作为观念的影像
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摘要
本文致力于研究20世纪西方现代主义艺术转型期的艺术形态发展,在本质上还是立足于艺术史本体的研究。20世纪60、70年代的西方艺术史流派与运动众多,以格林伯格为代表的现代主义艺术理论面对新的艺术实践已经缺乏解释能力,用形式主义一条标准与价值来叙述艺术历史的期望已经显示出极大的无力感了。在这段时期,影像因素开始介入到西方当代艺术本体当中,并且逐渐开始形成了自己独立的艺术价值。
笔者在本篇论文中所要解决的问题是,在这一转型阶段,影像为什么以及如何得以介入到艺术本体当中,并且逐渐发展为影像艺术的,并试图通过对这一特定对象的研究增进对于这一时期西方艺术历史的理解。
本文以现代主义艺术客体观念的流变和发展为主要的线索,通过考察西方现代主义艺术客体观念在20世纪60、70年代,伴随着新的艺术实践被瓦解和更新的历史现实,清理出一条影像艺术产生的艺术史自身的发展逻辑。这条发展逻辑的核心在于:观念本身成为艺术。
观念是影像艺术的灵魂,这是何以一件电子复制品具有艺术含义的关键。影像艺术自身是一种多源混杂的艺术形式,它的起源同观念艺术和行为艺术密切相关,同电视相关的大众媒介相关,同达达和激浪派的艺术理念相关,再向前追溯,同极少主义的走向物质的过程也有相关性。这些不同的相关点共同构筑了影像艺术的思想框架。
早期的影像艺术实践反映出艺术家所受的不同影响和广泛的问题关注面,他们用自己的实践诠释了早期影像艺术的前卫意义。早期影像艺术继承了现代主义艺术前卫观念中未受挑战的一部分,即前卫观念在发生学上的“批判现实”的功能。早期影像艺术通过探索廉价的影像媒介所能提供的创作空间反对艺术商业体制,反对以消费为主导的大众文化传播体系,反对性别不公等社会和政治现状,以最低的成本、最大的传播效率将艺术的触角延伸至更为广阔的现实实践领域。尽管今天的影像艺术依然可能不可避免地被纳入到艺术市场之中,然而,作为一种前卫观念的影像艺术,它的产生对于更为深刻地理解西方现当代艺术具有重要的意义。
This dissertation focuses on the development of art configuration during the transition period of western modernistic art in 1960s and 1970s.In nature,it is based on the research of art reality.In the 60's and 70's of 20th century,many schools and movements occurred,in the face of new art practice,modernistic art theory has been lack of explanatory power,using formalism as the only standard and value to describe the expectations of art history has shown a great sense of powerlessness.During this period,the video factors began to be involved in ontology among the western contemporary art,and gradually began to form its own independent artistic value.
In this paper,the problem I want to solve is that in this transition stage,why and how videos can be involved in the ontology of art,and became video art later step by step.And I also want to get a further understanding about the history of western art in that period through studying this particular topic.
In this dissertation,the evolution and development in the concept of modernistic art object are taken as the main clue.In the sixties and seventies,the concept of modernistic art object was collapsed with the new art practice and the new historical realities,by research focus on that,I want to find its own development logic of video art.The core of the development logic lies on:the concept became art itself.
Concept is the soul of video art,that is why an electronic copier can be deemed to be an art object.Video art itself is a multi-source hybrid art form,its origins are closely related to conceptual art and performance art,to the mass media culture of television,to the art concepts of Dada and Fluxus,and then forward retrospective, to the progress of minimalism turning to material.The relevance of these different points together built the ideological framework of video art.
The practice of early video art reflected the different effects on artists and a wide range of issues,artists' own practice interpreted the avant-garde meaning of the early video art.The early video art heritaged the undoubted parts of avant-garde artistic ideas of modernism——criticize the reality.This is the function of avant-garde concept in phylogeny.Video is a "cheap" media and low quality media,through exploring in its creative way,early video art provided a creative space against the art business systems and the consumer-led mass media culture system,against gender injustice and other social and political status quo.At the lowest cost,video art got the maximum efficiency to transmit art message,to extend art tentacles to broader areas of the realities.Although video art today is still inevitably involved into the art market,however,as an avant-garde conception, video art is of great significance for us to understand contemporary art.
笔者在本篇论文中所要解决的问题是,在这一转型阶段,影像为什么以及如何得以介入到艺术本体当中,并且逐渐发展为影像艺术的,并试图通过对这一特定对象的研究增进对于这一时期西方艺术历史的理解。
本文以现代主义艺术客体观念的流变和发展为主要的线索,通过考察西方现代主义艺术客体观念在20世纪60、70年代,伴随着新的艺术实践被瓦解和更新的历史现实,清理出一条影像艺术产生的艺术史自身的发展逻辑。这条发展逻辑的核心在于:观念本身成为艺术。
观念是影像艺术的灵魂,这是何以一件电子复制品具有艺术含义的关键。影像艺术自身是一种多源混杂的艺术形式,它的起源同观念艺术和行为艺术密切相关,同电视相关的大众媒介相关,同达达和激浪派的艺术理念相关,再向前追溯,同极少主义的走向物质的过程也有相关性。这些不同的相关点共同构筑了影像艺术的思想框架。
早期的影像艺术实践反映出艺术家所受的不同影响和广泛的问题关注面,他们用自己的实践诠释了早期影像艺术的前卫意义。早期影像艺术继承了现代主义艺术前卫观念中未受挑战的一部分,即前卫观念在发生学上的“批判现实”的功能。早期影像艺术通过探索廉价的影像媒介所能提供的创作空间反对艺术商业体制,反对以消费为主导的大众文化传播体系,反对性别不公等社会和政治现状,以最低的成本、最大的传播效率将艺术的触角延伸至更为广阔的现实实践领域。尽管今天的影像艺术依然可能不可避免地被纳入到艺术市场之中,然而,作为一种前卫观念的影像艺术,它的产生对于更为深刻地理解西方现当代艺术具有重要的意义。
This dissertation focuses on the development of art configuration during the transition period of western modernistic art in 1960s and 1970s.In nature,it is based on the research of art reality.In the 60's and 70's of 20th century,many schools and movements occurred,in the face of new art practice,modernistic art theory has been lack of explanatory power,using formalism as the only standard and value to describe the expectations of art history has shown a great sense of powerlessness.During this period,the video factors began to be involved in ontology among the western contemporary art,and gradually began to form its own independent artistic value.
In this paper,the problem I want to solve is that in this transition stage,why and how videos can be involved in the ontology of art,and became video art later step by step.And I also want to get a further understanding about the history of western art in that period through studying this particular topic.
In this dissertation,the evolution and development in the concept of modernistic art object are taken as the main clue.In the sixties and seventies,the concept of modernistic art object was collapsed with the new art practice and the new historical realities,by research focus on that,I want to find its own development logic of video art.The core of the development logic lies on:the concept became art itself.
Concept is the soul of video art,that is why an electronic copier can be deemed to be an art object.Video art itself is a multi-source hybrid art form,its origins are closely related to conceptual art and performance art,to the mass media culture of television,to the art concepts of Dada and Fluxus,and then forward retrospective, to the progress of minimalism turning to material.The relevance of these different points together built the ideological framework of video art.
The practice of early video art reflected the different effects on artists and a wide range of issues,artists' own practice interpreted the avant-garde meaning of the early video art.The early video art heritaged the undoubted parts of avant-garde artistic ideas of modernism——criticize the reality.This is the function of avant-garde concept in phylogeny.Video is a "cheap" media and low quality media,through exploring in its creative way,early video art provided a creative space against the art business systems and the consumer-led mass media culture system,against gender injustice and other social and political status quo.At the lowest cost,video art got the maximum efficiency to transmit art message,to extend art tentacles to broader areas of the realities.Although video art today is still inevitably involved into the art market,however,as an avant-garde conception, video art is of great significance for us to understand contemporary art.
引文
1克莱门特·格林伯格,《现代派绘画》,载于《现代艺术与现代主义》,弗兰西斯·弗兰契娜,查尔斯·哈里森编,张坚,王晓文译,上海人民美术出版社,1996。
2 Barbara Rose,in William C.Seiz,Art Criticism in Sixties,A Symposium of the Poses Institute of Fine Art,Brandies University,1967。
1 汉斯·贝尔廷,《艺术史的终结?》,常宁生译,中国人民大学出版社,2004。
1 阿瑟·C·丹托,《艺术终结之后》,王春晨译,江苏人民出版社,2007。
1 参见汉斯·贝尔廷,《艺术史的终结?》,常宁生译,中国人民大学出版社,2004。
2 参见阿伦·卡普罗《集成艺术、环境艺术和偶发艺术》,纽约,阿布拉姆斯,1968。
1 参见 Harold Rosenberg,The De-Definition of Art,University Of Chicago Press,1983。
2 参见 Harold Rosenberg,The Anxious Object,University Of Chicago Press,1983。
1斯图尔特·霍尔,《表证--文化表象与意指实践》,徐亮、陆兴华译,商务印书馆,2003,p35。
2 阿瑟·丹托,《艺术世界》,载于《艺术家茶座》第三辑,山东人民出版社,2005年。
1 Robert S.Nilson and Richard Shiff,Critical Term for Art History,The University of Chicago Press,London,1992,p3。
2 斯图尔特·霍尔,《表证:文化表象与意指实践》,徐亮、陆兴华译,商务印书馆,2003。
1 Chrissie Iles,Into the Light,The Projected Image in American Art 1964-1977,Whitney Museum of American Art,2002.
1 约翰·伯格,《观看之道》,戴行钅戊译,广西师范大学出版社,2007年。
2 瓦尔特·本雅明,《机械复制时代的艺术品》,胡不适译,浙江文艺出版社,2005,第88页。
3 同上,第102-103页。
1 帧数,简单地说,就是在1秒钟时间里传输的图片的帧数,也可以理解为图形处理器每秒钟能够刷新几次,通常用fps(Frames Per Second)表示。每一帧都是静止的图象,快速连续地显示帧便形成了运动的假象。高的帧率可以得到更流畅、更逼真的动画。每秒钟帧数(fps)愈多,所显示的动作就会愈流畅。video是每秒25帧,电影每秒24帧。
2 音乐设备数字接口(Musical Indtrumend Digital Interfoce),它不是音乐信号,所记录的声音要想播放出来就必须通过MIDI界面的设置。是电子合成器与数字音乐的使用标准。MIDI标准是1982年在美国的乐器生产商共同商议制定的标准,而在此之前白南准等电子媒介的艺术实践中已经开始探索。
3 参见Sesn Cubitt,Videography--Video Media as Art and Culture,St.Martin's Press,New York,1993,p.ⅹⅱ.
1 参见马歇尔·麦克卢汉,《理解媒介:论人的延伸》,商务印书馆,2000。
1 约翰·菲斯克,《电视文化》,商务印书馆,2005,第9-19页。
2 Sesn Cubitt,Videography--Video Media as Art and Culture,St.Martin's Press,NewYork,1993,p.9。
3 参见Gene Youngblood,Expanded Cinema.New York:E.P.Dutton & Co.,1970.
1 玛格丽特·摩斯,《录像装置艺术--物体、形象和交互空间》,载于《影像艺术文献》,1996。
1 Robert S.Nelson and Richard Shiff eds.,Critical Terms for Art History,The University of Chicago Press,1992,p 142-145.
2 《1846年的沙龙--波德莱尔美学论文选》,波德莱尔著,郭宏安译,广西师范大学出版社,2002年,第424页。
1 Clive Bell,"The Aesthetic Dimension",in Franscina and Harrion(eds),Modern Art and Modernism,Harper &Row,London,1982,p 73-75.
1 John O'Brain(eds.),Clement Creenberg:The Collected Essays and Criticism,volume 4,The University of Chicago Press,1986,p 85-87.
2 参见Barbara Rose,in William C.Seiz,Art Criticism in Sixties:A Symposium of the Poses Institute of Fine Art,Brandies University(New York:October House,1967).
3 参见弗兰西斯·弗兰契娜,查尔斯·哈里森编,张坚,王晓文译,《现代艺术与现代主义》,上海人民美术出版社,1996,第143-163页。
4 格林伯格,《走向更新的拉奥孔》,选自《世界美术文选--纽约的没落》,河北美术出版社,2004,第32页。
5 同上,第35页。
6 T.J.Clark,"Clement Greenberg's Theory of Art",Critical Inquiry,Vol.9,No.1,The Politics of Interpretation.(Sep.,1982),p.141.
1 《纽约的没落》,易英主编,河北美术出版社,2004,第3页。
2 John O'Brain eds.,Clement Creenberg:The Collected Essays and Criticism,volume Ⅰ,The University of Chicago Press,1986,p.7.
3 同上,p.8.
4 同上,p6-11.
5 T.J.Clark,Clement Greenberg's Theory of Art,Critical Inquiry,Vol.9,No.1,The Politics of interpretation.(Sep.,1982),p.145.
1 T.J.Clark,Clement Greenberg's Theory of Art,Critical Inquiry,Vol.9,No.1,The Politics of interpretation.(Sep.,1982),,p 15.
2 格林伯格,《走向更新的拉奥孔》,选自《世界美术文选--纽约的没落》,河北美术出版社,2004,p.48。
1 Sesn Cubitt,Videography--Video Media as Art and Culture,St.Martin's Press,New York,1993,p.21-23.
2 Richard Shiff," Originiality" in Critical Terms for Art History,Robert S.Nelson and Richard Shiffe dited,The University of Chicago Press,London,p.103.
3 同上p.106.
1 瓦尔特·本雅明,《机械复制时代的艺术品》,胡不适译,浙江文艺出版社,2005,第88页。
2 John O'Brain(eds.),Clement Creenberg:The Collected Essays and Criticism,volume Ⅰ,The University of Chicago Press,1986,p 12.
1 David Summers," Reprensentation",in Critical Terms for Art History,Robert S.Nelson and Richard Richard Shiff edited,The University of Chicago Press,p.3.
1 Barbm Ross,"ABC Art," Art in American,October,1965,P.58.
2 Donald Judd,"Special Object",Arts Yearbook,8,1965,p74.
1 Frank Stella,引自Bruce Glaser and Lucy R Lippard,"Questions to Stella and Judd,"Art news,september,1966,p,59.
2 Donald Judd,in John Caplans,"An Interview with Don Judd",Artforum,June,1971,p.49.
1 Robert Smith,in "The Symposium," Earth Art exhibition cataloge,1968.
1 克莱门特·格林伯格,《现代派绘画》,选自《现代艺术和现代主义》,弗兰西斯·弗兰契娜,查尔斯·哈里森编,上海人民美术出版社,1996,11-12页。
1 汉斯·贝尔廷,《艺术史的终结?》,常宁生译,中国人民大学出版社,2004。
1 Marcel Duchamp,引自Janis Mink,Marcel Duchamp:1887-1968,Benedikt Taschen,1994,p 56.
2 Rudolf E.Kuenzli ed.,New York Dada,New York,1986,p.134.
1 Jerrold seigel,The Private Worlds of Marcel Duchamp--Desire,Liberation,and the Self in Modern Culture,University of California Press,1997,p.116.
2 Tony Godfrey,Conceptual Art,Phaidon,1998,p.27.
1 Pierre Cabanne,Dialogues with Marcel Duchamp,trans.Ron Padgett(London,1979;New York,1987),p.48.
2 Craig Adcock,Marcel Duchamp's Notes from the Large Glass,Umi Research Pr,1983,p.24.
1 Buffet-Picabia,in Masheck,ed.,Duchamp in Perspective,p.48.
2 艺术家理查·汉密尔顿复制该作品的时候撰写过一根详细的报告,载于Machel Duchamp,The Museum of Modern Art and Philadelphia Museum of Art,Anne d' Harnoncourt and Kynaston McShine,eds.P57.
1 John Cage,For the Birds,in Conversation with Daniel Charles,Marion Boyars,2000,p.43.
1 Richard Kostelanetz,ed.,Conversing with Cage,New York:Limelight,1988,p.42.
2 Cage conversation with Robin White(1979),in Richard Kostelanetz,Conversing with Cage,New York:Limelight 1988,p 212.
1 Michael Kirby and Richard Schechner,"An Interview with John Cage,",Tulane Drama Review,10(winter 1965),p.55.
2 Allan Kaprow,in Michael Kirby,Happenings." An Illustrated Anthology,New York:E.P.Dutton,1965,p.48.
1 阿伦·卡普罗,“杰克逊·波罗克的遗产”,在于《艺术与生活的模糊边界》,远流出版社,1996,第29-37页。
1 参见Joseph Kosuth,Art After Philosophy and After:Collected Writing,1966-1990,MIT Press(MA),1991.
2 引自Tony Godfrey,Conceptual Art,Phaidon,1998,p.13.原文引自里维特在1967年的《艺术评论》杂志的文章‘Paragraphs on Conceptual Art'。
1 Tony Godfrey,Conceptual Art,Phaidon,1998,p.7.
1 Irving Sandler,Ametican Art of the 1960s,HarperCollins Publishers,1989,p.333.
2 Jack Burnham,"Real Time Systems,"Artforum,September,1969,p.49-55.
1 参展于惠特尼美术馆的展览反幻觉:程序/材料,1969年5月19日--6月6日,参见展览目录。
2 Alexander Alberro and Patricia Norvell,Recording Conceptual Art,University of California Press,1970,p65.
1 Alexander Alberro and Patricia Norvell,Recording Conceptual Art,University of California Press,1970,p105.
1 奥根海姆1969年关于观念艺术的访谈,载于Patricia Norvell,Recording Conceptual Art,University of California Press,1970.p.21-31.
2 同上,"Interview with Robert Morris",p.68.
1 Patricia Norvell,"Interview with Douglas Huebler",,1969,in Recording Conceptual Art,University of California Press,1970,p.140.
2 同上,p.18.
1 Patricia Norvell,"Interview with Douglas Huebler",,1969,in Recording Conceptual Art,University of California Press,1970,p.150.
1 奥根海姆1969年关于观念艺术的访谈,载于Patricia Norvell,Recording Conceptual Art,University of California Press,1970.p.21-31
2 罗伯特·莫里斯关于记录观念艺术的访谈,载于Patricia Norvell,Recording Conceptual Art,University of California Press,1970,p.56-70.
1 Hermine Freed,"Where do We Come From? Where Are We?",in Ira Schneider and Bery Korot(eds.),Video Art:An Anthology,Harcour,1976.
1 关于阿伦·卡普罗和观念主义的艺术的具体阐述请参见本文第三章第二节和第三节。
2 David Revill,The Roaring Silence:A Life,Bloomsbury,London,p.193
1 Joseph Kosuth,Art After Philosophy and After:Collected Writing,1966-1990,MIT Press,Cambridge,1991,p.127.
1 Marita Sturken,"Paradox in the Evolution of an Art Form",in Doug Hall and Sally Jo Fifer(eds),Illuminating Video:An Essential Guide to Video Art,New York,p.116.
1 Gorge Maciunas,"240.ⅩⅪ Gorge Maciunas(Fluxus objectives &ideology) 1964," in Fluxus(Addenda Ⅱ:Baxter Art Gallery at the California Institute of Technology,1983),p.166.
2 Perpetual Fluxfestival,Filmmakers' Cinematheque,New York,July4,1965.
3 stan Brakhage 1933-2003)美国非叙事电影艺术家,从事实验电影,其”纯电影(pure cinema)的拍摄制作有一定的实验性,作品注重纯粹的视觉审美性。
4 参见Bruce Jenkins,"Fluxfilms in Three False Starts",in In the Spirit of Fluxes,Walker Art Center 1993,p.122.
1 Douglas Davis and Allison Simmons(eds.),The New Television:A Public/Private Art,1977,p.179.
1 Marshall McLuhan,Understanding Media,Routledge and Kegan Paul,London,1964,p.358.
2 Marshall McLuhan,The Mechanical Bride:The Folklore of Industrial Man,1951.
1 Frank Gillette,"McLuhan and Recent History",The Early Video Project,http://davidsonfiles.org.
1 Ben Poitis,The Fulcrum:TV as a Creative Medium,Electronic Arts Intermix,2001.
2 引自Paul Ryan,"A Genealogy of Video",Leonardo,Vol.21,No.1.1988,p.39-44.
1 Michael Shamberg and Raindance Corporation,Guerrilla Television,New York,1971.
1 John Hanhardt,“De-collage/Collage:Notes Towards the Origins of Video Art”,in Doug Hall and Sally Jo Fifer (eds),Illuminating Video:An Essential Guide to Video Art,New York.
2 同上,p.7.
1 John Cage,"Forerunner of Modern Music",in Silence,Wesleyan University Press,1961,p.62.
1 Douglas Davis,"Nam June Paik:The Cathode Ray Canvas",Art and the Future:A History/Prophecy of the Collaboration Between Science,Technology and Art,Thames and Hudson,London,p.147-148.
2 Edith Decker-Phillips(1988),Paik Video,Barrytown,New York,p.36-39.
3 Martha Roslar,"Video:Shedding the Utopian Moment",in Doug Hall and Sally Jo Fifer(eds),Illuminating Video:An Essential Cuide to Video Art,New York,1991.
1 David Hall,"British Video Art:Toward an Autonomous Practice",Studio International,May-June 1976,p.248.
2 同上,p 107
1 Mary Jane Jacob,"Introduction to Shigeko Kubota ",Video Sculpture,American Museum of the Moving Image,New York,p.6-7.
1 迈克尔·拉什(Micheal Rush)于2000年对玛莎·罗斯勒的采访。
1 瓦莉·艾斯波尔《女性的艺术》(VALIE EXPORT,Woman's Art,1972),在《分离:现实》(Split:RealityVALIE EXPORT,1997)中再版。
1 瓦尔特·本雅明,《机械复制时代的艺术品》,胡不适译,浙江文艺出版社,2005,第102-103页。
1 Douglas Crimp,The End of Painting,artforum,,October,1981,p.76.
1 马泰·卡林内斯基,《现代性的五幅面孔--现代主义、先锋派、颓废、媚俗艺术、后现代主义》,商务印书馆,2004,第103页。
2 John O'Brain(eds.),Clement Creenberg:The Collected Essays and Criticism,volume Ⅰ,The University of Chicago Press,1986,p 6-11.
1 居伊·德波尔,《定义一种革命计划的预备措施》,《景观社会》,南京大学出版社,2006,第174页。
2 让·伯德里亚,《消失的技法》,《视觉文化读本》,广西师范大学出版社,1992,第76页。
1 Peter Wollen,"Global Conceptualism and Northen American Conceptual Art",in Global Conceptualism,Points and Origin,1950s-1980s,New York,1999,p.73-85.
1.弗兰西斯·弗兰契娜,查尔斯·哈里森编,张坚,王晓文译,《现代艺术与现代主义》,上海人民美术出版社,1996。
2.弗雷德·奥顿,查尔斯·哈里森编,崔诚,米永亮、姚炳昌译,《现代主义,评论,现实主义》,人民美术出版社,1996。
3.夏吕姆著,林霄潇、吴启雯译,《西方现代艺术批评》,文化艺术出版社,2005。
4.詹姆斯·施密特编,徐向东,卢华平译,《启蒙运动与现代性》,上海人民出版社,1996.
5.约翰·B·汤普森著,高恬等译,《意识形态与现代文化》,译林出版社,2005。
6.斯图尔特·霍尔编,周宪、许钧主编,《表征》,商务印书馆,2003。
7.海德格尔,《世界图像时代》,载于《林中路》,1980年第六版。
8.乔纳森·费恩伯格著,王春辰、丁亚雷译,《1940年以来的艺术》,中国人民大学出版社,2006。
9.托马斯·克劳著,易英译,《视觉文化中的现代主义与大众文化》,载于《世界美术文选--共享的价值》,河北美术出版社,2004。
10.罗岗,顾铮主编,《视觉文化读本》广西师范大学出版社2003
11.居伊·德波尔著,王昭凤译,《景观社会》南京大学出版社2006
12.琳达·诺克林著,刁莜华译,《现代生活的英雄》,广西师范大学出版社,2005。
13.罗钢,王中忱主编,《消费文化读本》,中国社会科学出版社,2003。
14.鲍德里亚著,仰海峰译,《生产之境》,中央编译出版社2005。
15.凯尔纳著,《媒介奇观》清华大学出版社2004
16.阿莱斯·艾尔雅维茨著,胡菊兰、张云鹏译,《图像时代》,吉林人民出版社2003。
17.W·J·T米歇尔著,陈永国、胡文征译,《图象理论》,北京大学出版社,2006。
18.道格拉斯·凯尔纳著,丁宁译,《媒体文化--介于现代与后现代之间的文化研究、认同性与政治》,商务印书馆,2004。
19.约翰·菲斯克著,祁阿红、张鯤译,《电视文化》,商务印书馆,2005。
20.史蒂文·康纳著,周宪、许钧主编,《后现代主义文化》,商务印书馆,1997。
21.安伯托·埃柯,刘儒庭译,《开放的作品》,新星出版社,2005。
22.马克·波斯特著,范静哗译,《第二媒介时代》,南京大学出版社,2005。
23.吉尔·格勒兹著,谢强、蔡若明,马月译,《时间--影像》,湖南美术出版社,2004。
24.杰弗凯利编,徐梓宁译,《艺术与生活的模糊分际--卡普罗论文集》,源流出版社,1996。
25.詹明信,《晚期资本主义文化逻辑》,三联书店出版社,1997。
26.瓦尔特·本雅明,《机械复制时代的艺术品》,胡不适译,浙江文艺出版社,2005。
27.罗兰·巴特著,怀宇译,《显义与晦义:批评文集之三》,百花文艺出版社,2005。
28.《影像的阅读》约翰·伯格著,刘惠媛译,远流出版社,1997。
29.范景中,《图像与观念》,岭南美术出版社,1992。
30.金·莱文著,常宁生等编译,《后现代的转型》,江苏教育出版社,2006。
31.卡巴内著,王瑞芸译,《杜尚访谈录》中国人民大学出版社,2003。
32.巴图克著,连德诚译,《观念艺术》,远流出版社,1992。
33.Norman F.Cantor,Twentieth-Century Culture:Modernism to Deconstruction,Peter Lang,1988.
34.Peter Childs,Modernism,Routledge,2000.
35.T.J.Clark,The Modern Life:Parisin the Art of Manert and His followers,Princeton University Press,1984.
36.Edited by John O'Brian,Clement Greenberg,The Collected Essays and Criticism,Volume 2,1945-1949,The university of Chicago Press,1986.
37.Rosalind E.Krauss,The Original of the Avant-Guard and Other Modernist Myths(Cambridge,Massachusetts:The MIT press,1985
38.J.Beger,Ways of Seeing,London,BBC Publications,1972.
39.M.de Certeau,The Practice of Everyday Life,Berkeley,University of California Press,1984.
40.J.Buick and Z.Jevtic,Cyberspace for Beginners,Cambridge:Icon Books,1995.
41.S.Melville and B.Readings,eds,Vision and Textuality,London:Macmillan,1995.
42.A.Benjamin,Object,Painting,London:Academy Editions,1994.
43.N.Bryson,Visual Theory,Cambridge:Polity Press,1992
44.M.Phillipson,Painting,Language and Modernity,London:Routledge,1985.
45.Sylvia Harrison,Pop Art and the Origins of Post-Modernism,Cambridge University Press,2001.
46.Brian Wallis,Art after Modernism:Rethinking Representation,Museum of Contemporary Art,1984.
47.Matei Calinescu,Five Faces of Modernity:Modernism,Avant-Garde,Decadence,Kitsch,Postmodernism,Duke University Press,1987.
48.Edited by Robert S.Nelson and Richard Shiff,Critical Terms for Art History,The University of Chicago Press,1996.
49.Roy Ascott,Edward A.Shanken,Telematic Embrace:Visionary Theories of Art,Technology,and Consciousness,University of California Press,2003.
50.Margot Lovejoy,Digital Currents:Art in the Electronic Age,Routledge,2004.
51.S.Neale,Cinema and Technology:Image,Sound,Colour,London,Macmillan,1985
52.Richard C(?)ndida Smith,Art and the Performance of Memory:Sounds and Gestures of Recollection,Routledge,2002.
53.Lawrence Alloway,Topics in American Art since 1945,W.Norton,1975.
54.Tony Godfrey,Conceptual Art,Phaidon,1998.
55.Lucian Krukowski,Art and Concept:A Philosophical Study,University of Massachusetts Press,1987.
56.John Gray,Action Art:A Bibliography of Artists' Performance from Futurism to Fluxus and Beyond,Greenwood Press,1993
57.Vilis R.Inde,Art in the Courtroom,Praeger Publishers,1998
58.Alexander Alberro,Patricia Norvell,Recording Conceptual Art:Early Interviews with Barry,Huebler,Kaltenbach,Lewitt,Morris,Oppenheim,Siegelaub,Smithson,and Weiner,University of California Press,2001.
59.Keith Moxey,The Practice of Theory:Poststructuralism,Cultural Politics,and Art History,Comell University Press,1994
60.Deirdre Boyle,Video Classics:A Guide to Video Art and Documentary Tapes,Oryx Press,1986.
61.Kevin F.Mccarthy,From Celluloid to Cyberspace:The Media Arts and the Changing Arts World,Elizabeth Heneghan Ondaatje;Rand,2002.
62.Sean Cubitt,Timeshift:On Video Culture,Routledge,1991.
63.S.Martin Shelton,Communicating Ideas with Film,Video,and Multimedia:A Practical Guide to Information Motion-Media,Southern Illinois University Press,2004.
64.Michael Peterson,Straight White Male:Performance Art Monologues,University Press of Mississippi,1997.
65.Chris Jenks,Visual Culture,Routledge,1995.
66.John J.Walsdorf,William Morris in Private Press and Limited Editions:A Descriptive Bibliography of Books by and about William Morris,1891-1981,John J.Walsdorf;Oryx Press,1983.
67.David Joselit,Infinite Regress,Marcel Duchamp 1910-1941(Cambridge,Massachusetts:The MIT press,1988).
68.Hal Foster,The Return of the Real:The The Avant-Guard at The End of Century,Cambridge,Massachusetts:The MIT press,1996.
69.Jane Livingston and Marcia Tucker,Bruce Nauman:Work from 1965 to 1972,exh.cat.,Los Angeles County Museum of American Art,1972.
70.Marcel Duchamp,Salt Seller:The Writings of Marcel Duchamp,quoted by Craig Adcock,"In Duchamp's Way:Twisting Our Memory of The Past 'For The Fun of IT "',Cambridge,Massachusetts:The MIT press,1993.
71.Bruce Nauman,"Notes and Projects",Artforum,9(December 1970).
72.Maurice Berger,"Duchamp and Ⅰ," Labyrinths:Robert Morris,Minimalism,and the 1960s,New York:Harper and Row,1989.
73.Warren Neidich,"Marcel Marchamp and His Optical Machines,"unpublished lecture,Schools of Visual Arts,New York,1994.
74."Discussion with Heizer,Oppenheim,Smithson,"Avalanche,Autumn,1970.
75.Robert Smith,"The Spiral Jetty,"Art of the Environment,Gyorgy Kepes ed.,New York:Braziller,1972,Reprinted in the Writings of Robert Smith,op.cit.
76.Micheal Fried,"Art and Objecthood",Art Forum,June 1967.
77.Barbara Rose,in William C.Seiz,Art Criticism in Sixties,A Symposium of the Poses Institute of Fine Art,Brandies University,New York:October House,1967.
78.Clement Creenberg,"Modern Painting,"Art Yearbook no.4(1961);reprinted in Gregory Battcock,ed.,The New Art,New York:E.P.Dutton,1966.
79.John O'Brain(eds.),Clement Creenberg:The Collected Essays and Criticism,volume Ⅰ,The University of Chicago Press,1986.
80.Annette W.Balkema and Henk Slager(eds.),Screen-based art,series of Philosophy of Art and Art Theory,Volume 15,2001.
81.Sean Cubitt,Videography:video media as art and culture,St.Martin's Press,New York,1993.
82.Chris Meigh-Andrews,A history of video art:the development of form and function,Oxford,New york,2006.
83.Michael Rush,Video art,Thames & Hudson,2003.
84.James Meyer,Minimalism:art and polemics in the sixties,Yale University Press,2001.
85.Patrick Cescau,Bruce Nauman:raw materials,Unilever,2005.
86.Kenneth Baker,Minimalism:art of circumstance ,1988.Cross River Press,1998
87.Simon Penny,Critical issues in electronic media,State University of New York Press,1995.
88.Peter Burger,Michael Shaw(trans.),The Theory of the Avant-Guard,Manchester University Press,1984.
89.http://www.ubu.com/film/index.html
2 Barbara Rose,in William C.Seiz,Art Criticism in Sixties,A Symposium of the Poses Institute of Fine Art,Brandies University,1967。
1 汉斯·贝尔廷,《艺术史的终结?》,常宁生译,中国人民大学出版社,2004。
1 阿瑟·C·丹托,《艺术终结之后》,王春晨译,江苏人民出版社,2007。
1 参见汉斯·贝尔廷,《艺术史的终结?》,常宁生译,中国人民大学出版社,2004。
2 参见阿伦·卡普罗《集成艺术、环境艺术和偶发艺术》,纽约,阿布拉姆斯,1968。
1 参见 Harold Rosenberg,The De-Definition of Art,University Of Chicago Press,1983。
2 参见 Harold Rosenberg,The Anxious Object,University Of Chicago Press,1983。
1斯图尔特·霍尔,《表证--文化表象与意指实践》,徐亮、陆兴华译,商务印书馆,2003,p35。
2 阿瑟·丹托,《艺术世界》,载于《艺术家茶座》第三辑,山东人民出版社,2005年。
1 Robert S.Nilson and Richard Shiff,Critical Term for Art History,The University of Chicago Press,London,1992,p3。
2 斯图尔特·霍尔,《表证:文化表象与意指实践》,徐亮、陆兴华译,商务印书馆,2003。
1 Chrissie Iles,Into the Light,The Projected Image in American Art 1964-1977,Whitney Museum of American Art,2002.
1 约翰·伯格,《观看之道》,戴行钅戊译,广西师范大学出版社,2007年。
2 瓦尔特·本雅明,《机械复制时代的艺术品》,胡不适译,浙江文艺出版社,2005,第88页。
3 同上,第102-103页。
1 帧数,简单地说,就是在1秒钟时间里传输的图片的帧数,也可以理解为图形处理器每秒钟能够刷新几次,通常用fps(Frames Per Second)表示。每一帧都是静止的图象,快速连续地显示帧便形成了运动的假象。高的帧率可以得到更流畅、更逼真的动画。每秒钟帧数(fps)愈多,所显示的动作就会愈流畅。video是每秒25帧,电影每秒24帧。
2 音乐设备数字接口(Musical Indtrumend Digital Interfoce),它不是音乐信号,所记录的声音要想播放出来就必须通过MIDI界面的设置。是电子合成器与数字音乐的使用标准。MIDI标准是1982年在美国的乐器生产商共同商议制定的标准,而在此之前白南准等电子媒介的艺术实践中已经开始探索。
3 参见Sesn Cubitt,Videography--Video Media as Art and Culture,St.Martin's Press,New York,1993,p.ⅹⅱ.
1 参见马歇尔·麦克卢汉,《理解媒介:论人的延伸》,商务印书馆,2000。
1 约翰·菲斯克,《电视文化》,商务印书馆,2005,第9-19页。
2 Sesn Cubitt,Videography--Video Media as Art and Culture,St.Martin's Press,NewYork,1993,p.9。
3 参见Gene Youngblood,Expanded Cinema.New York:E.P.Dutton & Co.,1970.
1 玛格丽特·摩斯,《录像装置艺术--物体、形象和交互空间》,载于《影像艺术文献》,1996。
1 Robert S.Nelson and Richard Shiff eds.,Critical Terms for Art History,The University of Chicago Press,1992,p 142-145.
2 《1846年的沙龙--波德莱尔美学论文选》,波德莱尔著,郭宏安译,广西师范大学出版社,2002年,第424页。
1 Clive Bell,"The Aesthetic Dimension",in Franscina and Harrion(eds),Modern Art and Modernism,Harper &Row,London,1982,p 73-75.
1 John O'Brain(eds.),Clement Creenberg:The Collected Essays and Criticism,volume 4,The University of Chicago Press,1986,p 85-87.
2 参见Barbara Rose,in William C.Seiz,Art Criticism in Sixties:A Symposium of the Poses Institute of Fine Art,Brandies University(New York:October House,1967).
3 参见弗兰西斯·弗兰契娜,查尔斯·哈里森编,张坚,王晓文译,《现代艺术与现代主义》,上海人民美术出版社,1996,第143-163页。
4 格林伯格,《走向更新的拉奥孔》,选自《世界美术文选--纽约的没落》,河北美术出版社,2004,第32页。
5 同上,第35页。
6 T.J.Clark,"Clement Greenberg's Theory of Art",Critical Inquiry,Vol.9,No.1,The Politics of Interpretation.(Sep.,1982),p.141.
1 《纽约的没落》,易英主编,河北美术出版社,2004,第3页。
2 John O'Brain eds.,Clement Creenberg:The Collected Essays and Criticism,volume Ⅰ,The University of Chicago Press,1986,p.7.
3 同上,p.8.
4 同上,p6-11.
5 T.J.Clark,Clement Greenberg's Theory of Art,Critical Inquiry,Vol.9,No.1,The Politics of interpretation.(Sep.,1982),p.145.
1 T.J.Clark,Clement Greenberg's Theory of Art,Critical Inquiry,Vol.9,No.1,The Politics of interpretation.(Sep.,1982),,p 15.
2 格林伯格,《走向更新的拉奥孔》,选自《世界美术文选--纽约的没落》,河北美术出版社,2004,p.48。
1 Sesn Cubitt,Videography--Video Media as Art and Culture,St.Martin's Press,New York,1993,p.21-23.
2 Richard Shiff," Originiality" in Critical Terms for Art History,Robert S.Nelson and Richard Shiffe dited,The University of Chicago Press,London,p.103.
3 同上p.106.
1 瓦尔特·本雅明,《机械复制时代的艺术品》,胡不适译,浙江文艺出版社,2005,第88页。
2 John O'Brain(eds.),Clement Creenberg:The Collected Essays and Criticism,volume Ⅰ,The University of Chicago Press,1986,p 12.
1 David Summers," Reprensentation",in Critical Terms for Art History,Robert S.Nelson and Richard Richard Shiff edited,The University of Chicago Press,p.3.
1 Barbm Ross,"ABC Art," Art in American,October,1965,P.58.
2 Donald Judd,"Special Object",Arts Yearbook,8,1965,p74.
1 Frank Stella,引自Bruce Glaser and Lucy R Lippard,"Questions to Stella and Judd,"Art news,september,1966,p,59.
2 Donald Judd,in John Caplans,"An Interview with Don Judd",Artforum,June,1971,p.49.
1 Robert Smith,in "The Symposium," Earth Art exhibition cataloge,1968.
1 克莱门特·格林伯格,《现代派绘画》,选自《现代艺术和现代主义》,弗兰西斯·弗兰契娜,查尔斯·哈里森编,上海人民美术出版社,1996,11-12页。
1 汉斯·贝尔廷,《艺术史的终结?》,常宁生译,中国人民大学出版社,2004。
1 Marcel Duchamp,引自Janis Mink,Marcel Duchamp:1887-1968,Benedikt Taschen,1994,p 56.
2 Rudolf E.Kuenzli ed.,New York Dada,New York,1986,p.134.
1 Jerrold seigel,The Private Worlds of Marcel Duchamp--Desire,Liberation,and the Self in Modern Culture,University of California Press,1997,p.116.
2 Tony Godfrey,Conceptual Art,Phaidon,1998,p.27.
1 Pierre Cabanne,Dialogues with Marcel Duchamp,trans.Ron Padgett(London,1979;New York,1987),p.48.
2 Craig Adcock,Marcel Duchamp's Notes from the Large Glass,Umi Research Pr,1983,p.24.
1 Buffet-Picabia,in Masheck,ed.,Duchamp in Perspective,p.48.
2 艺术家理查·汉密尔顿复制该作品的时候撰写过一根详细的报告,载于Machel Duchamp,The Museum of Modern Art and Philadelphia Museum of Art,Anne d' Harnoncourt and Kynaston McShine,eds.P57.
1 John Cage,For the Birds,in Conversation with Daniel Charles,Marion Boyars,2000,p.43.
1 Richard Kostelanetz,ed.,Conversing with Cage,New York:Limelight,1988,p.42.
2 Cage conversation with Robin White(1979),in Richard Kostelanetz,Conversing with Cage,New York:Limelight 1988,p 212.
1 Michael Kirby and Richard Schechner,"An Interview with John Cage,",Tulane Drama Review,10(winter 1965),p.55.
2 Allan Kaprow,in Michael Kirby,Happenings." An Illustrated Anthology,New York:E.P.Dutton,1965,p.48.
1 阿伦·卡普罗,“杰克逊·波罗克的遗产”,在于《艺术与生活的模糊边界》,远流出版社,1996,第29-37页。
1 参见Joseph Kosuth,Art After Philosophy and After:Collected Writing,1966-1990,MIT Press(MA),1991.
2 引自Tony Godfrey,Conceptual Art,Phaidon,1998,p.13.原文引自里维特在1967年的《艺术评论》杂志的文章‘Paragraphs on Conceptual Art'。
1 Tony Godfrey,Conceptual Art,Phaidon,1998,p.7.
1 Irving Sandler,Ametican Art of the 1960s,HarperCollins Publishers,1989,p.333.
2 Jack Burnham,"Real Time Systems,"Artforum,September,1969,p.49-55.
1 参展于惠特尼美术馆的展览反幻觉:程序/材料,1969年5月19日--6月6日,参见展览目录。
2 Alexander Alberro and Patricia Norvell,Recording Conceptual Art,University of California Press,1970,p65.
1 Alexander Alberro and Patricia Norvell,Recording Conceptual Art,University of California Press,1970,p105.
1 奥根海姆1969年关于观念艺术的访谈,载于Patricia Norvell,Recording Conceptual Art,University of California Press,1970.p.21-31.
2 同上,"Interview with Robert Morris",p.68.
1 Patricia Norvell,"Interview with Douglas Huebler",,1969,in Recording Conceptual Art,University of California Press,1970,p.140.
2 同上,p.18.
1 Patricia Norvell,"Interview with Douglas Huebler",,1969,in Recording Conceptual Art,University of California Press,1970,p.150.
1 奥根海姆1969年关于观念艺术的访谈,载于Patricia Norvell,Recording Conceptual Art,University of California Press,1970.p.21-31
2 罗伯特·莫里斯关于记录观念艺术的访谈,载于Patricia Norvell,Recording Conceptual Art,University of California Press,1970,p.56-70.
1 Hermine Freed,"Where do We Come From? Where Are We?",in Ira Schneider and Bery Korot(eds.),Video Art:An Anthology,Harcour,1976.
1 关于阿伦·卡普罗和观念主义的艺术的具体阐述请参见本文第三章第二节和第三节。
2 David Revill,The Roaring Silence:A Life,Bloomsbury,London,p.193
1 Joseph Kosuth,Art After Philosophy and After:Collected Writing,1966-1990,MIT Press,Cambridge,1991,p.127.
1 Marita Sturken,"Paradox in the Evolution of an Art Form",in Doug Hall and Sally Jo Fifer(eds),Illuminating Video:An Essential Guide to Video Art,New York,p.116.
1 Gorge Maciunas,"240.ⅩⅪ Gorge Maciunas(Fluxus objectives &ideology) 1964," in Fluxus(Addenda Ⅱ:Baxter Art Gallery at the California Institute of Technology,1983),p.166.
2 Perpetual Fluxfestival,Filmmakers' Cinematheque,New York,July4,1965.
3 stan Brakhage 1933-2003)美国非叙事电影艺术家,从事实验电影,其”纯电影(pure cinema)的拍摄制作有一定的实验性,作品注重纯粹的视觉审美性。
4 参见Bruce Jenkins,"Fluxfilms in Three False Starts",in In the Spirit of Fluxes,Walker Art Center 1993,p.122.
1 Douglas Davis and Allison Simmons(eds.),The New Television:A Public/Private Art,1977,p.179.
1 Marshall McLuhan,Understanding Media,Routledge and Kegan Paul,London,1964,p.358.
2 Marshall McLuhan,The Mechanical Bride:The Folklore of Industrial Man,1951.
1 Frank Gillette,"McLuhan and Recent History",The Early Video Project,http://davidsonfiles.org.
1 Ben Poitis,The Fulcrum:TV as a Creative Medium,Electronic Arts Intermix,2001.
2 引自Paul Ryan,"A Genealogy of Video",Leonardo,Vol.21,No.1.1988,p.39-44.
1 Michael Shamberg and Raindance Corporation,Guerrilla Television,New York,1971.
1 John Hanhardt,“De-collage/Collage:Notes Towards the Origins of Video Art”,in Doug Hall and Sally Jo Fifer (eds),Illuminating Video:An Essential Guide to Video Art,New York.
2 同上,p.7.
1 John Cage,"Forerunner of Modern Music",in Silence,Wesleyan University Press,1961,p.62.
1 Douglas Davis,"Nam June Paik:The Cathode Ray Canvas",Art and the Future:A History/Prophecy of the Collaboration Between Science,Technology and Art,Thames and Hudson,London,p.147-148.
2 Edith Decker-Phillips(1988),Paik Video,Barrytown,New York,p.36-39.
3 Martha Roslar,"Video:Shedding the Utopian Moment",in Doug Hall and Sally Jo Fifer(eds),Illuminating Video:An Essential Cuide to Video Art,New York,1991.
1 David Hall,"British Video Art:Toward an Autonomous Practice",Studio International,May-June 1976,p.248.
2 同上,p 107
1 Mary Jane Jacob,"Introduction to Shigeko Kubota ",Video Sculpture,American Museum of the Moving Image,New York,p.6-7.
1 迈克尔·拉什(Micheal Rush)于2000年对玛莎·罗斯勒的采访。
1 瓦莉·艾斯波尔《女性的艺术》(VALIE EXPORT,Woman's Art,1972),在《分离:现实》(Split:RealityVALIE EXPORT,1997)中再版。
1 瓦尔特·本雅明,《机械复制时代的艺术品》,胡不适译,浙江文艺出版社,2005,第102-103页。
1 Douglas Crimp,The End of Painting,artforum,,October,1981,p.76.
1 马泰·卡林内斯基,《现代性的五幅面孔--现代主义、先锋派、颓废、媚俗艺术、后现代主义》,商务印书馆,2004,第103页。
2 John O'Brain(eds.),Clement Creenberg:The Collected Essays and Criticism,volume Ⅰ,The University of Chicago Press,1986,p 6-11.
1 居伊·德波尔,《定义一种革命计划的预备措施》,《景观社会》,南京大学出版社,2006,第174页。
2 让·伯德里亚,《消失的技法》,《视觉文化读本》,广西师范大学出版社,1992,第76页。
1 Peter Wollen,"Global Conceptualism and Northen American Conceptual Art",in Global Conceptualism,Points and Origin,1950s-1980s,New York,1999,p.73-85.
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4.詹姆斯·施密特编,徐向东,卢华平译,《启蒙运动与现代性》,上海人民出版社,1996.
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15.凯尔纳著,《媒介奇观》清华大学出版社2004
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17.W·J·T米歇尔著,陈永国、胡文征译,《图象理论》,北京大学出版社,2006。
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19.约翰·菲斯克著,祁阿红、张鯤译,《电视文化》,商务印书馆,2005。
20.史蒂文·康纳著,周宪、许钧主编,《后现代主义文化》,商务印书馆,1997。
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37.Rosalind E.Krauss,The Original of the Avant-Guard and Other Modernist Myths(Cambridge,Massachusetts:The MIT press,1985
38.J.Beger,Ways of Seeing,London,BBC Publications,1972.
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40.J.Buick and Z.Jevtic,Cyberspace for Beginners,Cambridge:Icon Books,1995.
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48.Edited by Robert S.Nelson and Richard Shiff,Critical Terms for Art History,The University of Chicago Press,1996.
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66.John J.Walsdorf,William Morris in Private Press and Limited Editions:A Descriptive Bibliography of Books by and about William Morris,1891-1981,John J.Walsdorf;Oryx Press,1983.
67.David Joselit,Infinite Regress,Marcel Duchamp 1910-1941(Cambridge,Massachusetts:The MIT press,1988).
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69.Jane Livingston and Marcia Tucker,Bruce Nauman:Work from 1965 to 1972,exh.cat.,Los Angeles County Museum of American Art,1972.
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71.Bruce Nauman,"Notes and Projects",Artforum,9(December 1970).
72.Maurice Berger,"Duchamp and Ⅰ," Labyrinths:Robert Morris,Minimalism,and the 1960s,New York:Harper and Row,1989.
73.Warren Neidich,"Marcel Marchamp and His Optical Machines,"unpublished lecture,Schools of Visual Arts,New York,1994.
74."Discussion with Heizer,Oppenheim,Smithson,"Avalanche,Autumn,1970.
75.Robert Smith,"The Spiral Jetty,"Art of the Environment,Gyorgy Kepes ed.,New York:Braziller,1972,Reprinted in the Writings of Robert Smith,op.cit.
76.Micheal Fried,"Art and Objecthood",Art Forum,June 1967.
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