虛構之家──分析普普藝術中的新家居意象(以David Hockney和Tom Wesselmann為例)

The Fictive Home: An Analysis of Novel Imagery of Domestic Scenes in Pop Art(David Hockney and Tom Wesselmann)

江凌青(Chiang Ling-ching)

指導教授 ： 呂清夫 ； 呂清夫

國立臺灣師範大學/藝術學院/美術學系/碩士(2007年)

摘要

本論文所要分析的是英、美兩地的普普藝術家，如何藉由普普藝術美學的諸多特質，呈現現代人對於「完美生活」的定義與想像。以此觀點為論文初衷，筆者以普普藝術中的「家居場景」為論述對象，將論文聚焦於過去藝評家與藝術史家在談論普普藝術時，較少關注的「空間性」之議題，並且探討家居空間中的身體與物件。第一章探討家居意象在普普藝術中的地位、創作背景、以及美學特質，希望藉由呈現普普藝術的脈絡，強調家居意象與這個60年代的重大藝術現象之深刻鏈結。二、三、四章則分別以空間性、身體、物件為三大主軸，來整合出筆者對於普普藝術中的家居景觀的完整觀察，最後將每章的重心放在David Hockney和Tom Wesselmann這兩位分別來自英、美的普普藝術家的圖像語言上。他們兩人的作品皆以家居場景為主軸，開展出豐富的身體與物件意象，而本論文的目的就是希望能深入分析他們兩人如何透過不同系列的作品，持續展現他們對於家屋空間的觀注，以及60年代社會普遍瀰漫的、由消費主義帶來的對夢幻家屋的嚮往。最終本論文欲闡明的是，這兩位藝術家對於家居意象的長期觀注(他們兩人終其一生的作品，都無法脫離這個範疇)，除了必須歸功於他們個人對於繪畫的熱情，也必須回歸到普普藝術美學的源頭──透過他們以攝影棚般的空間、毫不遮掩性愛意味的身體、以及各自象徵不同美學品味的物件，所鋪陳出來的家屋，雖然如同螢光幕般地播放著日常生活，但這樣的虛構之家，依舊讓人深刻體會到，普普藝術的最終目的，就是讓人們感覺彼此擁有相似的命運、懷有相似的慾望與夢想、以及生活在同樣的處境之中。

關鍵字

David Hockney ； Tom Wesselmann ； 圖像語言 ； 家居場景 ； 普普藝術 ； 空間性

並列摘要

The main concern of this thesis aims at the ways how British and American pop artists express modern people’s definition and imagination of “perfect life” by sharing many common aesthetic characteristics of pop art. Using this perspective as my initial motivation of this thesis, the “domestic scenes” in pop art are made into the main subject of my discourse and the focus will be on themes of “spatiality”, which was a categorization that art critics and historians paying less attention to. Besides, I will also analyze the imageries of bodies and objects appearing in domestic spaces. In chapter one, I will explain the status, creative background and aesthetic characteristics of domestic scenes in pop art, hoping to emphasis its deep connection with the 60’ art phenomena by revealing its historical contexts. From chapter two to four, I will use spatiality, bodies and objects as three major divisions and integrate these chapters into a complete investigation of domestic scenes in pop art. In the main part of these three chapters, I will put my focus on David Hockney and Tom Wesselmann’s pictorial languages. The truth that Hockney is from Britain and Wesselmann is from USA makes them two obvious cases for my comparison between British and American pop art. Both of their works focus on domestic scenes and explore abundant imageries of bodies and objects. The purpose of my thesis is to thoroughly analyze how they keep paying attention to domestic spaces and reveal the collective desires of “dream house”, which was brought by consumerism and pervading in every corner of 60’s society. In the end of my thesis, what I want to clarify is that the long-term attentions these two artists pay to imageries of domestic scenes (both of their entire life’s works can not get rid of this categorization) can not only be attributed to the passions they hold toward painting, but also have to be completed by looking back upon the sources of pop art aesthetics. The fictive homes they made by film studio–like spaces, sexual bodies and objects implying different tastes may look like a huge screen projecting everyday life, however, it can still make people realize that the final purpose of pop art is to make them feel that they have similar fates, holding similar desires and dreams, and living in the same situations.

並列關鍵字

David Hockney ； Tom Wesselmann ； pictorial language ； domestic scene ； pop art ； spatiality

參考文獻

Jean Baudrillard and Jean Nouvel著，《建築與哲學的對話》，林宜萱，黃建宏 譯﹙台北：田園城市，2002﹚。

Lucy R. Lippard編，《普普藝術》，張正仁 譯﹙台北市：遠流，1991﹚。

2001﹚，頁205。

Carol Duncan, Feminism and Art History: Questioning the Litany (New York and London: Harper & Row, 1982).

Castells, Manuel, The City and the Grassroots: A Cross-Culture Theory of Urban social Movements (Berkeley: University of California Press,1983).