本文指出, 对20世纪下半叶的挪用艺术“以内容与形式双重回应社会现象”的解释框架, 已经面临理论疲软与制度化困境。随着20世纪下半叶的挪用艺术作品、其创作方法论以及围绕在其周围的批评话语被纳入艺术教育、美术馆、艺术市场与视觉资本主义体系, 挪用艺术最初所主张的批判性已逐渐转化为自我循环的、可供消费的新的范例, 和一种罗莎琳德·克劳斯形容的“递归结构”。这一局面对今日的观念艺术创作亦产生着持续的影响。面对这一局面, 本文将延续弗里德里克·詹明信在《元评论》中的思考, 指出: 为何试 图为挪用艺术制定一种“连贯、确定、普遍有效”的结构主义批评话语———即将挪用艺术理解为隐喻、反讽和简单二元对立的呈现———这一企图本身, 正是导致当前批评困境的根源。本文主张应通过对20世纪的下半叶的挪用艺术作品及其批评话语的重新审视, 引入媒介视角, 以细致的、历史的文本分析方法, 重新激活其批判潜力。随后, 本文引入“再媒介化”理论, 回顾和延续了麦克尔·洛贝尔对罗伊·利希滕斯坦作品的文本分析, 辅以对彼得·布莱克等其他艺术家的关注, 提出在20世纪下半叶的挪用艺术中发现一种新的媒介反思方式的可能性。在这一部分中, 文章展示了洛贝尔如何通过对利希滕斯坦作品中关于“单眼视觉”主题和“自然视觉与视觉机械对峙”隐藏叙事的揭示, 研究艺术家的个人经验和其所处的历史媒介环境如何影响他的实践。随后, 本文通过进一步引入维兰·傅拉瑟的“线与面”理论, 提出“尺幅”这一常常被忽略的信息, 如何在观众观看作品的动态中, 与利希滕斯坦标志性的“本迪点” (Ben-Day Dots) 共同构建出一种含有虚拟的“放大镜”结构的、关于“视觉本身”的装置, 并体现出如傅拉瑟所说的, 现代视觉机制中“形象虚构”与“概念虚构”的交互张力。最后, 本文还通过重新审视利希滕斯坦后期作品, 提出这批作品中体现出的“转译”实 验, 不仅与傅拉瑟的展望不谋而合, 还可被视为一种对当下操作图像时代的隐喻。

This paper points out that the explanatory framework for the appropriation of art in the second half of the 20th century, which responds to social phenomena in both content and form, has faced theoretical weakness and institutionalization difficulties. As the appropriation of art works, their creative methodologies, and the critical discourse surrounding them in the second half of the 20th century were incorporated into the systems of art education, art museums, art markets, and visual capitalism, the criticality initially advocated by appropriation art has gradually transformed into a new paradigm of self-circulation, consumable, and a “recursive structure” as described by Rosalind Krauss. This situation also has a sustained impact on today’s conceptual art creation. In response to this condition, this paper builds on Fredric Jameson’s Metacommentary, pointing out why the attempt to establish a “coherent, definite, universally effective” structuralist critical discourse for appropriation art, which views appropriation art as a site for metaphor, irony, and simple binary oppositions, which is the root cause of the current criticism dilemma. The paper advocates for a re-examination of the appropriation of art works and their critical discourse in the second half of the 20th century, introducing a media perspective and using detailed and historical text analysis methods to reactivate their critical potential. Subsequently, the paper introduces the theory of “remediation”, reviewing and extending Michael Lobel’s analysis of Roy Lichtenstein’s works—supplemented by discussions of artists like Peter Blake—to explore the possibility of a new form. of media reflection in the appropriation art of the second half of the 20th century. In this section, the paper demonstrates how Lobel reveals hidden narratives about the theme of “monocularity” and the confrontation between natural vision and visual machinery in Lichtenstein’s work, examining how the artist’s personal experiences and historical media environment influenced his practice. Subsequently, this paper will then draws on Vilem Flusser’s theory of “line and surface”, analysing the dimension of “scale” that has not yet been theorized in Lichtenstein’s works, suggesting that the enormous scale, together with the intentional addition of Ben-Day Dots, reflects the interactive tension between “imaginal fiction” and “conceptual fiction” in the modern visual mechanism, and enables his works to be viewed as an “apparatus” constituted through the viewer’s dynamic engagement. At the same time, a virtual medium—a “magnifying glass” structure—is embedded within this apparatus of vision itself. Finally, Lichtenstein’s later practice embodies a “translation” mechanism that not only aligns with Flusser’s foresight, but also serves as a metaphor for the future of operational images.