| Bois,Yve-Alain and Rosalind E.Kraus.Formless:A User's Guide.New York:Zone Books,1997. Clark,T.J..“Balancing Act(letter to the editor).”Art Forum International 45:8(April 2007),42. T.J.克拉克:《瞥见死神:艺术写作的一次试验》,张雷译。南京:江苏美术出版社,2012。[Clark,T.J..The Sight of Death.An Experiment in Art Writing.Trans.Zhang Lei,Nanjing:Jiangsu Fine Arts Publishing House,2012.] Dyke,James A.van.“Modernist Poussin.”Oxford Art Journal.Volume 31,issue 2,(2)2008:285-92. Eagleton,Terry.The Ideology of the Aesthetic.Oxford:Blackwell,1990. Greenberg,Clement.The Collected Essays and Criticism,vol.4.Ed.John O'Brian,Chicago:University of Chicago Press,1993. 贡布里希:《象征的图像---贡布里希图像学文集》,杨思梁、范景中编选。上海:上海书画出版社,1990。[Gombrich,E.H..The Image of Symbolism:Collected Papers of Gombrich's Iconology.Eds.Yang Siliang and Fan Jingzhong.Shanghai:Shanghai Fine Arts Publisher,1990.] 郭伟:“‘语-图’关系认知考辨”,《武汉科技大学学报(社会科学版)》3(2013):340-48。[Guo,Wei.“An Examination of the‘Word-Image’Relationship.”Journal of Wuhan University of Science and Technology(Social Science Edition)3(2013):340-48.] Hills,Helen.“The Uses of Images:W.G.Sebald&T.J.Clark.”Melilah:Manchester Journal of Jewish Studies.(2)2012(Supplement):57-80. Iversen,Margaret and Stephen Melville.Writing Art History:Disciplinary Departures.Chicago and London:University of Chicago Press,2010. Phillips,Adam.“What do you think you're looking at?”The Observer magazine,Saturday 12 August 2006〈http://www.theguardian.com/books/2006/aug/13/art〉. 苏珊·桑塔格:《反对阐释》,程巍译。上海:上海译文出版社,2003年。[Sontag,Susan.Against Interpretation.Tran.Cheng Wei,Shanghai:Shanghai Translation Publishing House,2003.] (1)比如,在著名的立体主义论文集《毕加索和勃洛克:一次研讨会》中便收有这两位的文章。请参见William Stanley Rubin,Kirk Varnedoe,and Lynn Zelevansky,eds..Picasso and Braque:A Symposium.Museum of Modern Art,Distributed by H.N.Abrams,New York,NY,1992. (2)巴塔耶曾经概述过他所指的“无形式”的内涵:“非形(informe)不仅是一种具有某种现成意义的形容词,而且是一个可以给这个世界带来些什么的词汇,(而这个世界上的)任何东西都有自己的形式。”参见George Bataille,“Informe,”in Documents 1:7,1929,translated in Bataille,Visions of Excess:Selected Writings,1927-1939.Minneapolis,University of Minnesota Press,p.31.此处参考了邵亦杨,“形式和反形式:视觉文化中的形与无形”文中的引译,《美术研究》4(2007)。 (3)参见T.J.Clark.“Phenomenality and Materiality in Cézanne”,in Cohen et al.(eds.),Material Events:Paul de Man and the Afterlife of Theory.(Minneapolis,MN and London:University of Minnesota Press,2001),pp.93-113.及T.J.Clark.“Freud's Cézanne”,Representations 52,1995,pp.94-122. (4)这一类的书很多,如Sheila McT ighe.Nicolas Poussin's Landscape Allegories(Cambridge University Press:Cambridge,1996);Judith Bernstock.Poussin and French Dynastic Ideology(Peter Lang:Frankfurt,2000);and Todd P.Olson.Poussin and France:Painting,Humanism,and the Politics of Style(Yale University Press:New Haven,CT,2002). (5)而这种失望,正是阿瑟·丹托在读了《瞥见死神》后的失望。参Arthur C.Danto.“A serpent's tale:Arthur C.Danto on T.J.Clark”,Artforum International,Feb 1,2007. (6)克拉克对伯瓦和克劳斯所运用的符号学研究方法曾有过非常强烈的批评。具体参见T.J.Clark.Farewell to an Idea:Episodes from a History of Modernism(Yale University Press:New Haven,CT,1999),p.169. (7)克拉克与格林伯格、迈克尔·弗雷德之间针对现代主义的论战,已经成为现代主义研究史上的一段公案,参张晓剑,“论弗雷德与克拉克的现代主义之争”,《文艺研究》5(2013),第104-109页;诸葛沂,“论德·迪弗对‘现代主义之争’的甄辨与调和”,《文艺研究》5(2015),第25-32页。 (8)克拉克深受情境主义思想影响,他对晚期资本主义景观社会的批评,请参见其以化名发表的Retort.“Afflicted Powers:The State,the Spectacle and September 11”,New Left Review,vol.27,May-June 2004,pp.5-21;及Retort.Afflicted Powers:Capital and Spectacle in a New Age of War(Verso:London,2005).Retort是位于旧金山的一个拥有3、40名会员的社会反对者团体的集体化名,克拉克是其中的骨干作者。 |
