实在界的目光——哈尔·福斯特论创伤性艺术

The Gaze From the Real:Hal Foster’s Elaboration on Traumatic Art

在美国20世纪末,被称为"十月学派"的批评家们,如罗莎琳·克劳斯、克雷格·欧文斯、哈尔·福斯特等,常常从解构或女权主义方面去理解当时的一些激进艺术。这种批评方式在1980年代初意义重大,但没过几年就普及泛滥了,不再有什么实质意义。到1990年代初,福斯特转向了拉康精神分析理论中的视觉理论,以便理解之前的许多创新艺术模型,如卑贱艺术、无形式艺术等等。在《实在的回归》一文中,他将风格迥异的许多艺术家如安迪·沃霍尔、辛迪·舍曼、罗伯特·戈伯等人的创作,都理解成以不同方式去表现创伤和对抗实在界的事业。

In 1980s,critics of the so-called“October School”in the United States,such as Rosalind Krauss,Craig Owens,and Hal Foster tended to read some radical art of the time in terms of either deconstruction or feminism,or both.This kind of criticism was of great significance in the early 1980s,but within a few years it became so widespread in the art world that it no longer had the substantive meaning.In the early 1990s,Foster turned to vision theories in Lacanian psychoanalysis to understand many creative art modes,such as abject art,formless art and so on.In his thesis“The Return of the Real”(1995),he interpreted the artworks of different artists like Andy Warhol,Cindy Sherman,Robert Gober altogether as the course of dealing with the trauma and the Real in different ways.