美國藝術家米萊恩．夏皮洛(Miriam Schapiro, 1923- )以抽象表現主義風格出道，展開至今漫長的藝術生涯，具有深厚的現代主義藝術基底。裝飾在現代主義發端與衰亡之際，都曾經成為聚焦討論的議題，而本篇論文主要聚焦Schapiro於1970年代的裝飾藝術實踐，她將其稱為Femmage。這個詞彙結合了女性以及圖像兩個詞彙，發端自藝術家在女性主義藝術運動中，採用源自女性生活的裝飾物件構成作品，做為女性認同的策略與發聲的手段，抗議既有藝術體制對於文化它者的看輕。稍後在直接以裝飾作為主題的圖樣裝飾運動 (Pattern and Decoration Movement) 中，Femmage豐富的視覺性被用來擴充極限主義縮減的冷冽畫面。在公然使用裝飾並頌揚其價值的同時，也質問了藝術世界中高低階級劃分的陳規。概略觀察可知Femmage具明晰的政治性格，試圖顛覆現代主義的價值觀。Femmage成為藝術家生涯風格轉折處，但本文關注它與藝術家生涯整體的連續性，強調藝術家體內的現代主義養分，以及與藝術體制共存的狀態。進而，在兩個運動皆強調的顛覆性之外，嘗試以裝飾的視角指出，蘊含在Femmage之中既有的藝術史脈絡。首先探討裝飾與現代主義之間交錯的關係。雖然裝飾被現代主義視為瑣碎無意義的，但仔細審視抽象藝術，其中卻具有豐富的裝飾性質。文中將證實裝飾與抽象初期的發展，確實曾有密切的關聯，並且探究兩者之間如何劃分。再者，就裝飾參與社會生活，以及使用拼貼技法而言，將Femmage聯繫至達達、超現實以降的前衛藝術。最後，以1980年之後，藝術評論廣泛討論的挪用議題回頭審視Femmage，並以裝飾的視覺愉悅性與政治性，指出Femmage所開拓後續當代藝術實踐可能的出路。

American artist Miriam Schapiro (1923-) began her work within the style of abstract Expressionism which led to a long-lasting career that finds its roots deep in Modernist art. As decoration was a highlighted topic of debate at both the rise and decline of Modernism, this thesis mainly focuses on Schapiro’s practice of decorative art in the 1970’s, a form of art she coins as ‘Femmage’. Femmage, as a term putting together of ‘female’ and ‘image’ that finds its origin in the feminist artistic movement, denotes art works made out of decorative objects in the daily lives of women. As a strategy for feminine identification and a means to empower women with speech, Femmage is in resistance to traditional art institutions in their negligence of the other. In the later Pattern and Decoration Movement, which employs decoration directly as its subject of art-making, the visually resplendent Femmage is used to counter and expand the somber frames trimmed down by Minimalism. In this act of publicly displaying the practicality of decoration and elevating its values, the orthodox conventions of the art world perpetuating hierarchy are also interrogated. Femmage, in its attempt to subvert modernist values, is thus of high political implication.Although it may appear as if Femmage marks a turning point of Schapiro’s career, it is the intent of this thesis to argue for a continuity between Femmage and the artist’s overall career. That is, with an emphasis placed on the artist’s embodiment of Modernism as well as her condition of co-existence with contemporary art institutions, a relationship can be traced from the stages of her career to her engagement with Femmage that would render consistency in what may initially be taken as rupture. Furthermore, beyond the subversiveness inherent in both movements, the art historical context embedded in Femmage will be identified from the perspective of decoration.First, the intertwining relationship between decoration and modernism will be delineated. Even though modernism deems decoration as trivial and lacking meaning, a thorough observation of abstractionism will reveal that it is rich with decorative elements. This thesis will prove that decoration and abstractionism indeed share common grounds at their early stages of development and discuss how this close relationship later diverged into two distinct styles. In addition, with the engagement of decoration with social life and the employment of the technique of collage, Femmage will be traced to avant-garde art since dadaism and surrealism. Finally, through the lens of the art criticism’s popular concept of appropriation by since the 1980’s and the visually pleasure and the political significance of decoration, a revisit of Femmage will conclude this thesis in locating possible exits of contemporary art practice opened up by Femmage.

英文書目
Abruzzo, Emily. Solomon, Jonathan D. eds. Decoration. New York: 306090, Inc, 2006.
Brett, David. Rethinking Decoration: Pleasure & Ideology in the Visual Arts. New York: Cambridge University Press, 2005.
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Evens, David. ed. Appropriation. London: MIT, 2009
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Gombrich, Ernst. The Sense of Order: A Study in the Psychology of Decorative Art. The Wrightsman lectures, v. 9. Oxford : Phaidon, 1979.
Gouma-Peterson, Thalia. ed. Miriam Schapiro, a Retrospective, 1953-1980. Wooster, Ohio: College of Wooster, 1980.
Gouma-Peterson, Thalia. Miriam Schapiro: Shaping the Fragments of Art and Life. New York: Harry N. Abrams Publishers, 1999.
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期刊論文
Alloway. Lawrence. “Woman’s Art in Seventies.” Art in America 64.3 (May/June, 1976):64-72
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Bradley, Paula. Miriam Schapiro: The Feminist Transformation of an Avant-Garde Artist. PhD. dissertation , University of North Carolina at Chapel Hill, 1983
Crowther, Paul. “More Than Ornament: The Significance of Riegl.” Art History 17 (September, 1994):482-494
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Foster, Hal. “What is Neo about the Neo-Avant-Garde?” October 70 (Autumn, 1994):5-32
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Fu, Chia-Wen Lien(傅嘉琿) . The Body Politics of Decoration and Handicraft: Re-visioning 1970s Feminist Art, Ph.D. dissertation, The City University of New York, 2002.
Gouma-Peterson, Thalia. “Miriam Schapiro: An Art of Becoming.” American Art, 11.1(Spring, 1997):10-45
Gouma-Peterson, Thalia. and Patricia Mathews, “The Feminist Critique of Art History.” Art Bulletin,69.3 (1987):326-357
Gusevich, Miriam. “Decoration and Decorum, Adolf Loos''s Critique of Kitsch.” New German Critique, 43.Special Issue on Austria (Winter,1988):97-123
Harper, Paula. “The First Feminist Art Program: A View from the 1980s.” Signs 10.4 (Sum, 1985):762-781
Lippard, Lucy R. “Sweeping Exchanges: The Contribution of Feminism to the Art of the 1970s.” Art Journal 40.1/2 (Autumn-Winter, 1980):362-365
Nemser, Cindy. “The Woman Artist’s Movement.” Art Education 28.7 (Nov, 1975):18-22
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中文書目
Bürger, Peter，蔡美君、徐明松譯，《前衛藝術理論》，台北市：時報文化，1998。
Crane, Diana，張心龍譯，《前衛藝術的轉型》，台北市：遠流，1996。
Danto, Arthur C.，林雅琪、鄭慧雯，《在藝術終結之後-當代藝術與歷史藩籬》，台北：麥田，2004。
Gombrich, Ernst，范景中等譯，《秩序感》，長沙：湖南科學技術，2006。
Kester, Grant H.，吳瑪悧等譯，《對話性創作：現代藝術中的社群與溝通》，台北市：遠流，2006。
陳平，《里格爾與藝術科學》，杭州：中國美術學院，2001。