芭芭拉．克魯格圖文作品之宰制霸權與主體自我

Control Hegemony and Subject Self in Barbara Kruger's Works with Pictures and Words

10.7015/JEAS.201909_49(3).0003

陳育菁(Yu-Jing Chen)

當代藝術 ； 觀念藝術 ； 霸權 ； 主體 ； 芭芭拉．克魯格 ； contemporary art ； Conceptual art ； hegemony ； subject ； Barbara Kruger

歐美研究

49卷3期（2019 / 09 / 01）

375 - 415

繁體中文

芭芭拉．克魯格的作品融合觀念與女性主義藝術，對日常生活的建構和消費、誘惑和控制的社會機制進行批判性理解。本論文分為「宰制霸權」與「主體自我」兩大範疇，探討與分析克魯格的圖文作品傳達性屬差異是經過文化詮釋過後的意涵，性屬強制身體變成一個文化符號，刻板印象更有助於製造標準化的主體。軀體美學使身體成為異化的產品、消費的對象，身體是權力的鬥爭場域，為規範權利下幽暗沉默的犧牲品。克魯格的圖文作品慧黠幽默的諷刺性結合，揭示社會隱而不宣的現實，完成階段性的時代任務，極具歷史意義及價值。

Barbara Kruger's works blend Conceptual and Feminist art, and critically understand the social mechanisms of daily life construction, consumption, seduction and control. This thesis divides Kruger's works into two categories: ＂control hegemony＂ and ＂subject self,＂ and discusses and analyzes how Kruger's works with pictures and words convey gender differences, which are meanings under cultural interpretation, gender forces bodies to become cultural symbols, and stereotypes facilitate to create standardized subjects. Body aesthetics makes bodies to become alienated products and consuming objects. Bodies are fields of struggle for power and gloomy silent victims under normative rights. Kruger refers to the monitoring and materialization of women under the gaze of patriarchy by way of mirror and sculpture. The ironic combination of Kruger's works with pictures and words, and deployment of humor, reveals hidden realities of society and women's unspeakable claims. Kruger's works complete stage tasks and are replete with great historical significance and value.

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