女性主义与新艺术史的书写——兼论格里塞尔达·波洛克的女性主义艺术史观  

Feminism and the Writing of the New Art History:Griselda Pollock’s Feminist view of Art History

作　　者：王秋琪 Wang Qiuqi

机构地区：[1]北京大学艺术学院

出　　处：《艺术设计研究》2024年第1期107-112,128,共7页Art & Design Research

摘　　要：作为新艺术史的重要组成部分,女性主义的介入揭示了正典艺术史长久以来所存在的男性偏向,格里塞尔达·波洛克为此贡献良多。其接纳了后现代的立场,运用多种不同方法论,紧紧围绕艺术家及其作品展开论述,由此实现了对艺术史的解构和重构。然而,这种后现代与女性主义交织的立场却在一定程度上踏入了相对主义的边缘,核心原因在于其所建构的多元观点差异共存的话语空间中,历史性被置于次要的位置。这种立场上的微妙差异,不仅削弱了女性主义的批判性和政治性,也使得艺术史学科的独立性受到威胁。在书写新艺术史的过程中,历史性的次序必须置于多元性之上,由此避免女性主义以及其他边缘群体的声音在后现代的包容性中丧失应有的强度。As an important component of new art history,feminism interventions reveal the male bias that has long existed in canonical art history.Griselda Pollock has contributed much to this.Pollock embraces a postmodern stance and utilizes a variety of methodologies,thereby deconstructing and reconstruct-ing art history.However,this position of intertwining postmodernity and feminism has stepped to a certain extent into the margins of relativism,the core reason being that in the discursive space constructed by her in which the differences of multiple perspectives coexist,historicity has been placed in a secondary posi-tion.This subtle difference in positions undermines the critical and political nature of feminism on the one hand,and puts the independence of the discipline of art history at risk on the other.In writing new art history,the order of historicity must be prioritized over plurality,thus preventing feminist and other marginalized voices from losing the strength they deserve in the postmodern inclusiveness of the discipline.

关 键 词：女性主义 新艺术史 后现代 格里塞尔达·波洛克 

分 类 号：J05[艺术—艺术理论]