巴爾內特．紐曼的藝術批評理論之研究

摘要在巴爾內特．紐曼他自己批判性的寫作，紐曼常常焦距在原始藝術。沒有是它可以包容去表達最深層並且可能最正直的感情：「我們，活在最差最恐懼的時代，這個世界讓我們去了解，是在一個位置上去激賞精明知覺，開啟情緒上印象：易受感動，有所知覺的人才能擁有這一切。」在紐曼年代的藝術家們讚嘆容易了解，有時候是多樣的本土藝術傳統的自然的形式。這個連結在原始主義和現代主義之間，已經是很好的建立，紐曼自己判斷易受性智性上，然而，引出不只是對形式的興趣，而是超出這些，他所宣昭「主題」(subject matter)。紐曼提供一個哲學上生存道理的寫作，他可以要求他自己血漿印象(The Plasmic Image)。紐曼認為《一，1》(OnementⅠ)是他生涯上最大的突破，對他藝術作品而言。而且是一個全新的開始。首先，一些繪畫有黑色如同條紋，或者是拉鍊(zips)。當他開始去呼喚它們，指稱或者是這個聲音，膠帶隱藏製作，當帶子在空間上無限的被拉遠。經由如此混雜調和熔化空間經驗與這樣的時間，紐曼到達了這個描述，最適合的是他自己繪畫作法的意向實行－這給予觀看的人(畫家，首先最重要的)，這個圖畫的存有部分的經驗，就好像你已經得到你自己的內在，就好像你可以看見自己的意識的顯示理解，當這個運用繪畫的藝術的過程是被創造的，所以繪畫者也是。事實上強調這可能是公平的說紐曼創造他的藝術作品夾帶他的陳述、他的政治觀點，在他的心中。他稱他自己是一個市民藝術家(artist-citizen)，像他其它喜愛的觀點，這是一個可以呈現出沒有道德缺失在一開始，但是發生或存在起因充滿表達一個拒絕或相反的陳述深義，藝術家們是極度個體獨自的，就事實對照比較而言，市民權強制必須不得已的陷入工作為團體的時空上更遠更進一步。在幾個十年後，後現代主義思想家強．封朗斯瓦．李歐塔(Jean-Francois Lyotard,1924-1998)是寫這樣在：「崇高的美學」......「前衛媚俗的邏輯」找到它的原理。這是清楚的從這個方向，談論紐曼兩個概念賦予分開兩個觀念相反至兩極端。亞瑟．C．丹托(Arthur C.Danto,1924-)是談論在藝術、語言和文化。丹托的「美與崇高」和巴爾內特．紐曼的觀念相比較。

關鍵字

原始藝術、血漿印象、拉鍊、空間、市民藝術家、美學、崇高、美與崇高

並列摘要

Abstract In his own critical writings, Newman often focused on primitive art, nothing its capacity to express the most intense and perhaps most honest emotion,: “We, living in times of the greatest terror the world has known, are in a position to appreciate the acute sensibility primitive man had for it”. Artists of Newman’s generation admired the simplified, sometimes crude forms of the various native art traditions; the link between “primitivism” and modernism was already well established. Newman’s own appreciation, however, derived not so much from formal interest but rather from what he called “subject matter,” Newman offered a philosophical regimen of writing that he would impose on himself－“The Plasmic Image”. Newman regarded (OnementⅠ) as marking a breakthrough for his work, and a new beginning. The first several paintings have black as well as stripes or“zips,”as he came to call them, referring perhaps to the sound that masking tape makes when it is pulled away. By thus conflating the experience of space with that of time, Newman arrived at the description that best suits the intended effect of his mode of painting－it gives the viewer (the painter, first of all) the experience of being part of the picture, as if you had gotten inside of yourself, as if you could see your own consciousness emerging. As the painting is created, so is the painter. Indeed it might be fair to say that Newman created his works with the state, the polity, in mind. He called himself an “artist-citizen.”Like his other favored terms, this one may appear innocent at first but eventually bristles with contradictory connotations. Artists are extreme individuals, whereas citizenship entails working for the furtherance of the group. Some decades later, the post-modernist thinker, Jean-Francois Lyotard, was to write that in the “aesthetic of the sublime...the logic of the avant-garde finds its axioms.”And it is clear from the way in which Newman polarizes the two concepts. Arthur C. Danto spoke on art, language, and culture. “Beauty and sublimity” compare with Barnett Newman’s concepts.

並列關鍵字

Primitivism、The Plasmic Image、zips、space、artist-citizen、aesthetic、the sublime、Beauty and sublimity

參考文獻

Anfam, David. Abstract Expressionism, London: Thames & Hudson , 2002.

Barber, Bruce. Guilbaut, Serge. O’Brian, John. Voices of fire, art, rage, and the state, Toronto: University of Toronto Press, 1996.

Burke, Edmund. A Philosophical Enquiry into the Sublime and Beautiful, London: Routledge, 2008.

C. Danto, Arthur. The Philosophical Disenfranchisement of Art, New York: Colombia University Press, 2005.

C. Danto, Arthur. Philosophizing Art: selected essays, Berkeley, Los Angeles,

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巴爾內特．紐曼的藝術批評理論之研究

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