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對視覺藝術的研究方法之一： 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.

對視覺藝術的研究方法之二： 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.

符號學

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.

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