第10, 11& 12講 powerpoint

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10, 11, 12

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女性主義伸延閱讀─化名奧林匹亞

轉貼：

化名奧林匹亞

葉蔭聰

你一定有看過這幅畫，你可能知道畫家就是印象派著名人物馬奈（Edouard Manet），你甚至知道這幅叫甚麼名字－－奧林匹亞（Olympia），但你一定不知道畫中人是誰。

一位只能存在於畫中的女人，事實上，她的名字叫Victorine Meurent（默蘭），也是一位巴黎的畫家，她甚至參展過沙龍，但是，要找出她畫的畫很難，要找出的她的生平亦難，因為傳統的藝術史及藝術圈關心的，是一個又一個的英雄。

受著藝術史家的Linda Nochlin的著名文章＜為甚麼沒有偉大女藝術家？＞影響，不少人紛紛在份屬男人世界的藝術史中尋找女性踪跡，筆者是外行，我知道的有「游擊女孩」（Guerilla girls），而Eunice Lipton則把自己女性經驗，跟藝術史連結在一起，寫成《化名奧林匹亞》（Alias Olympia）一書。

這本小書很吸引，也許有點合我的脾胃，我愛看畫，也愛看偵探小說，作者一開首把書寫得有點懸疑，當然，往後看，其實沒有甚麼真兇，不像小林英樹抽出梵高的嫂子；若然真有那麼一個兇手把Meurent埋藏在歷史的廢墟中，那就是藝術圈，以及藝術史的男性秩序。

「奧林匹亞」這幅畫在沙龍展出時，引起不少巴黎觀眾的憤怒，怎麼可以讓一名低下階層女子（faubourienne）進入這個如斯經典的姿勢及畫面？結果，這場風波點綴了馬奈的神話，卻沒有為她的身份帶來甚麼改變，唯一的好處是，她可以用「奧林匹亞」這個化名多討一點養活自己的金錢。

在Meurent 的同代（男）人中，有許多有關她生平的說法，最主導的說法是，Meurent竟然沒有活過十九世紀，但作者窮追猛打，最後發現，這名女子 活到1927/1928年左右；大家都說她生活潦倒沉淪，沒有辦法，她是一名單身女性，工人階級，用今年的說法，她是女同志，與女伴及母親同住，事實上以 及在十九世紀男性腦袋裡，她沒可能得善終，但Lipton小姐最後發現，雖然她的確艱苦，但她活到八十歲左右，晚年與一女人同住在一鄉間小鎮。

Lipton說，Meurent像她的母親，被遺忘被厭棄的母親，也像弗洛依德的著名個案Dora（多拉）：

「當我讀了弗洛依德的多拉之後，我明白了，生平第一次，我明白了我的生活是如何地與默蘭和多拉聯繫在一起，我如何在情感上或職業上滿足別人的慾望。首先是我的父親，然後是我的教授，最後是我的愛人... ...女人在哪裡？我在女人們的峽谷。一個女人的峽谷。」（頁92）

作為藝術史家的Lipton自己也承認，她有點想尋找一個英雄，但她不會找到一絲痕跡，在藝術世界裡，在藝術史家的論述裡，連悲劇英雄也算不上，她是一位「失敗者」。

1 Comments:

hegelchong said...

補充：Manet的Olympia應該是取材自文藝復興時期Vecellio Tiziano的Venus of Urbino:
http://gallery.euroweb.hu/art/t/tiziano/mytholo1/u_venus.jpg

11:37 上午

Articles and visual materials for tutorial on November 14

Dear all,

Attached are the two readers that I hope students can discuss on the November 14 class (am I right about the date?). Both are quite easy to read and worthy of discussion.

I have only included one illustration that is discussed in the Chinese article, most of the other images discussed in this article can be found in the internet or not too relevant. But if you feel the need and fail to track them down please let me know.

The examples mentioned in the English articles are not too important to me individually, but if needed the works of the artists can be quite easily found in various university libraries.

Kind regards,
Edwin Lai

Eisenstaedt VJ Day Kiss.jpg

Gefter Photography Supersized.doc

why not fake.doc

補充：有關9月12日的 “藝術評論, 藝術歷史, 歷史”一課

各位:

有關我在9月12日的 “藝術評論, 藝術歷史, 歷史”一課，有幾點想補充一下:

一, 我提到班雅明(Walter Benjamin)的藝術生產要有所進步的前衛主張,特別是在形式或風格上的改革. 當時同學要求舉例說明,我一時之間想不到好的例子而未能做到.

回家稍想一下, 其實20世紀初中國藝術改革就是很好的例子. 20世紀初從康有為,蔡元培到陳獨秀到徐悲鴻, 都主張中國藝術要朝向寫實主義的路走. 他們的共有看法,都是中國自清代四王以來的繪畫藝術形式和風格, 都不宜進行寫實主義的藝術,所以必須改良或者改革, 這樣中國的藝術才可能再生.

這種觀念, 跟班雅明的主張頗為接近, 當然班雅明那時想著的是引入新的科技生產媒體.

二, 我在討論末段時建議用當時歷史背境以看藝術 (錢納利與布魯士,又夏耀文的聖約翰教堂), 用我在開始時介紹的雅谷慎(Roman Jakobson)的溝通模型解說,是主張以時代背景來作評論藝術作品的context.

三, 有關藝術評論, 我總以為要提出批判性的角度,不然只是把作品的各方面分析綜合一下, 實在沒有甚麼發展對話的價值.

各位若有異議或不明瞭之處, 歡迎賜電進一步討論.


黎健強
2005年9月29日

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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。