The Fractal Perspective of the Postmodern Era: The Socio-psychological Representation in the American Neo-Expressionist Paintings

• Main Authors: Huang, Chenchen, 黃真真
• Other Authors: Hsieh, Tungshan
• Format: Others
• Language: zh-TW
• Published: 1999
• Online Access: http://ndltd.ncl.edu.tw/handle/87558962439400549064

碩士 === 臺南藝術學院 === 藝術史與藝術評論研究所 === 87 === This thesis regards the American Neo-Expressionist paintings as socio-psychological representation symptomatically. It divided into three parts: the first part retrospects the social and political circumstances during the 1980s, especially the Reagan Administration; then analyses the reason which may cause people madly collect artworks, and why Neo-Expressionism blamed by critics that it is only for buyer’s market. The second part studies the artists’ and the critics’ writings reflecting the changing ideas in the art-world, to examine the strategies, such as nostalgic mood, allegorical aura and appropriated mass media simulacrum which Neo-Expressionist applied to attract people, especially the New Rich. The third part introduces a new way of seeing─“fractal perspective”, adopted from natural science─ to review the postmodern fragmentary condition. There are two distinct characters of fractal theory: one is “self-similarity”, and the other is “non-linear process”. Combining with Freud’s psychoanalysis, those two characters offer another perspective to see the “postmodern subjectivity” is manipulated or active responded in Neo-Expressionist paintings.