[展覽推薦]「春華秋實．上海中國畫院珍藏精品展」

展出現代重要畫家作品，包括：如林風眠、豐子愷、朱屺瞻、劉海粟、謝稚柳、陳佩秋、程十髮等。大家可一睹課堂將會重點講授的林風眠及劉海粟作品。

「春華秋實．上海中國畫院珍藏精品展」現於香港大會堂低座展覽廳舉行，展期至九月二十九日。
每日上午10時至下午8時。

[展覽推薦]長青館藏中國書畫

按：下一課講現代主義在中國，與這個展覽也有些相關，希望大家也去看一趟。 長青館藏中國書畫
2005年9月23日至2006年1月8日 香港藝術館四樓 中國書畫展覽廳
收藏是一種講求學識、恆心與毅力的嚐好，而藏品亦最能彰顯收藏家的個性品味。著名收藏家練松柏先生，是敏求精舍的資深成員。數十年來，鍥而不捨，尋珍覓趣，肆力收藏中國書畫文玩，使他建立起別具規模的「長青館」收藏，並因而享譽收藏界。 是次「長青館藏中國書畫」展覽，將展出約一百五十件「長青館」收藏之中國書畫精品，當中包括吳昌碩(1844-1927)、齊白石(1864- 1957)、黃賓虹(1865-1955)、高劍父(1879-1951)、朱屺瞻(1892-1996)、徐悲鴻(1895-1953)、劉海粟 (1896-1994)、潘天壽(1897-1971)、張大千(1899-1983)、傅抱石(1904-1965)、李可染(1907-1989)、 陸儼少(1909-1993)、石魯(1919-1982)、崔子范(1915生)等一眾名家之作。其豐富的陣容，充分反映「長青館」收藏的卓越地位；同 時，亦體現過去百年中國畫家在發展傳統和變革開新方面的成就。 琳瑯滿目的展品，將帶領觀眾一覽中國繪畫從十九世紀中期到二十世紀末的發展流向，認識中國藝術家在急劇的時代轉變中，仍能堅持傳統，並積極從中擷取養分， 變法創新。此外，藉由那些具有強烈個性和題材別開生面的作品，觀眾亦可一同分享收藏家細意玩味珍藏的那份喜悅。		張大千（1899 - 1983） 仕女圖　1951 水墨設色紙本直幅 高：46 厘米　闊：29.3 厘米 長青館藏品

AAE 5104 Lesson III (26.09.05) 現代主義在西方(On Modern West)

主講：梁寶山

這堂課以一小時半的極短速勾勒了現代性與現代主義在西方的主要發展，並不是一個完整的歷史敘述。透過這次課堂，我希望同學能把握相關的基本概念外，還學會如何在堂上進行思辯，並閱讀原典。

On Modernity & Modernism:

modern 現代/ 摩登- Litan- contemporary - division in time; in against to the past, directed to future

-1789 French Revolution; 1841 Opium War to 1949 establishment of the PRC

-Modernity is in terms of technology advancement; while Modernism is the critical responds of modern wo/men to this new human condition.

-City- urban- metropolis- born in the drastic economical and demographical changes in European cities (Paris 3 m; London 5m; Berlin 2m by WW I)

-modernism is an evolutionist notion of human civilization; critique to anti-traditionalism (復古)

Modernism (Charles Harrison 1992)

-In history of art: 1860s French Paintings (or early 19^th century) -1960s American Paintings

1. Urbanization and Industrialization: the transformation of human experience/ Georg Simmel: “The deepest problems of modern life derive from the claim of the individual to preserve the autonomy and individuality of his existence in the face of overwhelming social forces. (The Metropolis and Modern Life ,1902-03)” > the call for painter to capture the modern condition: “the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable ” (Baudelaire 1863) e.g. private space as marker place in Manat’s Olympia (~ realism?)
2. High art distinguished from classical, academic, the conservatives, the popular and mass culture (~ Avant Grade vs. kitsch): (anesthetization of the moral challenge, i.e. the modernist)- “the use of the characteristic methods of a discipline to criticize the discipline itself- not in order to subvert it, but to entrench it more firmly in its area of competence.” (Greenberge 1960).- self-critical, self-referential and original/ e.g. Manat’s Olympia: from pictorial illusion to decorated surface/~ disinterested (Kantain aesthetics)> devoicing from the “concern of society”
3. As a critical tradition: Clive Bell, Roger Fry, R. H. Wilenski, Clement Greenberg, Michael Fried / (modernist theory formulated in criticism and art history , art that subservient to)/ the talks of artistic autonomy, artistic quality, aesthetic value…/ formalism and abstraction/

Urbanization and Industrialization:

1. Compacted space experience in a new time frame.
2. Haussmann’s Paris:
1. Second Empire capitalism took firmer grip: Napolean III’s economic planning.
2. Demolishment of quarter and the building of standardized avenues and boulevards, 85 miles long straight with planned trees. All built in the heart of the old city. Civil facilities on the British model.
3. Emerge of the bourgeoisie, middle class, and commoditization of leisure life
3. Baudelaire: the painter should capture “the ephemeral, the figurative, the contingent, the half of art whose other half is the eternal and the immutable”

~~~~~~~~~~

T. J. Clark, The Painter of the Modern Life (1985)

- social history of art

View from Notre-Dome

-City rendered as a broken image, spectacle (yet not in the 1860s): city of Europe (not France)

-The final triumph of the bourgeoisie: public space and the bourgeoisie modesty, business and sociability,

-Re-definition of public and private domain

-Spectacle: “seeing” as a leisure activity; to be “seen” as Parisian, Exposition Universelle de 1867, shop window, side walks cafe

-Modernity not yet found its image

Olympia’s Choice

- class disguised by deployment of empty signifier; identity become a performance: the fears come from “the fact of her own falsity”

-nude and nakedness (also see John Berger); challenged to the myth of courtisane (eroticism in an unembarrassed way); nude as “abstract being”

-female representation: separation of sexuality from her body, the object being looked at (~ more to explore on psychoanalysis, e.g. “lack of the phallus” and “fetish” )

-commoditization: courtisane/ prostitute – the subject mixed up money and sexuality, on the edge of the new social order

-linear and flatness (in high visual certainty) vs. the “painterly” tradition

-materiality of paint-ing (modernism)

~~~~~~~~~~~~~

Perspectives:

-from window to wall

-rational rendering of time and space on a single plane

-the looking subject

-the power to look and possession of the art object

____________________

Reference:

Charles Harrison, “Modernism”, Francis Frascina & Jonathan Harris ed., Art in Modern Culture: an anthology of critical text, New York : Icon Editions, Harper Collins, 1992, pp142-155.

John Berger, Chapter II, Ways of Seeing (1974).

T. J. Clark, The Painter of the Modern Life (1985)

Please also see very useful teaching material:

Frascina, Francis, Manet and modernism, Milton Keynes : Open University Press, 1983.

Frascina, Francis, Abstract expressionism and Jackson Pollock ,Milton Keynes : Open University Press, 1983.

[文章分享]功夫還多着呢！

文：梁寶山

拜讀雷競璇先生十二篇「文物典故考」，針對一個展覽作出的微觀評論，引經據典深入淺出。結案陳詞大字標題〈展 覽工作亟待改進〉﹙《信報》八月十八日 ﹚已經是非常客氣。正如雷先生所言，重量級的文化節目在香港無日無之，由政府直接投放資源，數量目不暇給。但博物館作為體現文化權利的公共場所、學校教育 以外的普及知識機構，一般市民如何消費╱化博物館？博物館內外人士如何透過有效機制令精力和知識用得其所？均不是那些只鑽開幕酒會的高官所能體察的。筆者 暑期外遊，在東京閒逛過幾所博物館，同是處在新舊中西交雜的文化版圖上，比照起來尤覺自慚形穢。

香港人入館百態

要 了解一所博物館在一般市民的文化生活中起怎樣的作用，就得買門票，混在人群中聽免費導賞，既觀賞文物，亦細察講解人員是否用心、陳設是否便利， 更重要的是看看觀眾是否明白投入。香港人的修養一向有目共睹，在博物館音樂廳大談手提電話旁若無人。幾次在周日逛文化博物館，碰上本地遊旅行團，安排通常 是順道遊彭福公園和中文大學，把博物館當成景點而不是參觀展覽﹙這亦與今日博物館之地標式建築有關﹚。在等入場看印象派展覽的人龍裏，家長向帶習作紙的 女兒說：「看看這些在外牆上放大了的圖畫不就成了，為什麼要排隊？」老師們不懂得如何看，更不懂得把握機會在難得一見的實物前向學生即場解說，只顧在自 由學習的空間裏延續課堂的填充題......

全文：http://www.inmediahk.net/public/article?item_id=68227&group_id=59

並刊於信報文化版2005年9月22日

第二講 powerpoint

下載

第二講 Art Criticism, Art History and History

- Other concerns: subject of art criticism, what is the purpose of art criticism

I Approaching Art Criticism

1. If Leung Po says her task in the previous session is the hardest one, I would think what I want to do today is the easiest one.

2. My project today is to develop some initial inroads to producing art criticisms, suggesting some practical models that you can work on.

II Art as Communication

1. In many ways the experience of art is not unlike communication, the artist or curator produces works or exhibitions for you to view and enjoy.

2. Here I want to borrow a model from linguistics or communications theory, devised by the Russian theorist Roman Jakobson (1896-1982) to identify the process of communications. Please express your opinion if you do not agree with me.

3. For Jakobson the process of communication is not a simple addresser ― message ― addressee business, it also involves a number of other components. [PP]

4. Applying this model to art, I change the components in this way. [PP]

5. From here we can note that we can actually initiate our criticism from various angles.

6. You can focus on one aspect to develop your criticism, or make use of a number of these components to arrive at your conclusion.

7. In developing our arguments about these components, it is common that we bring in different disciplines so that more profound and in-depth studies can be made, e.g. psychology, aesthetics, anthropology, geography, zoology, religion, etc.

III Art History as a Tool for Art Criticism

1. Making use of this model we can consider how art history has been employed in the production of art criticism.

2. Art history has often been applied in the writing of art criticism, more often in respects of artists, subjects (genre), form, and style.

3. There has not been much art history or criticism that develops from the position of the viewer.

4. The introduction of art history into the critique of the work means a reading of a diachronic point of view, and very often its quality becomes assessed by the ideas of improvement and evolution.

5. Walter Benjamin’s subtle essay points out that an artist/intellect should produce work to improve the current modes of production, in particular the form. Through such improvements he believes the world will be improved or advanced. [ppt]

6. Benjamin’s position is informed by the spirit of avant-gardism, the rapid developments of new media (photography and the cinema), and the Marxist viewpoint that it is the privileged class who now controls the form and its advances.

7. More often art history deals with the aspects of authorship and style. A work is considered good if the artist has improved or developed new advances from his previous work etc.

8. This has been good background for the assessment of art through the history of art styles, as all artists produce their work in relations to the tradition. It has been argued that there are no creations, just innovations.

9. Before I continue the discussion of the idea of improvements and advances, I want to briefly discuss the issue of style in Hong Kong art.

10. In the case of Hong Kong and China, in the last two hundred years one can note the concerns about the preservation of Chinese art styles, and the introduction of Western elements.

11. The concerns here are complicated by the fact that China experiences a low political tide over the last two hundred years, and consequently struggles for strengthening and modernization.

12. So in the schools of Chinese painting we note the introduction of new subjects and colours, from Lingnan School to the New Ink Painting movement. [ppt]

13. For artists who introduce Western elements in their work, for a long time they still try to maintain a certain amount of Chineseness. [ppt]

14. From more recent local works one detects such concerns gradually fades, the locals’ resistance to link with the Mainland? Colonial education?

IV Art History as Canons 1

1. The writing of art history very often involves the creation of an art discourse, a general tendency in art production.

2. This not only tries to explain what has happened in the past, but also what is happening now and will happen in the future.

3. Those work that go along with this line are good, otherwise bad or unworthy.

4. Last time Leung Po Shan has mentioned Dong Qicheong’s enterprise of privileging the Southern School of Chinese painting over the Northern painting.

5. Similar example happens in Modern Western Arts, especially in the postwar period.

6. Clement Greenberg argues that Western painting in the Modernist period has worked towards an emphasis of the specialties of their form, in particular its flatness.

7. By doing this Greenberg has created a history of Modernist art, and promoted a number of American artists through linking them with previous European masters.

8. We can call such an approach of inventing history as historicism.

9. Greenberg’s criticism has been called formalism, actually refers to style, and a continuation of the theory of ‘art for art’s sake’.

10. Their enemies are those who propose that ‘art for society’s sake’.

V Art History as Canons 2

1. Today the theory that art history is an important approach to art viewing and criticism still dominates, as well as the concept of art for art’s sake.

2. This has much to do with the developments of the arts institution that sustain such arguments, including art history books, art museums, art critics and art education.

3. Even controversial or radical works like Impressionism, once they are collected and interpreted by the dominant art discourses, they become tamed and collectables.

4. One major criticism of this discourse is it does not consider the meaning or aspiration of the work in its contemporary contexts, only focusing on how it can be related to the arts traditions. [PP]

5. We are also consistently intimidated by the dominant art history discourse, and may not have the courage to question it.

6. This is part of John Berger’s project in Ways of Seeing.

7. To sum up, we can use art history to develop our criticism, but this is only one of the approach, and can be problematic itself.

8. We should never worship art history, and should instead constantly raise questions about it.

9. One method is to study the art works in its contemporary context. [PP]

VI History and Contemporaneity

1. Consequently we can try to go beyond the gallery space, taking into consideration the work’s target audience etc. to develop a more palpable piece of criticism.

2. We can also make use of history to develop new perspectives of contemporary or earlier works.

[展覽推薦] 一街博物館-利東街

按：民間博物館是本地推動視覺文化研究的前行者之一，對視覺文化研究有興趣的同學，可参觀他們的最新傑作："一街博物館-利東街"展覽。 (小西)





面臨重建的利東街成為公眾與傳媒注意力集中之地。民間博物館嘗試與大家一起由視覺經驗出發，看這條「印刷街」或「囍帖街」的一磚一石、一店一舖。《一街博物館 ─ 利東街》是一條舊建築街道的完整視覺紀錄，在利東街的轉變當中為庶民生活拍一張集體照。

你從未見過的利東街
利東街是灣仔大型重建下的一個風雨之地。民間博物館計劃為這條聞名遐邇的囍帖街作點不太尋常的視覺記錄。我們花了半年的時間，利用特殊的攝影手法和電腦技術，把完整一條街的建築面貌和商舖/住宅景觀呈現出來的，讓我們重新觀看熟識的街頭，整理出一條街道的生態。

展覽開幕及新書發佈：
2005年9月10日 (星期六) 下午二時三十分
灣仔集成中心集成展廊 (軒尼詩道302-308號)
展期由9月10日至10月9日

關於美學(補充)

關於藝術批評與美學的關係，梁寶的引文已說得差不多：

“Aesthetics, a term used to describe thinking about the nature of art, particularly that which treats it as a singular and independent field of human experience. Generalizations about art may be traced back through European culture to Plato and Aristotle, and engaged many writers from the 15th century onwards…but the idea that art should be treated as a distinct area of philosophical enquiry stems from the writing of Alexander Baumgarten, who in 1735 proposed a term from the Greek aisthetika (matters of perception) to distinguish thought about our sensuous responses from thought on alternative themes such as logic or ethics Kant, who took up the growing fashion for the term in 1790, set responses to nature over those to art; but from the writings (1802–3) of Friedrich Schelling onwards, the tradition of writing on aesthetics has chiefly revolved around the visual arts, literature, and music. Hegel's Lectures on Aesthetics (1828) added weight to this tradition, ensuring it a firm place in subsequent philosophic systems.”

不過，值得注意的是，儘管康德(Kant)的名著 《判斷力批判》(又稱"第三批判")也涉及藝術的美感問題，但"美學"於他而言，是"the science which treats of the conditions of sensuous perception." ；換言之，直至康德，西方"美學"(但英語Aesthetics一詞，直至19世紀才廣泛地被使用)主要處理的是人類感性認識的條件，而美感只是人類的感 性認識之一種；直至浪漫主義(e.g. Schelling、Hegel)，藝術才被視為美學的唯一合法研究領域(Hegel甚至乾脆稱美學為"藝術哲學")，而美學亦成為了哲學旗下一門有別於 倫理學、形而上學、知識論等等的獨立領域。

可以這麼說，美學探討的是人類感性認識的條件及一般原則，是一個由具像(人類感性認識、藝術作 品)到抽象(美學原則)的過程；而藝術批評則主要依照適切的方法與美學原則，就具體的藝術作品、現象，作出分析與評鑑。所以，美學與藝術批評是兩個既相對地互相獨立但又關係緊密的領域。

至於 "Aesthetics"一詞，中譯一般譯為"美學"，這在19世紀之前，問題不大，因為美學在傳統古典藝術的概念中通常被定義為研究「美」 (Schönheit)的學說；但現代藝術的發展，似乎不再能夠單單以"美感"來概括，所以現在若果把"Aesthetics"中譯為"藝術哲學"，亦未 嘗不可。

有關現代主義之導修課

大家不要驚慌，有關選取的文章，昨未及簡介。其實Clement Greenberg, “Modernist Painting” (1963)

此文短短八頁，如果怕未能了解，可先一讀：

*Harrison, Charles, “Modernism”, Nelson, Robert S. & Shiff, Richard ed., Critical Terms and Art History, Chicago & London: Chicago University Press, 1996, pp.142-155.

這是一本很好的雞精書，大家宜買一本在家。

另如果未讀過Ways of Seeing，也很推薦大家一讀。
不要給文章嚇怕，我們大家一起慢慢來。不過我很趁這課，與同學一起讀讀原典，而不是二手材料。讀教學相長嘛！我也要好好的備課呢！

想多了解一下我的背境與生活近況，歡迎到我的blog看看。www.motat.blogspot.com

第一講 藝術評論的領域

AAE 5014 2005年9月5日

第一講 藝術評論的領域

主講：梁寶山

課程特性：這個課程雖然稱作藝術評論，其實是一門綜合的藝術評賞課程，是一個非常粗淺與籠統的分類─有關視覺的認知。

這是最難講的一課：藝術評論作為一個discipline的含混性；不能以定義來維繫這個discipline的穩定性。此處先把藝評修窄為文字的書寫，對課堂與創作的評賞容後處理。

所以，我負責的這一堂和以後的部份，將以點出幾個有關藝術書寫的problematic 作為引子。以現代主義為出發點，帶出幾個與評論相關的歷史轉捩點與理論的走向。

亦會引入本土的例子，希望為大家引路(orientation)，加入評論的群體(見馬國明文章)。

1. 為什麼要「學」？

- 藝術是知識的對象：視覺為知識的過程“Watching is not seeing”我們常常以為自己看見了，而其實不！

「觀看先於語言，兒童先觀看，後辯識，再說話。」

「但是，觀看先於語言，還有另一層意思。正是觀看確立了我們在周圍世界的地位，我們用語言解釋那個世界，可是語言並不能抹殺我們處於讓世界包圍之中這一事實。我們見到的與我們知道的，二者的關係從未被澄清。」

換句話說，藝術不單是審美的對象，是值價的載體，它更加掀示了認知的方式。所以藝術欣賞/評論不是不証自明，而是需要學習的。

“as non-judgemental and for the sake of knowledge only. In particular, criticism can be understood as imaginative re-enactment of creation or perception, with no determinate relation to evaluation.”

(Elkins “Art criticism” on Grove Art Dictionary)

2. 什麼是藝評Art Criticism？

一般來說，藝評與1.藝術史；2.美學關係非常密切，但那是怎樣的關係，則眾說紛紜：

“The history of art should present works of art- all the works of art – without judging them, without commenting up them, with the richest possible documentation of the facts. Art criticism should judge works of art in conformity with the aesthetic feeling of the critic. Aesthetics should formulate the definition of art in its universal meaning.”

(Venturi, History of Art Criticism, 1936 p.19)

“Art criticism is the 1. study and 2.evaluation of art. This criticism usually involves the use of aesthetics or the philosophy of beauty although there are other techniques. Part of the purpose of art criticism is to have a 3.rational basis for the appreciation of art and avoid 4. subjective opinions of taste but this is not always achieved.”

(http://en.wikipedia.org/wiki/Art_criticism )

3. 藝術批評與藝術史：

Elkins 在他的著作裡，同意Venturi的說法，應為藝術史與藝術批評跟本是二而一，一而二的範疇，無論從1.哲學性：2.修辭學；3.歷史學的異同上來說，都密不可分：

1. philosophical difference: descriptive and evaluation are mixed in all writings: inseparable from historical writings (藝術=藝術史)

2. rhetorical difference: persuasive and informative

3. historiographcial difference: are the one

~ “the body of art criticism is the body of art history”

(Elkins “Art criticism” on Grove Art Dictionary)

對藝評本身自省，其中一本較完整的歷史著作是意大利藝術史家L. Venturi的History of Art Criticism (1936)。其中的導論也以連串的problematic 去處理：

“If a fact referred to is not considered as a function of judgment, it is perfectly useless; if a judgment does not rest upon a knowledge of the historical facts, it is completely false.” (Venturi p.20)

“To understand an aesthetic principle means to verify it by personal experience, and in some ways to criticize it.” ; “the relation between aesthetics and art, between the idea of art and artistic intuition, is art criticism.” (Venturi p.25)

歷史不可能是所有事實的陳述，陳述本身已有選擇的過程並且已有價值判斷(mixed critical and factual narrative)

審美價值不可能是由一個人所訂立的，否則無從得知誰的準則更加高明

沒有能夠脫離於具體事物的審美對象，否則美學只成智性的遊戲

他並且強調，藝評的工作是要把藝術作品帶回到它原來的處境：

“A work of art cannot be understood and judged except by taking it back to the elements from which it results; followed by the pretty demonstration: if this be not done, a work of art would become something taken away from the historical complex to which it belongs and would lose its true significance.” (p.20-21)

- 這是藝評「語境論」的開始

“effectively to constitute the work of art which he examines, and which are indispensable for the solution of the critical problem which he propounds to himself.” ; “case by case”(p.22)

- 然而，一連串的問題也由此開始：

~ 是否一種「還原論」？藝術作品的意義是否能夠還原？又，還原到多少才夠？

~ 藝術作品的意義，有沒有標準的答案？是否必須以作者的原意為唯一的答案？

4. 藝術批評與美學(小西老師請引伸)：

“Aesthetics, a term used to describe thinking about the nature of art, particularly that which treats it as a singular and independent field of human experience. Generalizations about art may be traced back through European culture to Plato and Aristotle, and engaged many writers from the 15th century onwards…but the idea that art should be treated as a distinct area of philosophical enquiry stems from the writing of Alexander Baumgarten, who in 1735 proposed a term from the Greek aisthetika (matters of perception) to distinguish thought about our sensuous responses from thought on alternative themes such as logic or ethics Kant, who took up the growing fashion for the term in 1790, set responses to nature over those to art; but from the writings (1802–3) of Friedrich Schelling onwards, the tradition of writing on aesthetics has chiefly revolved around the visual arts, literature, and music. Hegel's Lectures on Aesthetics (1828) added weight to this tradition, ensuring it a firm place in subsequent philosophic systems.”

(Grove Art Dictionary “Aesthetics” )

5. 藝術批評與藝術創作：

我們一般以為沒有藝術創作，便沒有藝術批評─藝術創作是先於批評而存在而藝術批評是輔助性的。

一種說法是，藝術家本身其實就是第一個評論作品的人─創作是一個不斷修正的過程，沒有完全的創新，則便難以被歸類為藝術，藝術家對作品不斷調較，是以前人的作品作為參照。故此藝術雖然沒有principle，但藝術作為一種知識即是藝術的歷史本身(如像哲學史就是哲學本身)。故此歷史的幽靈以評論人的聲音文字出現─無論是以第一身(創作者)、或第二身(觀賞者)─它都是歷史的幽靈，對歷史的承傳、背叛或轉換、誤讀和更新。最特出的就是中國文人藝術，對全方位的追求：藝術家文史互通，兼為收藏家、史家、論家。例如明代的董其昌提出南北宗說：

「禪 家有南北二宗，唐時始分。畫之南北二宗，亦唐時分也；但其人非南北耳。北宗則李思訓父子著色山水，流傳而為未之趙幹、趙伯駒、伯驌，以至馬、夏輩。南宗則 王摩詰始用渲淡，一變抅斫之法。其傳為張璪荊、關、董、巨、郭忠恕米家父子，以至元之四大家。亦如六之後有馬駒、雲門、臨濟，兒孫之盛，而北宗微矣。」

(明‧董其昌《容臺別集》卷四〈畫旨〉)

藝術批評是輔助性的─無藝術就無藝術評論 (“art is pointless without criticism” 後詳)─藝術評論擔當起製造意義的工作

- 所以接下來的問題便是：

~ 放棄定義說明，改而從1.「art world」 的約定俗成的實踐範圍來認識何謂藝評；2. 藝評的使命來引導這項工作的方向─希望除了在教學以外，同學能找到藝術評論對自己的作用，和與教學的關係。

6. 實踐範圍裡的藝術批評(歷史與使命)：

如果從圖書館的目錄索引中打入「藝術評論」art criticism ，便會顯示出大量有關藝術的著作。這些著作，有時被編年、有時以主題或現象作劃分，比較著名的藝評家，會有個人的文章專集，它們大部份都被當成是解析藝術的輔助性文字，是後於藝術而產生的知識。

6.1藝評的歷史及社會條件

啟蒙運動(文化民主化)：

- Public Exhibitions and the academy:

- Salon in Paris: official French art exhibition in Paris / “Salon Carré” at the Louvre/1737 (Louvre opened as a public museum in 1793) /works by the members of the Académie Royale de Peinture et de Sculpture /

- Denis Diderot (1713-1784)- the foundation of modern art criticism/ “Diderot’s Salons it has been a means by which a public for art has been cultivated and informed.”/ ideas of beauty arise from practical everyday experience of beautiful things, based taste as a faculty acquired through repeated experience of apprehending the true or the good through immediate impression which renders it beautiful

(中國也有「畫院」及「畫品」等級制，另詳)

出版語境Publishing context:

- 現代大眾媒體的出現，促使：1.報章評論園地；2.藝術雜誌變成藝評的陣地。

- newspaper: e.g. Louis Vauxcelles and Fauvism between wars in France; Hilton Kramer for New York Times

- art journal: Pan and Ver Sacrum – Jugendstil aesthetic ; The Studio- arts and craft; Art et decoration Deutsche Kunst and Dekoration – architecture and design; Der Sturm- expressionism

(香港例子：信報 明報 可參拙作 / Artforum, October, Art Journal, Third Text, Critical Inquiry, Yishu ……)

- 藝評人的身份，亦因為出版語境的不同而各異：

- the journalistic and the engaged;

- 另一個重要的傳統，是由詩人所主導，他們的信念是：

“only writers with a comparable intuitive understanding of creativity were capable of grasping the natureof this art and rendering it intelligible to an audience.”

“the relationsip between visual art and language. Contemporary art, by first abandoning narrative depiction and then undermining mimetic representation itself, posed this old question in a new and pressing way… persudaded the reader not through its power of description or analysis, but through equivalence- they did not wish to be seen as impartial judges of artistic production.”(Malcolm p.12)

(Malcolm Gee, “The Nature of twentieth-century art criticism”, Art Criticism since 1990, pp.3-21.)

7. 藝評的危機Crisis of art criticism

這點在課堂上未能詳述，藝術在整個藝術世界(the art world)裡的實際處境，其實非尷尬：

massively produced and massively ignored- no once can keep track!

Polarized: heavily historical and theoretical ; or sheer publicity and promotion of artist-celebrities

lack of disciplinary home

income: writers and invitation for other paid-jobs

never knows the readers

authoritative role has been replace by curator

* Descriptive art criticism: “Art writing that attempts not to judge, and yet presents itself as criticism, is one of the fascinating paradoxes of the second half of the twentieth century.” (Elkins, What Happened to art criticism, p.35)

而Elkins 的歎喟是：

~ “A ghostly profession, catering for ghosts, but in a grad style.” (p.10)

這也許跟接下來有關「藝評的荒蕪」論辯，也有着一點關連。

8. 藝評將來─寫黎做咩？

「藝評的荒蕪」論辯

黎健強：生產量少; 稿酬微薄；大學評審制度的窒息

馬國明：中國傳統隱惡揚善；未能形成評論的群體；公共領域失效，但寄望透過評論群體的產生，達至Habamas 所講的理想的對話空間，達至溝通的理性。

9. 我寫藝評來做什麼？

至於我自己寫藝評，是為了什麼？這大概跟人文學科的職意一樣：

“To settle the unsettled and unsettle the settled.”

回家想想：藝術對於你是什麼？評論對於你又是什麼？

-------------------------

主要參考：

1.Edmund Burke Feldman, Practical Art Criticism, Prentice Hall, 1991.

2. James Elkins, What Happened to Art Criticism, Prickly Paradigm Press, 2003.

(please also see his explanation of art criticism on the Grove Art Dictionary:

www.groveart.com/shared/views.artcle.html?section=art.004330.1 )

3.Howard Smagula ed., Re-visions : new perspectives of art criticism, Englewood Cliffs, N.J. : Prentice Hall, 1991.

4. Gee, Malcolm, Art Criticism since 1900, Manchester University Press, 1993.

5. 郭繼生：《藝術史與藝術批評》，臺北 : 書林出版有限公司，1990年。

6. 附：

6.1 藝評的荒蕪」論辯

6.2. 梁寶山：「家藏藝術雜誌」，《獨立媒體》「今日讀咩書」專欄，2005年8月20日。(http://www.inmediahk.net/public/article?item_id=59914&group_id=23 )

Useful tools:

http://www.groveart.com/ (很好用的工具書，但只能在大學圖書館上連結)

- http://en.wikipedia.org/wiki/Main_Page (網絡民主化的百科全書)

---

The building of the Louvre in its present form was begun in 1546 by François I, who also founded the royal collections, acquiring works by Leonardo, Raphael, and Titian. Louis XIV was both the most enthusiastic developer of the site and the most heroic art collector (buying in 1661 much of the Mazarin Collection that contained many paintings owned by Charles I of England), and under him the collection was briefly moved into the Louvre. When Versailles was established, however, the collection was dispersed./In the half-century before the Revolution there had been inconclusive discussion about using the Louvre for displaying the royal pictures. A selection of—mostly Italian—masterpieces was put on show in the Palais du Luxembourg. In 1784 Hubert Robert was put in charge of setting up a ‘muséum’ in the Louvre but the project stalled./In 1792 the monarchy fell. Roland, the Minister of the Interior, immediately decided to press on with installing the national museum in the Louvre, and it opened as the Muséum (later Musée) Central des Arts precisely one year later.

Materials and reading for 12-9-05 Lecture

黎健強著：〈非官方與半官方〉，香港《信報》，2005年8月1日。

錢納利作品1, 2

布魯士(Murdoch Bruce)作品1, 2

小組導修 9月12日

練習(一)： 建立藝評

目的：	通過接觸、體驗、閱讀、及思考兩個「評論作品」(指達明一派的「同床異夢」及又一山人的「無言」)*，探討藝術評論的形式，和構思藝術評論的方法。
步驟：	1. 除了已提供的作品或資料，不要在網上或其他門徑查看別人怎樣評論要進行評論的作品。 2. 接觸、體驗、及思考指定的「評論作品」，及閱讀已提供的資料，嘗試建立藝術評論的角度、模式、和具體內容。 3. 撰寫一篇有關該作品的簡短評論(500至1000字)，期間可以參考除上述(1)項所禁用外，所有其他的材料。
堂上報告：	1. 解釋閱讀和思考該作品的經驗，以及如何選定進行藝評的方向和模式，或曾經參考了些甚麼其他的材料。 2. 閱讀撰寫了的藝評文章，並參與課上的討論。
可參考舉例：	黎健強著：〈構思精妙，見證時代 - 太空館外的無名展覽〉，見《從過渡跨越千禧——七人視藝評論自選文集》，香港：香港藝術中心，2002年，頁210-211。

Reference
-"同床異夢"歌詞
-"無言"分析

*這裡稱為「評論作品」的作品，是指作品本身就帶有評論的性質，而並非純粹是以抒情、敘述、或者美化等為內容的作品；小組導修用材料，請参考課程大綱。

Reference

General

Berger, John., Ways of seeing(c1972), London : British Broadcasting Corporation and Penguin Books,1985 printing. (N7430.5.W39)

(中譯：約翰ž伯格著，戴行銊譯：《觀看之道》，桂林市：廣西師範大學出版社，2005年。)

Everett, Sally. ed., Art theory and criticism : an anthology of formalist, avant-garde, contextualist, and post-modernist thought, Jefferson, N.C. ; London : McFarland, 1991. (NA N71.A7475)

Foster, Hal.& Rosalind Krauss, ART SINCE 1900 Modernism, Antimodernism, Postmodernism, Thames & Hudson, 2004. ()

Frascina, Francis. & Jonathan Harris, Art in Modern Culture: an anthology of critical text, New York : Icon Editions, HarperCollins, 1992. ( N6465.M63A78 1992)

Gee, Malcolm., Art Criticism since 1900, Manchester University Press, 1993. (NA N7475.A78 1993)

Hudson, Suzanne & Nacy Noonan-Morrissey, The art of writing about art, Belmont, CA : Wadsworth/Thomson Learning, c2002. ( N7475 H83 2002)

Nelson, Robert S. & Richard Shiff ed., Critical Terms and Art History, Chicago & London: Chicago University Press, 1996.

Smagula, Howard. ed., Re-visions : new perspectives of art criticism, Englewood Cliffs, N.J. : Prentice Hall, c1991. (NA N7475.R4)

Introduction (week 1)

*Elkins, James., What Happened to Art Criticism, Prickly Paradigm Press, 2003.

Feldman, Edmund Burke., Practical Art Criticism, Prentice Hall, 1991.

〈藝評的荒蕪〉論辯系列。(見附件)

On Art History (week 1 and 2)

Week1

郭繼生著：〈甚麼是藝術史？〉及〈藝術史研究方法之回顧與前瞻〉，《藝術史與藝術批評》，臺北：書林出版有限公司，1990年，頁11-15及176-39。

Week2

Benjamin, Walter: “The Author as Producer”, in W. Benjamin: Understanding Brecht, New Left Books, London:1973, pp. 85-103.

Greenberg, Clement: “Modernist Painting”, in F. Frasscina and C. Harrison (ed.): Modern Art and Modernism, London: Paul Chapman Publishing, 1988, pp. 5-10.

Clarke, David: “Between East and West: Negotiations with Traditions and Modernity in Hong Kong Art”, in D. Clarke: Art and Place, Hong Kong: HKU Press, 1996, pp. 65-84.

*Clarke, David: “The Insufficiency of Tradition: Paintings by Fang Zhaoling and Chu Hing-wah”, in D. Clarke: Art and Place, Hong Kong: HKU Press, 1996, pp. 126-131.

*黎健強著：〈構思精妙，見證時代 - 太空館外的無名展覽〉，見《從過渡跨越千禧——七人視藝評論自選文集》，香港：香港藝術中心，2002年，頁210-211。

*黎健強著：〈非官方與半官方〉，香港《信報》，2005年8月1日。

On Modernism (week 4 and 6)

Baudelaire, Charles., “The Painter of modern life”, The Painter and other essays , New York : Da Capo Press, [1986], c1964. (NA N7445.3.B373)

Clark, T. J., The painting of modern life : Paris in the art of Manet and his followers, London : Thames and Hudson, 1985. ( NA ND550.C55)

(中譯導論：皮力譯：〈繪畫中的道德視角與現代性〉，載任克雷編：《目擊圖象的力量》，深圳：何香凝美術館，2002年，頁3-12 (NA N7485.C6 M84 2003) 。)

*Harrison, Charles, “Modernism”, Nelson, Robert S. & Shiff, Richard ed., Critical Terms and Art History, Chicago & London: Chicago University Press, 1996, pp.142-155.

沈語冰著：《20世紀藝術批評》，杭州市：中國美術學院出版社，2003年

On Feminism (week 7)

*Kelly, Mary., “Re-viewing Modernist Criticism”, Screen, Mar 1981, issue 22, pp. 41-61. (or Mary Kelly, Mary Kelly, Margaret Iversen, Douglas Crimp, Homi K. Bhabha ed., London : Phaidon Press , 1997, pp.112-119.)

*Pollock, Griselda, “Modernity and the space of femininity”, Vision & Difference, Femininity, Feminism and the Histories of Art, London and New York: Routledge, 1988, pp.50-90.

On Ethnography and culture of exhibition (week 7)

Bennett, Tony., The birth of the museum : history, theory, politics, London ; New York : Routledge, 1995. (UL AM7 .B39 1995)

Clifford, James., “Histories of the Tribal and the Modern”, The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art, Harvard University Press, pp.189-214. (UL GN308.C55)

Foster, Hal., “The ‘Primitive’ Unconscious of Modern Art”, in Francis Frascina & Jonathan Harris, Art in Modern Culture: an anthology of critical text, New York : Icon Editions, HarperCollins, 1992, pp199-209. (N6465.M63A78 1992)

On Hong Kong (week 8)

Abbas, Ackbar., Culture in a Space of Disappearance, Hong Kong: Culture and the Politics of Disappearance, Hong Kong University Press, pp.1-15.

Clarke, David J. , Hong Kong art : culture and decolonization, London : Reaktion, 2001.

Said, Edward W, “Introduction”, Orientalism, New York: Vintage Books, 1979, pp.1-28.

*香港嶺南學院翻譯系文化/社會研究譯叢編委會：《解殖與民族主義》，香港：牛津大學出版社，1998年。

黎健強主編：《形彩風流：香港視覺文化史話》，香港：三聯書店，2002年。

劉霜陽著：《流動風景─劉霜陽藝術評論集》，香港：青文書屋，1995年。

劉霜陽著：《劉霜陽畫框內外》，香港：田原書屋，1996年。

文潔華著：〈香港繪畫美學與文化身化的反思〉，《思行交匯點─哲學在香港》，香港：青文書屋，1997年，頁205240。

朱琦著：《香港美術史》，香港：三聯書店，2005年。

On China (week 8)

Gao, Minglu ed., Inside out : new Chinese art, San Francisco : San Francisco Museum of Modern Art ; New York : Asia Society Galleries ; Berkeley : University of California Press, c1998.

Han Hanru, Towards an “Un-official Art: De-ideologicalisation of China’s Contemporary Art in the 1990s”, Yu Hsiao-hwei ed., On the Mid-ground, Hou Hanru selected texts, Time Zone 8, 2002, pp.24-39.

Hearn, Maxwell K & Judith G Smith ed., Chinese Art Modern Expression, New York: Metropolitan Museum of Art, 2001.

Noth, Jochen., Wolfger Pohlmann, & Kai Reschke ed., China Avant-Garde, counter-currents in art and culture, Oxford University Press, 1994.

Sullivan, Micheal, Chinese Art in the Twentieth Century, London: Faber & Faber, 1959.

巫鴻編：《重新解讀：中國實驗藝術十年(1990-2000)》，廣州：廣東美術館，2003年。

On New Public Art (week 9)

*Bourdieu, Pierre. and Hans Haacke., Free exchange, Stanford, Calif. : Stanford University Press, 1995.

*Felshin, Nina. ed., But is it art? : the spirit of art as activism, Seattle : Bay Press, c1995

*Lacy, Suzanne., Mapping the terrain : new genre public art, Seattle, Wash. : Bay Press, c1995.

Miles, Malcolm., Art, Space and the city : public art and urban futures, London ; New York : Routledge, 1997.

*馬里塔ž斯特肯著，潘琴譯：〈墻、屏幕和形象：解析越戰老兵悼念碑〉，羅崗、顧錚主編：《視覺文化讀本》，桂林市：廣西師範大學出版社，2003年，頁122-142。

倪再沁著：《藝術反轉：公民美學與公共藝術》，台北：典藏藝術家庭，2005年。

On Photography (week 11)

Burgin, Victor: “Photographic Practice and Art Theory”, in V. Burgin ed.: Thinking Photography, London: Macmillan, 1982, pp.39-83.

Burgin, Victor: “Looking at Photographs”, in V. Burgin (ed.): Thinking Photography, London: Macmillan, 1982, pp. 142-153.

Crimp, Douglas: “The Photographic Activity of Postmodernism”, in D. Crimp: On the Museum’s Ruins, Cambridge: MIT press, 1993, pp. 108-125.

*Szarkowsky, John: “Introduction” in The Photographer’s Eye, London: Secker & Warburg, 1980, unpaginated.

幾米著：《照相本子》，台北：大塊文化，2003年。

*黎健強著：〈不一樣的桃樂菲：「都市印記」的蘇慶強和尹子聰看香港的轉變〉，《PS》，2004年秋季號，頁27-30。

*黎健強著：〈請選擇代表你 / 妳的形象 — 立法會補選候選照片巡禮〉，香港《信報》，2000年12月8日。

On Visual Culture (week 12)

Ball, M. S. (Michael S.) and Gregory W.H. Smith., Analyzing visual data, Newbury Park, Calif. : Sage Publications, c1992, pp. 54-70.

*Collier, John. and Malcolm Collier, Visual anthropology : photography as a research method, Albuquerque : University of New Mexico Press, c1986, pp. 45-63, 77-97.

Crary, Jonathan., Suspensions of perception : attention, spectacle, and modern culture, Cambridge, Mass. : MIT Press, c1999.

Debord, Guy., Society of the spectacle, [S.l] : Rebel Press, 1987.

Urry, John., “The Tourist Gaze", The Tourist Gaze London: SAGE Publications, 2002, pp. 1-15.

周慧玲著：《表演中國：女明星，表演文化，視覺政治，1910-1945》，台北市：麥田出版，2004。

*祈大衛著，鄭威鵬譯：〈記憶與遺忘：回歸期間香港藝術以及公共空間的種種〉，黎健强、梁寶山編：《從過渡跨越千禧——七人視藝評論自選文集》，香港：香港藝術中心，2002年，頁124-126。

黎健強編：《形彩風流：香港視覺文化史話》，香港：三聯書店(香港)有限公司，2002年。

羅崗、顧錚主編：《視覺文化讀本》，桂林市：廣西師範大學出版社，2003年。

*彭麗君著，林榮基譯：〈廣告與近代中國女性消費的再現〉，《媒介擬想》第3期，2005年4月，頁67-83。

曾兆賢著：〈商場研究計劃提綱〉，《E+E》第11期，2004年冬，頁22-27。

*田邁修著，鄭威鵬譯：〈現代都市民間畫〉，黎健强、梁寶山編：《從過渡跨越千禧——七人視藝評論自選文集》，香港：香港藝術中心，2002年，頁23-29。

On Teaching and Assessment of Art Criticism in School (week 13-15)

*黎明海、譚祥安、劉欽棟著：《藝術欣賞・批評與敎育》，香港：香港敎育學院，2001年。

* Key Reference