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对视觉艺术的研究方法之一： 情境法

The study of visual art can be approached through the broad categories of

contextua-lism and formalism. Contextualism is described as:

The approach whereby a work of art is examined in the context of its time; in

a manner which respects its creator’s motivations and imperatives; with

consideration of the desires and prejudices of its patrons and sponsors; with a

comparative analysis of themes and approaches of the creator’s colleagues and

teachers; and consideration of religious iconography and temporal symbolism. In

short, this approach examines the work of art in the context of the world within

which it was created.

对视觉艺术的研究方法之二： 形式法

The approach whereby the artwork is examined through an analysis of its form,

that is, the creator’s use of line, shape, color, texture, and composition. This

approach examines how the artist uses a two-dimensional picture plane (or the

three dimensions of sculptural or architectural space) to create his or her art.

A formal analysis can further describe art as representational or

non-representational which answers the question, is the artist imitating an

object or image found in nature? If so, it is representational. The closer the

art hews to perfect imitation, the more the art is realistic. If the art is less

imitation and more symbolism, or in an important way strives to capture nature’s

essence, rather than imitate it directly, the art is abstract. Impressionism is

an example of a representational style that was not directly imitative, but

strove to create an “impression” of nature. Of course, realism and abstraction

exist on a continuum. If the work is not representational of nature, but an

expression of the artist’s feelings, longings and aspirations, or his or her

search for ideals of beauty and form, the work is non-representational or a work

of expressionism.

符号学

Semiotics operates under the theory that an image can only be understood from

the viewer’s perspective. The artist is supplanted by the viewer as the purveyor

of meaning, even to the extent

that an interpretation is still valid regardless of whether the creator had

intended it. Rosiland Krauss espoused this concept in her essay “In the Name of

Picasso”. She denounced the artist’s monopoly on meaning and insisted that

meaning can only be derived after the work has been removed from its historical

and social context. Mieke Bal argued similarly that meaning does not even exist

until the image is observed by the viewer. It is only after acknowledging this

that meaning can become opened up to other possibilities such as feminism or

psychoanalysis.