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研究生：	黃慕怡
論文名稱：	雕塑中的負空間與失序性：瑞秋．懷特雷的作品研究 Negative Space of Sculpture and Entropy: The Creations by Rachel Whiteread
指導教授：	呂清夫
學位類別：	碩士 Master
系所名稱：	美術學系 Department of Fine Arts
論文出版年：	2008
畢業學年度：	96
語文別：	中文
論文頁數：	178
中文關鍵詞：	負空間、雕塑、極限主義、鑄造、失序性（熵）
英文關鍵詞：	Negative space, sculpture, Minimalism, Casting, Entropy
論文種類：	學術論文
相關次數：	點閱：377 下載：17
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瑞秋．懷特雷(Rachel Whiteread, 1963-) 的雕塑在1990年代確立其風格。她以傳統的鑄造方式來重現日常生活環境與物件周遭的空間，創造出前衛的、逆轉的空間造形物。本論文以其1989-2006年的鑄造作品為研究對象，針對作品形態、方法與內容進行分析，研究內容首先採用空間觀與形式分析進行初步認識；接著回顧其崛起背景與脈絡，釐清其空間典範，針對藝術評論與詮釋所提及作品的二元對立特徵，解釋其來由。最後參考完形理論(Gestalt Theory)與羅莎琳．克勞斯(Rosalind E. Krauss) 提出的失序性(entropy)概念，詮釋其空間運作之特性。綜合評估瑞秋．懷特雷的藝術價值，期望能對創作產生啟示。

Rachel Whiteread established her own unique style of sculpture in the 90’s. By using traditional methods of sculpting and casting, she reverses and presents the spaces which could be seen in our daily life and surroundings in a modern way.
This essay aims to study the forms, methods and meanings of the works which Whiteread composed from 1989 to 2006. The research would introduce the paradigm of Whiteread’s works by analyzing the concept of spaces and patterns, and explain the reasons of dichotomy which is often discussed by art comments. Referring to Gestalt Theory and the concept of entropy proposed by Rosalind E. Krauss, the study would illustrate the spectacular spirits and features Whiteread has been giving to her works. Besides, we would also retrace the background and the times when Whiteread has stared her work, and evaluate the art value of her extraordinary and imaginative sculptures.

目    錄

摘       要………………………………………………………………………II
目       錄………………………………………………………………………II
圖片目錄…………………………………………………………………………IV
表格目錄…………………………………………………………………………VII
緒   論  …………………………………………………………………………1
     第一節 研究背景與動機………………………………………………..1
     第二節 研究目的與重要性……………………………………………...7
     第三節 研究方法……………………………………………………….10
     第四節 研究範圍與限制……………………………………………….13
     第五節 名詞解釋與定義……………………………………………….14

第一章   當代西方時空觀與空間典範……………………………………..18
     第一節   20世紀西方時空觀的新發展………………………………18
     第二節  「負空間」的屬性與藝術運用的脈絡…………….....……20
             一、  藝術上的空間範圍 …………………….………….22
             二、「負空間」的定義與功能………………………………24
             三、建築與雕塑「負空間」的開發與效果…………………25
第三節   「極限主義」的 「負空間」探索 ………………………….....27
       一、「極限主義」與「負空間」…………………………………...28
       二、 懷特雷與「極限主義」………………………………………..32
       三、 物理與情感表現………………………………………………..33
第二章   發掘「負空間」的潛力：瑞秋．懷特雷代表作品…………………36

第一節  建築元素與「負空間」………………………………………....38
       一、真實之屋：
      《鬼魅，1991》與《房子，1993》………………………….…40

       二、虛構之屋：
      《無題（房間），1993》與《101室，2003》…………….…..44

       三、界於正負空間之間的「台階」：
      《無題（地下室），2001》與《無題（樓上），2001》….…49

        四、乘載過往與未來蹤跡的「地板」與「門」 :
       《無題（地板）, 1994》與 《內－外 I-XIV, 2004》………52

第二節  公共場域中以「負空間」「因地置宜(in situ)」 的雕塑 ……57
         一、維也納《大屠殺紀念碑，1997-2000》……………………58
         二、曼哈頓《水塔，1998》………………………………………63
         三、倫    敦《紀念碑，2001》…………………………………65
         四、拉普蘭《無題（裡面），2004》……………………………68
  第三節  以「負空間」銘記居家用品對人類的意義 …………………...73
            一、衛浴設備：《大氣，1990》……………………………73
            二、桌        椅：《桌與椅，1994》……………………76
            三、寢       具：《無題（琥珀色床墊 )，1991）》……80
            四、紙       箱：《築堤，2005》…………………………85
第三章   「負空間」的質變： 懷特雷的創作方式與空間性質……………91
 第一節  瑞秋．懷特雷的鑄造………………………………………….91
         一、一般鑄造概念 ……………………………………………….93
         二、懷特雷式的鑄造方法………………………………………...95
         三、懷特雷鑄造的特色…………………………………………..100
 第二節  鑄造「負空間」的契機……………………………………......109
         一、緣起：三度空間的魅力……………………………………..109
         二、企圖：捕捉「人類生活空間的痕跡」…………………....114
 第三節 懷特雷雕塑的空間特性………………………………………......125
         一、空 (void) 的物質化……………………………………….125
         二、空間形態的混亂 …………………………………………...127
第四章  「負空間」的失序狀態 ：懷特雷雕塑中的反形式 ……………….136
  第一節 雕塑與熵(entropy) ………………………………………………136
  第二節 雕塑空間形態的失序與均衡 ……………………………………..145
  第三節 懷特雷作品的省思與意義……………………………………...152
 結        論 ………………………………………………………………159
 參考文獻………………………………………………………………………164
 附        錄  懷特雷作品的觀感與評價調查……………………………170
                                

一、外文文獻
（一）專書與畫冊
1. BLOEMINK, Barbara and CUNNINGGHAM, Joseph. Design ≠Art: Functional Objects from Donald Judd to Rachel Whiteread, New York: Merrell, 2004
2. CARLOTTE, Mullins. Tate Modern Artists: Rachel Whiteread . London: Tate Publishing. 2004.
3. CHATER, Peter. Rachel Whiteread : plaster sculptures. New York : Luhring Augustine Gallery ; London : Karsten Schubert Ltd., 1993.
4. CORRIN, Lisa G., ELLIOTT, Patrick and SCHLIEKER, Andrea. Rachel Whiteread. Edinburgh : National Galleries of Scotland ; London : Serpentine Gallery, 2001.
5. Edited by LINGWOOD, James. Rachel Whiteread : House, London: Phaidon Press. 1995.
6. Edited by Lance Fung. The Snow Show, New York: Thames & Hudson. 2005.
7. Elemond Editori Associati. La Biennale di Venezia XLVII Espozione Internasionale d’Arte. Electa. 1997.
8. Gabriella Le Grazie and Vencenzo. Rachel Whiteread : British Pavilion, XLVII Venice Biennale. London : British Council. 1997.
9. MESCHEDE, Friedrich. Rachel Whiteread: Gouachen Gouaches, Berlin: Distributed Art Pub Inc, 1994.
10. NERI, Louise. Looking Up : Rachel Whiteread’s Water Tower, New York: Public Art Fund, 1999.
11. WHITEREAD, Rachel; organized by DENNISON, Lisa with HOUSER, Craig. Rachel Whiteread : transient spaces . New York: Guggenheim Museum Publications, 2001.
12. WHITEREAD, Rachel exh. cat., text by A. M. Holmes. Rachel Whiteread. London: Anthony d'Offay Gal., 1998
13. WHITEREAD, Rachel exh. cat., essays F. Bradley and others. Rachel Whiteread : Shedding Life, Liverpool: Tate, 1996–7.
14. WHITEREAD, Rachel exh. cat., intro. S. Morgan, interview I. Rachel Whiteread. Blazwick; Eindhoven, Stedel. Van Abbemus., 1992–3

（二）報章期刊
15. COLE, Ina.“Mapping Traces: A Conversation with Rachel Whiteread “ . Sculpture v. 23 no. 3.Washington D.C. ,April 2004, pp. 36-41.
16. COGARD, Karl. "Rachel Whiteread: le moulage comme sculpture". LES CAHIERS du Musée national d'art moderne 96. Centre Pompidou magazine.2006. pp. 4-29.
17. DENNY, Ned. ”Spaced out.(Rachel Whiteread exhibition)” . New Statesman.1996.
18. FARLEY,-Paul. “A world turned inside out.” Art Review, London, England, October/November 2005 supp. p. 8-11
19. GOLEAS, Janet. “Rachel Whiteread” Zing magazine. June, 1996Kramer, Hilton. "Turner Prize Follies." Art and Antiques 15 , February 1993, pp. 82-83.
20. HOULE, Annick. “Rachel Whiteread: Luhring Augustine, New York, May 7 - June
”Contemporary Art Magazine .Parachute Contemporary Art, January 1, 1997
21. HUEBNER, Jeff. “In Cold Snow”. Public Art Review v. 16 no. 1 , Fall/Winter 2004, p. 16-19
22. PRINCENTHAL, Nancy. "All that is solid." Art in America 88, July 1995, pp. 52-57.
23. RICHARD, Paul. ” In the Anti-Room, No One's Home.” The Washington Post. Monday, November 8, 2004; Page C01
24. RICE, Robin. ”The Art of Rachel Whiteread.” Woman's Art Journal v. 27 no.1 Spring/Summer 2006. p. 65-66.
25. SHONE, Richard. "Rachel Whiteread's House." Burlington Magazine 135, December 1993,p. 837.

（三）藝術相關書籍
26. BOIS, Yve-Alain and KRAUSS, Rosalind E.. Formless-A User's Guide. New York: Zone Books.1997.
27. CAUSEY, Andrew. Sculpture since1945. New York: Oxford university press. 1998.
28. CHING, Francis D. K., Design Drawing. John Wiley & Sons, 1997.
29. COLEMAN , Ronald L., Sculpture: A basic handbook for students. Dubuque, Iowa :Wm. C. Brown Publishers, 1990.
30. CRAIG-MARTIN, Michael, FRAYLING, Christopher, HARRISON, Martin, HOCKNEY, David , SEROTA,Nicholas ,SYLVESTER, David, BRAGG, Melvyn, and RAEBURN, Michael. Vision: 50 Years of British Creativity. A Celebration of Art, Architecture and Design. Lodon: Thames & Hudson Ltd. 1999.
31. DRUCKER, Joanna. Sweet Dreams: Contemporary art and complicity. Chicago: The University of Chicago Press. 2005.
32. FRIED, Michael. Art and Objecthood Essays and Review, Chicago and London: The University of Chicago Press, 1998.
33. GOODMAN, Nelso. Art and Authenticity.” The Forger’s Art: Forgery and the Philosophy of Art. Ed.Denis Dutton. University of California Press.1983.
34. GROSENICK, Uta. WOMAN ARTISTS in the 20th and 21th century. TASCHEN. 2001.
35. HWA JOO,Yuon. British Contemporary Art. Korea: Arario gallery. 2004.
36. Iluminations. ARTNOW interview with modern artists. London: Continuum, 2002.
37. KRASS, Rosalind E. The originality of the avant-garde and other modernist myths. the MIT press .1985.
38. MEISENHEIMER, Wolfgang. Choreography of the Architectural Space: The Disappearance of Space and Time. Seoul: Dongnyok Publishers. 2007.
39. NORWICH, John Julius, ed, Oxford Illustrated Encyclopedia vol. 5 The Arts, Oxford: Oxford University Press, 1993.
40. PREZIOSI, Ronald ed. The Art of History: a critical anthology. New York : Oxford University Press. 1998.
41. READ, Herbert. A concise history of modern sculpture. New York : Thames and Hudson,1964.
42. RIEMSCHNEIDER, Burkhard. ART at the turn of the millennium. TASCHEN. 1999.
43. SCHOENHOLZ, Harriet. MoMA Highlights. New York: The department of publication The Museum of Modern Art. 1999.

二、中文文獻
（一）書籍
44. ARNHEIM, Rudolf 著，李長俊譯。藝術與視覺心理學。台北市 : 雄獅圖書公司， 1976 。
45. ARNHEIM, Rudolf 著，郭小平、翟燦譯。藝術心理學新論。北京市 : 商務印書館出版。1994。
46. BACHELARD, Gaston著，龔卓軍、王靜慧譯。空間詩學。台北：張老師文化。2003。
47. BAUDRILLARD, Jean著，路況譯。藝術與哲學。台北：遠流出版事業股份有限公司，1998。
48. CHADWICK, Whitney著，李美蓉譯。女性，藝術與社會。台北市：遠流出版事業股份有限公司。1995。
49. DROIT, Roger-Pol 著，顏湘如譯。51種物戀。台北市 : 大塊文化出版。
50. GRIBBIN, Mary與 GRIBBIN, John著。目擊者百科19 時間與空間。台北市：貓頭鷹出版社。
51. GREENBERG, Clement著，張心龍譯。藝術與文化。台北市：遠流出版事業股份有限公司。1993。
52. SHILAIN, Leonard, 著，張文毅、鄭天、王池英譯。藝術與物理：空間時間與光之平行觀。台北縣：成信文化事業股份有限公司。2006。
53. REED, Herbert 著，漢寶德譯。雕刻的藝術。台北市：大中國圖書公司。1962。
54. REED, Herbert 著，李長俊譯。現代雕塑史。台北市：大陸書店，1972。
55. KRAUSS, Rosaline E. 著，連德誠譯。前衛的原創性。台北市：遠流出版事業股份有限公司。1995。
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57. 李美蓉。雕塑－材料、技法、歷史。臺北市：北市美術館。1994。
58. 呂清夫。後現代的造形思考。台北市 : 漢文， 1993。
59. 呂清夫編譯。前衛藝術大系1。台北市：五洲出版社，無年代。
60. 侯宜人。自然．空間．雕塑。台北市：：亞太圖書。1994。
61. 黃才郎。靜觀其變英國現代雕塑展。台北：台北市立美術館。2001。
62. 陳奇相。歐洲後現代藝術。台北市：藝術家，2002 。
63. 陳宏志。建築空間的探求。建築工程研究所碩士論文。國立成功大學。1973。
64. 張志純譯。藝術模鑄術。台北市：徐氏基金會出版。1973。
65. 張晉昌編著。鑄造學。台北市：科友圖書有限公司。1994。
66. 張光琪。惡：從巴塔耶「去形」出發之美學悖論。視覺藝術研究所碩士論文。台北市立師範學院，2005。
67. 遙望羅丹－觀念、媒材、空間的沉思。台北市：北市美術館。1995。
68. 蘇步青。拓樸學初步。台北市：亞東書局。1991。
69. 藝術家雜誌主編。亨利摩爾藝術全集。台北市：藝術家出版社。1989。

（二）報章期刊
70. 汪上曉。〈資訊與熵〉。科學發展377期，台北市 : 行政院國家科學委員會。2004。
71. 邵亦楊。〈為了震驚而震驚？－從英國年輕藝術看當代前衛藝術問題〉。文藝研究第六期。北京市: 文化藝術出版社。 2006。
72. 莊育振。〈封存未來歷史的紀念碑—記瑞秋．懷特雷2001年個展〉。典藏今藝術107期。台北市 : 典藏雜誌社。 2001，p.133-135。

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105. SALTZ, Jerry. “Casting Call”, artnet , 1999. Magazine. 2007
<http://www.artnet.com/magazine_pre2000/features/saltz/saltz11-15-99.asp>(2007-06-12)
106. “THE SNOW SHOW” . n.d. Art Library and Society of North America. <http://www.arlisna.org/artdoc/vol24/iss2/fung.pdf> (2008- 05- 07)
107. Tate Modern. “Rachel Whiteread to undertake next commission in The Unilever Series” . Tate online. 3 March 2005. <http://www.tate.org.uk/about/pressoffice/pressreleases/whiteread_unilever_03-03-05.htm >(2008-02-12)
108. WHITEREAD, Rachel. “Water, July 20, 2007-January 5, 2008”. The Pulitzer Fundation for the Arts .Artists statement .n.d.<http://water.pulitzerarts.org/artist-statements/whiteread/> (2008-04-15)
109. 〈美術家の言葉レイチェル・ホワイトリード〉. Peaceful Art Land B-sou. n.d. < http://www.b-sou.com/palw-Whiteread.htm > (2007-07-10)

(二)中文部份
110. 中國大百科智慧藏 <http://dblink.ncl.edu.tw/web/>
111. 于道民。〈老子第十一章〉。老子論壇。 Apr. 15, 2004 < http://www.laozi.net/bba/viewthread.php?tid=1668> (2007-05-23)
112. 邵亦楊。〈他們不再年輕他們不再震撼：YBA與餘震展〉。美術觀察。中國在線藝術網。2007年4月25日。展覽評論。<http://blog.21nowart.com/?action-viewnews-itemid-34226>(2007-05-24)
113. 胡宇之譯。〈時空與場所政治—解讀Rachel Whiteread的作品「House」〉。TOM美術。2004年8月17日。<http://arts.tom.com/1004/2004/8/17-51598.html >(2008-03-12)
114. 莊育振。〈從物體到情境：由戰後西方雕塑空間觀的演變談中國傳統的再創〉。2003。 2002年文化研究學會（重訪東亞：全球、區域、國家、公民）研討會論文。電子郵件。2004年11月12日由莊育振寄給黃慕怡。
115. 葉素玲。〈淺談視覺空間〉。科學月刊全文資料庫。1996年12月324期。 < http://210.60.224.4/ct/content/1996/00120324/0011.htm > (2008-06-10)

四、錄音與錄影資料
116. Illuminations Media. Rachel Whiteread DVD (PAL). London : Illuminations Media, 2006.
117. “Ghost: Rachel Whiteread. National Gallery of Art, East Wing, Washington DC “. Youtube.com. 8, Aug.,2007. <http://www.youtube.com/watch?v=gGL5tgqvrg4&feature=related > (2007-11-22)

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