受到現代主義追求進步的影響，現代藝術在不斷的創新過程中，始終以追求烏托邦的世界為理想，但卻忽略了藝術已經離大眾越來越遠的問題。而且，現代主義嚴肅的分割各門學科，在建立美學自主領域、追求為藝術而藝術的同時，也越來越窄化了自己的創作空間。在這種內外交迫的狀況下，現代藝術的理想逐漸顯得窒礙難行。
大眾文化本有其正面性的意義，後現代藝術裡的藝術大眾化傾向是以不帶偏見的眼光重新審視大眾文化，這種全新的態度應是後現代藝術最有意義之處。後現代藝術家不再侷限於現代主義對崇高精神的要求，他們在各種形式上與大眾文化緊密結合，總喜愛以平易近人、簡單易懂的藝術與大眾進行互動。而這樣的後現代藝術美學趣味，在六○年代時就已出現在沃荷的藝術創作中。沃荷對現代藝術始終是抱持著懷疑的態度，無論是作品還是個人言行，他以「去深度性」、「去純粹性」、「去主體性」三種傾向，化解現代藝術與大眾文化的對立僵局，這種藝術思維標誌著一種後現代傾向的開端，也為後現代藝術提示了一連串的可能性。因此，今日的藝術史總會將沃荷視為形塑後現代藝術的重要人物。
本篇論文並非要全然認同大眾文化的種種，大眾文化當然有它可議之處，但是，全然的否定亦是錯誤的見解，本篇論文希望，在後現代主義的論述仍處於爭論不休的情況下，以及，在後現代藝術仍多元而龐雜的道路上，透過沃荷的後現代意識研究，或許有助於釐清六○年代以後西方藝術發展的些許脈絡，也足以認識到後現代藝術發展所產生的正面意義。

Under the effects of Modernism that aspires for progress, modern art always takes Utopia as the aim during the continuous innovation process; however, it neglects the problem that it has gone further and further away from the general public. Modernism seriously separates all disciplines, while at the same time it is establishing art’s independent fields, and creating art for arts sake. While narrowing its own creative fields. Under the trying circumstance, the ideals of Modern art seem to become difficult.
The popular culture has its own positive meanings. The tendency of Postmodern art is to connect with society and revaluate the popular culture from a point of view without bias. This new attitude should be the most meaningful of Postmodern art. The artists of Postmodern art are no longer limited in the requirements of exalted ideology of Modern art. They are well-connected to popular culture, and they like to interact with public by a friendly and easily understood approach to art. This kind of fun approach to Postmodern art has been shown in Andy Warhol’s art works in the sixties. Warhol had always mistrusted Modern art both in his art works and his behavior. He used “dedepth” ”depure” “desubject” to solve the stalemate between Modern art and society. This way of thinking about art started the beginning of the Postmodern art movement as well as suggested a series of possibilities for Postmodern art. Therefore, current art history sees him as an important figure who molded Postmodern art.
This thesis doesn’t totally agree with all of popular culture. Although popular culture has its own issues, totally denying it is the wrong approach. Even though Postmodern art is still being debated and on a branched routes. By looking at Warhol’s Postmodern ideology, this thesis hopes to unravel the path of western art development since the sixties.

Alexander, Jeffery C.＆ Seidman Steven（1990）. Culture and society: Contemporary debates. New York: Cambridge University Press.
Alloway, Lawrence﹙1974﹚. American Pop Art. New York: Whitney Museum of American Art.
Alloway, Lawrence（1983）. Roy Lichtenstein. New York: Abbeville Press.
Anderson, Perry (1998). The origins of Postmodernity. New York: Verso.
Arnold, Matthew（1994）. Culture and anarchy. Bristol: Thoemmes Press.
Baal-Teshuva, Jacob（1993）. Andy Warhol, 1928-1987 (Art & Design). Munich: Prestel-Verlag.
Baldessari, John. Tucker, Marcia. Pincus-Witten, Robert. Drew, Nancy（1981）. John Baldessari. New York: New Museum.
Barthes, Roland（1974）. Richard Miller translated . S /Z. New York: Hill and Wang.
Barthes, Roland（1977）. Image, music, text. Stephen Heath trans. New York: The Noonday Press.
Bell, Daniel（1976）. The cultural contradictions of Capitalism. New York: BasicBooks.
Bertens, Hans（1995）. The idea of the postmodern: A history. London: Routledge.
Bockris, Victor (1989). Warhol. London: Frederick Muller.
Bourdieu, Pierre（1993）. The field of culture production. Cambridge：Polity Press.
Bourdieu, Pierre（1984）. Richard Nice trans. Distinction: A social critique of the judgement of taste. London: Routledge＆Kegan Paul.
Bourdieu, Pierre. Darbel, Alan（1990）. Caroline Beattie and Nick Merriman trans. The love of art: European art museaums and their public. California: Stanford University Press.
Bourdieu, Pierre（1996）. Susan Emanuel trans. The rules of art: Gensis and structure of the literary field. CA：Stanford University Press.
Bourdon, David. (1989). Warhol. New York: Harry N. Abrams.
Brooker, Peter.（ed）（1992）. Modernism/ Postmodernism. London＆New York: Longman.
Burckhardt, Jocob (1954 ). The civilization of the Renaissance. New York: The Modern Library.
Cagle, Van Montgomery﹙1995﹚. Reconstructing pop/ subculture: Art, rock, and Andy Warhol. CA: Sage Publication.
Calinescu, Matei（1987）. Five faces of Modernity: Modernism, Avant-garde, Decadence, Kitsch, Postmodernism. Durham: Duke University Press.
Cassirer, Ernst.（1944）. An essay on man: An introduction to the philosophy of human culture. London： Yale University Press.
Castleman, Craig（1982）. Getting up: Subway graffiti in New York. Cambridge, Mass.: MIT Press.
Charon, Joel M.(1991). Sociology: A conceptual approach. Boston: Allyn and Bacon.
Crane, Diana（1987）. The transformation of the Avant－Garde: The New York art world, 1940-1985. Chicago : University of Chicago Press.
Danto, Arthur C.﹙1997﹚. After the end of art: Contemporary art and the pale of history. Princeton University Press.
Dickie, George（1974）. Art and the aesthetic: An institutional analysis. NewYork: Cornell University Press.
Downes, Rackstraw（1976）. Post- Modernist painting. Tracks（Fall）.
De Duve, Thierry（1992）. The definitively unfinished Marcel Duchamp. Cambridge: The MIT Press.
Derrida,Jacques（2002）. Gil Anidjar（ed）. Act of religion. New York: Routledge.
Derrida, Jacques（1981）. Positions. Chicago: University of Chicago Press.
Derrida, J.（1987）. The truth in Painting. Chicago: University of Chicago Press.
Dickie, George（1974）. Art and the aesthetic: An institutional analysis.Cornell University Press.
Ewen , Stuart.（1988）. All consuming gimages: The politics of style in contemporary culture. New York: Basic Books.
Fineberg, Jonathan（2000）. Art since 1940: Strategies of Being. London: Laurence King.
Fiske, John（1989）. Reading the popular. Boston: Unwin Hyman.
Frascina , Francis＆ Harris, Jonathan（1992）（ed）. Art in modern culture: An anthology of critical texts. London : Open University.
Frascina , Francis ＆ Harrison, Charles（1982）（ed）. Modern art and Modernism: A critical anthology. New York : Harper＆ Low, Publishers.
Foster, Hal（1983）（ed）. The anti-aesthetic: Essays on postmodern culture. Port Townsend, Wash: Bay Press.
Gans, Herbert J.（1974）. Popular culture and high culture: An analysis and evaluation of taste. New York: Basic Books.
Garrels, Gary (ed). (1989). The work of Andy Warhol. Washington: Dia Art Foundation.
Gasset, José Ortega Y.（1957）. The revolt of the masses. New York: W. W. Norton ＆ Company, Inc.
Gombrich, Ernst（1985）. The story of art. New Jersey：Englewood.
Greenberg, Clement (1961). Art and culture. Massachusetts: Beacon.
Greenberg, Clement (1993). The collected essays and criticism. Modernism with a vengeance, 1957—1969 (v.4). Chicago: The University of Chicago Press.
Gruen, John（1991）. Keith Haring: The authorized biography. London: Thames and Hudson.
Harari, Josué V.（ed）（1979）.Textual strategies: Perspective in Post-Structuralist criticism. New York: Cornell University press.
Harrison, Charles＆ Wood, Paul（2003）. Art in theory1900- 2000: An anthology of changing ideas. MA: Blackwell Publishing.
Hassan, Ihab（1987）. The Postmodern turn: Essays in Postmodern theory and culture. Columbus：Ohio State University Press.
Hauser, Arnold（1984）. The social history of art（v.3）. London：Routledge＆ Kegan Paul.
Heidegger, Martin (1977). Basic writings: From being and time to the task of thinking. New York: Harper & Row.
Hume, David（1965）. Hume's ethical writing: Selections. New York: Collier Books.
Hoog, Michel（1987）. Paul Gauguin: Life and work. London: Thames and Hudson.
Horkheimer, Max, Adorno, Theodor （1973）. John Cumming trans. Dialectic of Enlightenment. London: Allen Lane.
Hauser, Arnold（1962）. The social history of art. London: Routledge & Kegan Paul.
Huyssen, Andreas（1986）. After the great divide: Modernism, mass culture, Postmodernism. Bloomington: Indiana University Press.
Jameson, Fredric（1981）. The political unconsciou : Narrative as a socially symbolic act. New York: Cornell University Press.
Jameson, Frederic (2001). Postmordernism, or the cultural logic of late Capitalism. New York: Duke University Press.
Jencks, Charles（1987）. Post-Modernism: The New Classicism in art and architecture. London: Academy Editions.
Jencks, Charles（1991）. The language of Post-Modern architecture. New York: Rizzoli.
Jones, Caroline A.﹙1992﹚. Machine in the studio: Changing construcgions of the American artist, 1945-1968. Thesis﹙PH. D.﹚of Standford University.
Kandinsky, Wassily（1947）. Concerning the spiritual in art. New York: George Wittenborn, Inc..
Keith Haring（1984）. Keith Haring. In《Flash Art》. Vol. 116. March.
Krauss, Rosalnd（1985）. The originality of the Avant-Garde and other modernist myths. Massachusetts: The MIT Press.
Kroker. A.＆ Cook D.（1988）. The Postmodern scene. London: Macmillan.
Kurtz, Bruce D.（1992）（ed）. Keith Haring, Andy Warhol, and Walt Disney. New York: Te Neues.
Lash, Scott（1990）. Sociology of Postmodernism. New York: Routledge.
Levin, Kim（1988）. Beyond Modernism : Essays on art from the '70s and '80s.New York: Harper & Row.
Levinas, Emmanuel（1979）. Alphonso Lingis. Trans. Totality and infinity. Hague: Martinus Nijhoff Publisher.
Lippard, Lucy R.（ed）.﹙1966﹚. Pop art. London: Thames and Hudson.
Livingstone, Marco﹙1990﹚. Pop art: A continuing history. New York: Thames and Hudson.
Lucie- Smitht, Edward（1990）. Art in the eighties. New York: Phaidon Universe.
Lyotard, Jean-Francois（1984） Geoff Bennington and Brian Massumi trans . The Postmodern condition: A report on knowledge. Minneapolis: University of Minnesota Press.
Madoff, Steven Henry﹙1997﹚﹙ed﹚. Pop art: A critical history. University of California Press.
Marcuse, Herbert (1991). One- dimensional man: Studies in the ideology of advanced industrial society. London: Routledge.
Osterwold, Tilman（1989）. Pop art. Köln: Bendilct Taschen Verlag.
Plato（1975）. The collected dialogues of Plato. 台北市：馬陵。
Poggioli, Renato（1968）. Theory of Avant- Garde. Gerald Fitzgerald trans. Cambridge: Harvard University Press.
Preziosi, Donald（ed）（1998）. The art of art history: A critucal anthology. Oxford: Oxford University Press.
Ratcliff, Carter（1983）. Andy Warhol. New York: Abbeville Press.
Richter, Hans（1978）. Dada, art and anti- art . New York : Oxford University Press.
Rosenberg, B.＆White, D.M.（ed）（1957）. Mass culture. The Free Press of Glencoe.
Rosenberg, Harold (1971). The tradition of the new. New York: Books for Libraries Press.
Rubell, Jason（1990）. Kieth Haring: The last interview. in《Arts Magazine》, September.
Sandler, Irving（1996）. Art of the postmodern era: From the late 1960s to the early 1990s. Colorado: Westview Press.
Simmel, G. Wolff, Kurt H.（translated）（1950）. The sociology of Georg Simmel. New York: The Free Press.
Smart, Berry（1993）. Postmodernity. New York: Routledge.
Smith, Patrick.（1981）. Andy Warhol’s art and film. UMI Research Press.
Sontag, Susan（1982）. A Susan Sontag reader. New York: Farrar, Straus and Giroux, Inc.
Sontag, Susan（1977）. On Photography. New York: Farrar.
Storey, John（1997）. Cultural theory and popular culture: An introduction. New York: Prentice Hall.
Storey, John（1994）. Cultural theory and popular culture: A reader. New York: Harvester Wheatsheaf.
Stich, Sidra. (1987). Made in U.S.A：an Americanization in Modern Art. Berkeley : University of California Press.
Swingewood, Alan（1977）. The myth of mass culture. London: Macmilan.
Toynbee, Arnold Joseph（1954）. A study of history. vol 8. London: Oxford University Press.
Thorpe, Lynn Teresa﹙1980﹚. Andy Warhol: Critical evaluation of image and books. Thesis﹙PH. D.﹚of The Cornell University.
Tucker, Marcia（1984）. Art after modernism: Rethinking representation. New York: The New Museum of Contemporary Art.
Turner, Bryan S.（1990）（ed）. Theories of Modernity and Postmodernity. CA: SAGE Publications.
Viault, Birdsall S. (1989). American history since 1865. New York: McGraw- Hill Book Compary.
Venturi, Robert. Brown, Danise Scott. Izenour, Steven（1977）. Learning from Las Vegas. Cambridge, MA: MIT Press.
Waldman, Diane（1993）. Roy Lichtenstein. New York: The Solomon R. Guggenheim Foundation.
Weber, Max.（1965）. Fischoff, Ephraim.（translated）. The sociology of religion. London: Methuen.
Warhol, Andy, Hackett, Pat﹙1990﹚. Popism: The Warhol sixties. San Diego: Harcourt Brrace ＆ Company.
Warhol, Andy（1975）. The philosophy of Andy Warhol. New York: Harcourt Brace.
Warhol, Andy, Colacello, Bob（1979）. Andy Warhol’s exposures. New York: Andy Warhol Books.
巴特摩爾（Bottomore, Tom）（1988）。廖仁義譯。法蘭克福學派。台北市：桂冠。
巴赫金（Bakhtin, Mikhail）（1998）。錢中文譯。巴赫金全集（第六卷）。石家庄：
河北教育出版社。
卡巴內（Cabanne, Pierre）（2001）王瑞芸譯。杜尚訪談錄（Dialogue with Marcel
Duchamp）。廣西師範大學出版社：桂林。
弗洛伊德 (Sigmund Freud)著。劉平等譯。（2000）。達文西對童年的回憶。臺北
市 : 胡桃木文化。
克拉克＆赫奎斯特（Clark, Katerina.＆ Holquist, Michael）（2000）。 雨冰譯。米哈依爾‧巴赫金（Mikhail Bakhtin）。北京：中國人民大學出版社。
克萊因(Klein, Lawrenre Rabent)（1967）。李蘭甫譯。凱恩斯革命（The Keynesian revolution）。臺北市：臺灣銀行。
李醒塵（1996）。西方美學史教程。台北市︰淑馨。
柯比意（Le Corbusier）（1997）。施植明譯。邁向建築（Ven une Architecture）。台北市：田園城市文化。
叔本華（Schopengauer, Arthur）（1974）。劉大悲譯。意志與表象的世界。
柏拉圖（Plato）（1980）。侯建譯。柏拉圖理想國。台北市：聯經。
貢布里希（Gombrich.E.H）（1997）。雨云譯。藝術的故事。台北縣 : 聯經。
席勒（Schiller, Friedrich von）（1989）。馮至等譯。審美教育書簡。台北市︰淑馨。
梵谷（Van Gogh, Vincent）（1990）。雨云譯。梵谷書簡全集。藝術家出版社。
莫斯卡（Mosca, Gaetano）（1997）。涂懷瑩譯。統治階級論（The Ruling Class）。
台北市：國立編譯館。
康德（Kant, Immauel）（1987）。宗白華譯。判斷力批判。北京：商務印書館。
詹明信（Jameson, Frederic）（1990）。唐小兵譯。後現代主義與文化理論。台北：五南。
傅科（Foucault, Michel）（1993）。王德威譯。知識的考掘（L'archeologie du savior）。台北市 : 麥田。
傅科（Foucault, Michel）（1998）。林志明譯。古典時代瘋狂史（Histoire de la folie a l'age classique）。台北市 : 時報文化。
凱恩斯（Keynes, John Maynard）（1992）。陳林堅等譯。就業、利息和貨幣的一般理論（The general theory of employment interest and money）。臺北市：時報。
達達基茲（Wtadytaw Tatarkiewicz）著。劉文潭譯。（1987）。西洋美學六大理念史。臺北市 : 聯經。
劉文潭（1991）。現代美學。台北市：台灣商務印書館。
德希達（Derrida, Jacqes）（2004）。張寧譯。書寫與差異（L'ecriture et la difference）。台北市：麥田出版社。