以及期末書面報告,訓練學生運用課堂所學的理論與觀點,發展自己對現當代藝術具有開拓性與創新性的獨立分析與研究能力。
評分方式
1. 課堂口頭報告20% 2. 課堂參與討論20% 3. 期中報告(11/27繳交,3000-5000字,為期末報告的雛形)10% 4. 期末口頭報告10% 5. 期末報告(10000字左右)40%
週次計畫
| 週次 | 主題 |
|---|---|
| 第 1 週 | 簡介研究的藍圖:The New Vision Clement Greenberg, “Modernist Painting,” in The New Art, ed. Gregory Battcock (New York: E. P. Dutton, 1966), pp. 100-10. 推薦: Jonathan Crary著,沈語冰、何海譯,〈現代性與注意力問題〉,《知覺的懸置:注意力、景觀與現代文化》(江蘇:鳳凰美術出版社,2017),頁 11-61, 294-331. Martin Jay, “The Crisis of the Ancien Scopic Régime: From the Impressionists to Bergson,” in Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkley, CA: University of California Press, 1993), pp. 149-209. Kirk Varnedoe,“The Artifice of Candor: Impressionism and Photography Reconsidered,” in Perspectives on Photography: Essays in Honor of Beaumont Newhall, ed. Peter Walch and Thomas Barrow (Albuquerque: University of New Mexico Press, 1986), pp. 99-123. |
| 第 2 週 | Impressionism: Paris Transformed Robert L. Herbert, “Chapter 1: Paris Transformed,” in Impressionism: Art, Leisure, and Parisian Society (New. Haven and London: Yale University. Press, 1988), pp. 1-32. 推薦: Griselda Pollock著,陳香君譯,〈現代性與陰柔氣質的空間〉,《視線與差異:陰柔氣質、女性主義與藝術歷史》(台北:遠流,2000),頁88- 144。 Marni R. Kessler, “Unmasking Manet's Morisot,” in The Art Bulletin, 81: 3 (1999), pp. 473-89. Tamar Garb, “Gustave Caillebotte's Male Figures: Masculinity, Muscularity and Modernity," in Bodies of Modernity: Figures and Flesh in Fin-de-Sicle France (New York: Thames and Hudson, 1998), pp. 24-53. |
| 第 3 週 | From Post-Impressionism to Primitivism: Psychoanalytic, Postcolonial, and Feminist Discourses Meyer Schapiro著,沈語冰、何海譯,〈塞尚的蘋果:論靜物畫的意義 (1968)〉,《現代藝術:19與20世紀》(江蘇:鳳凰美術出版社,2014),頁1-52。 Hal Foster, Rosalind Krauss, Yves-Alain Bois, and Benjamin Buchloh, “Gauguin, Primitivism, and Early Modernism,” in Art Since 1900, Modernism, Antimodernism, Postmodernism (London: Thames and Hudson, 2004), pp. 64-69. 推薦: T. J. Clark, “Freud's Cézanne,” in Representations, 52 (Autumn 1995), pp. 94-122. Tamar Garb, “Visuality and Sexuality in Cézanne's Late Bathers,” in Oxford Art Journal, 19: 2 (1996), pp. 46-60. |
| 第 4 週 | Fauvism, The Brücke, and The Blauer Reiter: Expressionism Jason Gaiger, “Expressionism and the Crisis of Subjectivity,” in Art of the Avant-Gardes, ed. Steve Edwards and Paul Wood (New Haven and London: Yale University Press, 2004), pp. 13-61. |
| 第 5 週 | Cubism and Semiotics Jason Gaiger, “Approaches to Cubism,” in Art of the Avant-Gardes, ed. Steve Edwards and Paul Wood (New Haven and London: Yale University Press, 2004), pp. 134-55. Rosalind Krauss著,連德誠譯,〈憑畢卡索之名(1981)〉,《前衛的原創性》(台北市:遠流,1995),頁31-58。 推薦: Yve-Alain Bois, “Kahnweiler's Lesson,” in Painting as Model (Cambridge, MA: MIT Press, 1990), pp. 65-97. T. J. Clark, “Cubism and Collectivity,” in Farewell to an Idea: Episodes from a History of Modernism (New Haven and London: Yale University Press, 1999), pp. 169-224. |
| 第 6 週 | From Cubism to Abstract Art: Futurism, Suprematism, and De Stijl Paul Wood, “The Idea of an Abstract Art,” in Art of the Avant-Gardes, ed. Steve Edwards and Paul Wood (New Haven and London: Yale University Press, 2004), pp. 228-71. 推薦: Gail Day, “The Futurists: Transcontinental Avant-gardism,” in The Challenge of the Avant-Garde, ed. Paul Wood (New Haven & London: Yale University Press, 1999), pp. 204-5. |
| 第 7 週 | Dada, Constructivism, and Surrealism: The Revolutionary Avant-Gardes Paul Wood, “The Revolutionary Avant-Gardes: Dada, Constructivism, and Surrealism,” in The Challenge of the Avant-garde, ed. Paul Wood (New Haven and London: Yale University Press, 1999), pp. 226-56. Rosalind Krauss著,〈超現實主義攝影的情狀〉,《前衛的原創性》(台北市:遠流,1995),頁125-67。 推薦: Peter Bürger著,蔡佩君、徐明松譯,〈第二章 資產階級社會藝術的問題〉&〈第三章 前衛藝術作品〉,《前衛藝術理論(1984)》(台北:時報,1998), 頁 47-70,71-103。 Thierry de Duve著,〈考慮到理查德.穆特事件〉,《杜尚之後的康德》(江蘇:鳳 凰美術出版社,2014),頁82-121。 Briony Fer, “Surrealism, Myth, and Psychoanalysis,” in Realism, Rationalism, Surrealism (New Haven & London: Yale University Press, 1993), pp. 196-221, 227-31. Rosalind Krauss, “Corpus Delicti,” in October, 33 (Summer, 1985), pp. 31-72. |
| 第 8 週 | Surrealism and Gender 劉瑞琪,〈 在「潛在空間」中創造陰性/母性「暢爽」:杜若西雅.譚凝的藝術〉,《國立台灣大學美術史研究集刊》,第四十六期(2019年3 月),頁175-222。 推薦: Ruth Markus, “Surrealism's Praying Mantis and Castrating Woman,” in Woman's Art Journal, 21: 1 (Spring/ Summer 2000), pp. 33-39. |
| 第 9 週 | Action Painting and the Unconscious Michael Leja著,毛秋月譯,〈杰克遜.波洛克和無意識〉,《重構抽象表現主 義:20世紀40年代的主體性與繪畫》(江蘇:鳳凰美術出版社, 2014),頁 121-274,492-507。 推薦: Michael Leja著,毛秋月譯,〈波洛克和隱喻〉,《重構抽象表現主義:20世紀40年 代的主體性與繪畫》(江蘇:鳳凰美術出版社,2014),頁 383-459,519-25。 |
| 第 10 週 | Minimalism: Postmodernist and Political Readings Hal Foster著,楊娟娟譯,〈極簡主義的關鍵〉,《實在的回歸:世紀末的前衛藝術》(江蘇:鳳凰美術出版社,2015),頁44-79,250-56。 Anna Chave, “Minimalism and the Rhetoric of Power,” in Arts Magazine, 64: 5 (January 1990), pp. 44-63. 推薦: Michael Fried著,張曉劍、沈語冰譯,〈藝術與物性(1967年)〉,《藝術與物性:論文與評論集》(江蘇:鳳凰美術出版社,2013),頁155-78。 |
| 第 11 週 | Pop Art: Simulacral, Referential, or Political Readings? Jean Baudrillard著,徐洵蔚、鄭湛譯,〈在藝術消失點之外〉,《後普普藝術》(台北:遠流,1996),頁141-55。 Thomas Crow著,吳毅強、陶錚譯,〈星期六災難:早期沃霍爾的線索與指涉〉,《大眾文化中的現代藝術》(江蘇:鳳凰美術出版社,2016),頁53-66。 Andreas Huyssen著,徐洵蔚、鄭湛譯,〈普普的文化策略〉,《後普普藝術》 (台北:遠流,1996),頁31-57。 推薦: Benjamin Buchloh著,何衛華、史岩林、桂宏軍譯,〈安迪:沃霍爾的一維藝術,1956-1966年〉,《新前衛與文化工業:1955到1975年間歐美藝術評論集》(江蘇:鳳凰美術出版社,2014),頁318-63。 |
| 第 12 週 | What Is Postmodern Art? Andreas Huyssen著,郭菀玲譯,〈後現代導圖〉,《文化與社會:當代論辯》(台北:立緒,1998),頁432-62。 Paul Wood, “Inside the Whale: An Introduction to Postmodernist Art,” in Themes in Contemporary Art, ed. Gill Perry and Paul Wood (New Haven & London: Yale University Press, 2004), pp. 4-43. 推薦: Niru Ratinam, “Art and Globalsation,” in Themes in Contemporary Art, ed. Gill Perry and Paul Wood (New Haven & London: Yale University Press, 2004), pp. 276-313. |
| 第 13 週 | Photography Out of Conceptual Art Steve Edwards, “Photography Out of Conceptual Art,” in Themes in Contemporary Art, ed. Gill Perry and Paul Wood (New Haven & London: Yale University Press, 2004), pp. 136-80. 推薦: Margaret Iversen, “Auto-maticity: Ed Ruscha and Performative Photography,” in Photography after Conceptual Art, ed. Diarmuid Costello and Margaret Iverson (Malden, MA: Wiley-Blackwell, 2010), pp. 13-27. |
| 第 14 週 | Feminist Art/ Performance Art Gill Perry, “The Expanding Field: Ana Mendieta's Silueta Series,” in Frameworks for Modern Art, ed. Jason Gaiger (New Haven & London: Yale University Press, 2003), pp. 152-205. 推薦: Craig Owens著,呂健忠譯,〈異類論述:女性主義與後現代主義〉, 《反美學》 (台北:立緒,1998),頁53-99。 |
| 第 15 週 | I. Post-conceptual Painting; II. Trauma, Mourning, and the Real Jason Gaiger, “Post-conceptual Painting: Gerhard Richter's Extended Leave-taking,” in Themes in Contemporary Art, ed. Gill Perry and Paul Wood (New Haven & London: Yale University Press, 2004), pp. 88-135. 推薦: Hal Foster著,楊娟娟譯,〈實在的回歸〉,《實在的回歸:世紀末的前衛藝術》(江蘇:鳳凰美術出版社,2015),頁136-79, 266-78。 Andreas Huyssen, “Anselm Kiefer: The Terror of History, the Temptation of Myth,” in October, 48 (Spring 1989), pp. 25-45. Benjamin Buchloh, “Divided Memory and Post-traditional Identity: Gerhard Richterʼs Work of Mourning,” in October, 75 (Winter 1996), pp. 61-82. Abigail Solomon-Godeau, “Mourning or Melancholia: Christian Boltanski's ‘Missing House’,” in Oxford Art Journal, 21: 2 (1998), pp. 3-20. |
| 第 16 週 | Video Art Kristine Stiles, “I/Eye/Oculus: Performance, Installation and Video,” in Themes in Contemporary Art, ed. Gill Perry and Paul Wood (New Haven & London: Yale University Press, 2004), pp. 182-229. 推薦: Amelia Jones著,劉凡、谷光曙譯,〈“電影中的自我圖像化與新的電視身體”(電影、錄像、數字錄像)〉,《自我與圖像》(江蘇:鳳凰美術出版社,2013),頁189-226。 |
| 第 17 週 | 彈性補充教學:期末口頭報告 |
| 第 18 週 | 彈性補充教學 |
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