本文结合西方女性主义艺术史进展与国内外当代艺术案例, 试图超越今天讨论性别议题时流行的身份政治视角, 探索后人类境况下女性主义在艺术领域的理论潜能。第一部分回溯上世纪六七十年代女性主义艺术史确立的时刻, 以美国为中心的女性主义艺术史集中回应了形式主义理论中的现代主义神话, 成为反思现代性的重要动力。第二部分关注后现代时期, 法国理论的英美“旅行”背景下女性主义艺术史的范式转化, 伴随着主体理论的语言学转向, 女性主义被纳入身份政治话语, 在反思了艺术史中话语与文本的意义的同时, 也脱离其本意地加剧了分裂与冲突。第三部分结合当代新物质主义与后人类思潮, 思考后人类视角下的女性主义如何激发差异与共生的新潜能。

This article combines the progress of Western feminist art history with contemporary art cases at home and abroad, attempting to go beyond the popular identity politics perspective when discussing gender issues today, and explore the theoretical potential of feminism in the field of art in the post human context. The first part of the thesis focuses on the 1960s and 1970s in America when the feminism became present in art world. American feminist art exposed the myths in formalist theory in a singular view, driving the reflection on modernity. The second part focuses on the changes in feminist intervention in art in the context of French theory’s “travel” in English world during the postmodern period. With the linguistic shift of subjectivity theory, feminism has been incorporated into identity political discourse, reflecting on the meaning of discourse and text in art history while also exacerbating division and conflict beyond its original intention. The third part combines contemporary new materialism and post human thought to consider how feminism from a post human perspective can stimulate new potential for differentiation and coexistence.