注 释：

[按：本文选自尼克•斯坦哥斯编的《现代艺术的概念——从野兽派到后现代主义》，第三版扩编和修订版。(concepts of modern art: from fauvism to postmodrnism. edited by nikos stangos, thames and hudson, 1994.)]

1、norman k. denzin, ‘post-modern social theory’, sociological theory, vol.4, no2, fall 1986, pp. 194-204.

2、charles jencks, the language of post-modern architecture, london, 1977, cited in bruce d. kurtz, contemporary art 1965-1990, englewood cliffs, 1992, p.190; corinne robins, the pluralist era: american art, 1968-1981, new york, 1984, p.1.

3、charles jencks, letter, times literary supplement, 12 march 1993.

4、jean baudrillard, simulations, trans. paul foss, paul patton and philip beitchman, new york, 1983.

5、eleanor heartney, ‘david salle: impersonal effects’, art in america, june 1988, p.121.

6、thomas lawson, ‘last exit: painting’, artforum, vol.20, no.2, october 1981, pp. 40-7.

7、mark stevens, ‘a painter’s pratfall’, newsweek, 16 november 1987, p.119; robert hughes, ‘expressionist bric-a-brac’, time, 1 november 1982, p.71.

8、robert hughes, ‘random bits from the image haze’, time, 9 february 1987, pp. 68-9.

9、andreas huyssen, ‘mapping the post-modern’, new german critique, no.33, fall 1984, reprinted in after the great divide: modernism, mass culture, post-modernism, bloomington, 1986, pp. 178-221.

10、jackie brookner (ed.), art and ecology, special issue of art journal, summer 1992.

11、howardena pindell, ‘art world racism: a documentation’, new art examiner, march 1989, pp. 32-4; patricia failing, ‘black artists today: a case of exclusion’, art news, march 1989, pp. 124-31.

12、我要说，得到艺术界大部分人承认的色彩艺术家(the artists of colour)，如贝泰•萨尔(betye saar),费斯•林古尔德(faith ringgold),乔纳•快看•史密斯( jaune quick-to-see smith)，或电影制作人马龙•里格斯(marlon riggs)和伊萨克•朱利安(isaac julien)，是通过他们作为女性主义者或者同性恋者的重合的身份而得以打入杂志、美术馆、基镏金和观众的。色彩艺术家的女性主义或同性恋者“保证人身份”(sponsorship)通过艺术界进入人们视野的最好例子，有harmony hammond’s co-curatorship with jaune quick-to-see smith of women of sweetgrass, cedar and sage, gallery of the american indian community house, new york, 1985; lucky lippard’s mixed blessings: new art in a multicultural america, new york, 1990; and thomas socolowski’s initiation of interrogating identity, grey art gallery and study center, new york, 1991.

13、surveys of women’s artistic production through history include griselda pollock and rozsika parker, old mistresses: women, art and ideology, london, 1990. for surveys of homosexuality in the arts, see james saslow, ‘closets in the museum: homophobia and art history’, in karla jay and allen young (eds), lavender perspective: homosexuality and art in the last one hundred years in the west, london, 1986. an excellent in-depth study of homosexuality in renaissance art is saslow’s ganymede in the renaissance: homosexuality in art and society, new haven, 1986.

14、a concrete example is seen in the rules of the abstract expressionists’ ‘artists club’, the founding constitution of which excluded dealers, critics, women and homosexuals from participation. see ann eden gibson, abstract expressionism, race, and gender, new haven, 1994.

15、hilton kramer, revenge of the philistines: art and culture, 1972-1984, new york, 1985.

16、griselda pollock, ‘feminism and modernism’, in rozsika parker and griselda pollock (eds), framing feminism: art and the women’s movement, 1970-1985, london, 1987, pp. 79-122. for a recent critique ranging beyond the art world, see somer brodribb, nothing mat(t)ers: a feminist critique of post-modernism, north melbourne (australia), 1992.

17、julian schnabel, ‘the patients and the doctors’, artforum, february 1984, pp. 54-8. see also mary lee corlett, ‘jackson pollock: american culture, the media and the myth’, rutgers art review, 8, 1987, pp. 71-106.

18、lucy lippard, ‘sweeping exchanges: the contribution of feminism to the art of the 1970s’, art journal, fall/winter 1980, reprinted in get the message: a decade of art for social change, new york, 1984, pp. 149-58. although pollock’s essay is phrased as a critique of lippard, it follows substantially from lippard’s points, suggesting that feminists are themselves sometimes susceptible to the claims for authoritative originality that they attribute to modernism.

19、judy chicago, through the flower: my struggle as a woman artist, garden city, n.y., 1977; the dinner party: a symbol of our heritage, garden city, 1979; embroidering our heritage: the dinner party needlework, garden city, 1980; the birth project, garden city, 1985.

20、david salle, 1981, interview by peter schjeldahl, in jeanne siegel (ed.), art words 2: discourse on the early 89s, ann arbor, 1988, reprinted as art talk: the early 80s, new york, p. 171.

carol zemel, ‘postmodern pictures of erotic fantasy and social space’, genders, 4, spring 1989, pp. 27 and 31-2. for a similar critique, see robert storr, ‘salle’s gender machine’, art in america, june 1988, pp. 24-5.

21、salle, interviewed by schjeldahl, p.172.

22、sophie calle, suite vénitienne, and jean baudrillard, ‘please follow me’ (published as one volume), seattle, 1988, pp. 82 and 86 [final ellipsis of block quote in original].

23、anne rochette, ‘the post-beaubourg generation’, art in america, june 1987, pp. 41-9.

24、bette gordon, ‘varity: the pleasure in looking’, in carole s. vance (ed.), pleasure and danger: exploring female sexuality, london, 1984, pp. 189-203. for the theoretical background for these ideas, see laura mulvey, ‘visual pleasure and narrative cinema’, 1975, in visual and other pleasures, bloomington, indiana, 1989, pp. 14-26.

25、hal foster, ‘subversive signs’, art in america, november 1982, pp. 88-92.

26、kenneth baker, ’the art of barbara kruger’, in slices of life: the art of barbara kruger, krannert art museum, university of illinois at urbana-champaign, 1986, pp. 3-5.

27、masako kamimura, ‘barbara kruger: art of representation’, woman’s art journal, spring/summer 1987, pp. 40-3. kamimura here acknowledges as an ‘exception’ the kruger piece ‘you are not yourself’.

28、craig owens, catalogue essay in barbara kruger: “we won’t play nature to your culture”, institute of contemporary arts, london, 1983, revised as ‘the medusa effect or, the specular ruse’, art in america, january 1984, pp. 97-105. this is also reprinted in beyond recognition – representation, power, and culture, berkeley, los angeles, oxford, 1992, pp. 191-200.

29、lucy lippard, ‘both sides now [a reprise]’, heresies, 24, fall, 1989, pp. 29-34.

30、lucy lippard, ‘hanging onto baby, heating up the bathwater’, 1988, revised and reprinted in craig little and mark o’brian (eds), reimaging america: the arts of social change, philadelphia, 1990, pp. 227-34.

31、douglas crimp and adam rolston, aids demo graphics, seattle, 1990, p. 18. douglas crimp, ‘the boys in my bedroom’, art in america, february 1990, pp. 47-9. see also ‘aids: cultural analysis, cultural activism’, october, 43, winter 1987.

32、nicolas moufarrege, ‘lavender: on homosexuality and art’, arts, october 1982, p. 84. see also daniel j. cameron, extended sensibilities: homosexual presence in contemporary art, new museum, new york, 1982; gladys ostermann, ‘panel reviews – recent issues and perspectives: homosexual sensibilities’, women artists news, vol. 8, no. 3, spring 1983, pp. 6-9.

33、cindy nemser, art talk: conversations with twelve women artists, new york, 1975, p. 4.

34、simon watney, policing desire: pornography, aids and the media, london, 1987.

35、robert atkins in conversation with thomas sokolowski, from media to metaphor: art about aids, independent curators inc., new york, 1992, p. 18. an earlier important exhibition of aids related work is witnesses: against our vanishing, artists space, new york, 1989.

36、joyce fernandes, ‘sex into sexuality: a feminist agenda for the ‘90s’, art journal, summer 1991, pp. 35-8.

37、illustrations of act up graphics may be found in crimp and rolston, aids demo graphics, cited above (note 32).

38、james meyer, ‘aids and post-modernism’, arts, april 1992, pp. 62-8.

39、hal foster, recordings: art, spectacle, cultural politics, port townsend, washington, 1985, pp. 99-115, 146, 154-5, 170, 176-7, ellipses in original.

　　40、craig owens, ‘the discourse of others: feminists and postmodernism’, in hal foster (ed.), the anti-aesthetic: essays in post-modern culture, port townsend, washington, 1983, pp. 57-82; reprinted in norma broude and mary garrard (eds), the expanding discourse: feminism and art history, new york, 1992, pp. 487-502; howard cliffs, 1990, pp. 186-207; stephen david ross (ed.), art and its significance, 2nd ed., albany 1987, pp. 584-91; as well as in beyond recognition, cited above<