从格哈德里希特1977年10月系列作品试论摄影与绘画的关系
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摘要
本文主要探讨的是,摄影,绘画与文化记忆之间的关系。通过不同理论的角度来分析德国艺术家格哈德里希特的1977年10月绘画系列作品。我选取不同的关于摄影的理论来分析他的作品,支持我的观点。希望通过这种方式能够触摸到摄影与绘画的中间点,从而从某种角度上来探究摄影与绘画的关系。
第一部分,我主要从里希特的照片绘画以及他的艺术观点和绘制1977年10月绘画的历史背景,他自己对作品的阐述。通过对这几个方面的说明为论文之后分析奠定基础。
第二部也就是第三章节我像就我所使用分析的理论更具进行阐述和说明。主要选取了著名的美国文化学者,苏珊桑塔格和法国符号学家罗兰巴特的摄影理论,以及文化记忆和政治圣像的相关理论。
在第三部分也是第四章节中,我选取里希特的6个作品,分别用上述理论进行分析,希望能够找出与以往不同的角度去分析里希特作品的。
在文章的最后我将做一个简要的总结,然后是对日后进一步分析进行展望
This paper tries to explore the relationship of photography, painting and cultural memory by discussing the instalation called October 1977 by the German artist Gerhard Richter. Belonging into the category of Richter's famous photo-paintings, the chosen series shows an important and crucial moment in the history of post-war West Germany. I will try to discuss the paintings under three different aspects, trying to shed some light on why out of all of Richter's photo-paintings they can claim a special status.
The first chapter of the paper will deal with two of the most known and important writings about photography, namely that of Susan Sontag and Roland Barthes. Those theories will give us the possibility to shed some light on the primary sources Richter used for his paintings. This discussion will also touch on the function photography plays in society.
In the second chapter I will introduce the painter Gerhard Richter and one of his painting specialities:the so-called photo-paintings, paintings Richter did after original (press-)photographs. The photographs he found earlier were brought together to form the big corpus of base material that he used for his paintings, which he called the Atlas and which is, in short, a collection of hundreds of photographs. In the same chapter I will also touch upon the relationship of photography and painting, as well as on some of Richter's thoughts and opinions about art in general.
Following the general introduction about Richter and his work, I chose some of the October 1977 paintings to discuss them in depth, using Sontag's and Barthes' theories as starting points. The aim of this part is to show how photography, instead of consting a threat to painting, can merge fruitfully with it and bring about interesting and much discussed pieces of art. I will also try to discuss the changing position of the sujets of the photographs that occurs when Richter puts them on canvas.
The third part of the paper will, then, discuss social implications of photography and using an example I want to show that Richter, by using well known photographs for his paintings (which, by the way, are also heavily politically loaded), takes pieces of German cultural memory and transforms them into simple statements concerning the life and death of revolutionaries/terrorists. This action, in my argumentation, brings the topics of these paintings back to one of the most basic topics that was made use of by artists since the very beginning:the question concerning life and death.
The last part, finally, will deal with some thoughts about political icons, as press photographs easily can be transformed into icons that afterwards will form part of the cultural memory of states, groups in society, or that will stand for special movements and ideologies. It is nothing new that such well known and famous icons are used by artists (just think of Andy Warhol, for example); but the fact that Richter used what might be called 'negative icons' for his paintings is a question that should be discussed in this final chapter.
第一部分,我主要从里希特的照片绘画以及他的艺术观点和绘制1977年10月绘画的历史背景,他自己对作品的阐述。通过对这几个方面的说明为论文之后分析奠定基础。
第二部也就是第三章节我像就我所使用分析的理论更具进行阐述和说明。主要选取了著名的美国文化学者,苏珊桑塔格和法国符号学家罗兰巴特的摄影理论,以及文化记忆和政治圣像的相关理论。
在第三部分也是第四章节中,我选取里希特的6个作品,分别用上述理论进行分析,希望能够找出与以往不同的角度去分析里希特作品的。
在文章的最后我将做一个简要的总结,然后是对日后进一步分析进行展望
This paper tries to explore the relationship of photography, painting and cultural memory by discussing the instalation called October 1977 by the German artist Gerhard Richter. Belonging into the category of Richter's famous photo-paintings, the chosen series shows an important and crucial moment in the history of post-war West Germany. I will try to discuss the paintings under three different aspects, trying to shed some light on why out of all of Richter's photo-paintings they can claim a special status.
The first chapter of the paper will deal with two of the most known and important writings about photography, namely that of Susan Sontag and Roland Barthes. Those theories will give us the possibility to shed some light on the primary sources Richter used for his paintings. This discussion will also touch on the function photography plays in society.
In the second chapter I will introduce the painter Gerhard Richter and one of his painting specialities:the so-called photo-paintings, paintings Richter did after original (press-)photographs. The photographs he found earlier were brought together to form the big corpus of base material that he used for his paintings, which he called the Atlas and which is, in short, a collection of hundreds of photographs. In the same chapter I will also touch upon the relationship of photography and painting, as well as on some of Richter's thoughts and opinions about art in general.
Following the general introduction about Richter and his work, I chose some of the October 1977 paintings to discuss them in depth, using Sontag's and Barthes' theories as starting points. The aim of this part is to show how photography, instead of consting a threat to painting, can merge fruitfully with it and bring about interesting and much discussed pieces of art. I will also try to discuss the changing position of the sujets of the photographs that occurs when Richter puts them on canvas.
The third part of the paper will, then, discuss social implications of photography and using an example I want to show that Richter, by using well known photographs for his paintings (which, by the way, are also heavily politically loaded), takes pieces of German cultural memory and transforms them into simple statements concerning the life and death of revolutionaries/terrorists. This action, in my argumentation, brings the topics of these paintings back to one of the most basic topics that was made use of by artists since the very beginning:the question concerning life and death.
The last part, finally, will deal with some thoughts about political icons, as press photographs easily can be transformed into icons that afterwards will form part of the cultural memory of states, groups in society, or that will stand for special movements and ideologies. It is nothing new that such well known and famous icons are used by artists (just think of Andy Warhol, for example); but the fact that Richter used what might be called 'negative icons' for his paintings is a question that should be discussed in this final chapter.
引文
1 Richter, Gerhard:Text. Writings, Interviews and Letters 1961-2007. Thames & Hudson, London, 2009, p.32-33.
5 Buchloh, Benjamin:,,A Note on Gerhard Richter's "October 18,1977"" in October, Vol.48 (Spring, 1989), p.88.
6 Ibid, p.103.
7 Sontag, Susan:On Photog raphy. New York, Picador,1990, p.3.
14 Duras, Marguerite:Hiroshima mon amour. Paris, Gallimard,1960, pp.22-28.
15 Barthes, Roland:Camera Lucida. Reflections on Photography. Translated by Richard Howard. New York, Hill and Wang,1982, p.4.
16 Barthes, Roland:Image, Music, Text. Essays selected and translated by Stephen Heath. New York, Hill and Wang,1977, p.17.
17 Barthes (1982), p.31.
18 Ibid, p.91.
19 Richter (2009), p.312.
20 Richter (2009), p.227.
22 Butz Peters:RAF-Terrorism in Germany. Knaur, pp.268-270.
[1].[美]苏珊·桑塔格论摄影[M]. 上海译文出版社2010年5月
[2][法]罗兰·巴特明室摄影纵横谈.[M].文化艺术出版社2003年1月
[3][中]李昱宏.灰色的隐喻—摄影的时间,机会与决定性瞬间.[M].人民邮电出版社,2011年1月
[4][中]朱其形象的模糊-里希特艺术笔记和访谈[M].湖南美术出版社,2007年1月
[5]模糊的图像： 格哈德·里希特的照相画 [G].http://news.artxun.com/huihua-1557-7780990.shtml
[6][德]A.阿斯曼The long shadow of the past:Cultures of memory and politics of history. [M]Munchen, Beck,2006.
[7][德]Czech, Alfred:,, Pictorical icons between individual and collective memory. " in Kirschenmann, Johannes/Wagner, Ernst (eds.): Images that shaped the world. Icons of the pictorical memory. [M] Munchen, kopaed,2006, pp.11-40.
[8][德]Erll, Astrid/Rigney, Ann (eds.):Mediation, Remediation, and the Dynamics of Cultural Memory. [M] Berlin, de Gruyter,2009.
[9][德]Grittmann, Elke/Ammann, Ilona:,,Icons of war photography " in Grittmann, Elke/Neverla, Irene/Ammann, Ilona (eds.):Global, local, digital-Photojournalism today. Koln, Herbert von Halem-Verlag,2008, pp.296-325,
[10][德]Harten, Jurgen (ed.):Gerhard Richter. Paintings 1962-1985. With a catalog raisonne from Dietmar Elger 1962-1985, Cologne 1986.
[11][英]Richter, Gerhard:Text. Writings, Interviews and Letters 1961-2007. Thames & Hudson, London,2009.
[12][德]Buchloh, Benjamin:,,A Note on Gerhard Richter's "October 18, 1977" " in October, Vol.48 (Spring,1989).
[13][美]Osborne, Peter:,,Gerhard Richter's Negatives " in October, Vol. 62 (Autumn,1992).
5 Buchloh, Benjamin:,,A Note on Gerhard Richter's "October 18,1977"" in October, Vol.48 (Spring, 1989), p.88.
6 Ibid, p.103.
7 Sontag, Susan:On Photog raphy. New York, Picador,1990, p.3.
14 Duras, Marguerite:Hiroshima mon amour. Paris, Gallimard,1960, pp.22-28.
15 Barthes, Roland:Camera Lucida. Reflections on Photography. Translated by Richard Howard. New York, Hill and Wang,1982, p.4.
16 Barthes, Roland:Image, Music, Text. Essays selected and translated by Stephen Heath. New York, Hill and Wang,1977, p.17.
17 Barthes (1982), p.31.
18 Ibid, p.91.
19 Richter (2009), p.312.
20 Richter (2009), p.227.
22 Butz Peters:RAF-Terrorism in Germany. Knaur, pp.268-270.
[1].[美]苏珊·桑塔格论摄影[M]. 上海译文出版社2010年5月
[2][法]罗兰·巴特明室摄影纵横谈.[M].文化艺术出版社2003年1月
[3][中]李昱宏.灰色的隐喻—摄影的时间,机会与决定性瞬间.[M].人民邮电出版社,2011年1月
[4][中]朱其形象的模糊-里希特艺术笔记和访谈[M].湖南美术出版社,2007年1月
[5]模糊的图像： 格哈德·里希特的照相画 [G].http://news.artxun.com/huihua-1557-7780990.shtml
[6][德]A.阿斯曼The long shadow of the past:Cultures of memory and politics of history. [M]Munchen, Beck,2006.
[7][德]Czech, Alfred:,, Pictorical icons between individual and collective memory. " in Kirschenmann, Johannes/Wagner, Ernst (eds.): Images that shaped the world. Icons of the pictorical memory. [M] Munchen, kopaed,2006, pp.11-40.
[8][德]Erll, Astrid/Rigney, Ann (eds.):Mediation, Remediation, and the Dynamics of Cultural Memory. [M] Berlin, de Gruyter,2009.
[9][德]Grittmann, Elke/Ammann, Ilona:,,Icons of war photography " in Grittmann, Elke/Neverla, Irene/Ammann, Ilona (eds.):Global, local, digital-Photojournalism today. Koln, Herbert von Halem-Verlag,2008, pp.296-325,
[10][德]Harten, Jurgen (ed.):Gerhard Richter. Paintings 1962-1985. With a catalog raisonne from Dietmar Elger 1962-1985, Cologne 1986.
[11][英]Richter, Gerhard:Text. Writings, Interviews and Letters 1961-2007. Thames & Hudson, London,2009.
[12][德]Buchloh, Benjamin:,,A Note on Gerhard Richter's "October 18, 1977" " in October, Vol.48 (Spring,1989).
[13][美]Osborne, Peter:,,Gerhard Richter's Negatives " in October, Vol. 62 (Autumn,1992).