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近年,自国际画坛大量使用丝网印刷复制有界限油画、粉画和装饰画以来,丝网版画艺术也常与丝印美术复制品的贬称——Cheap(便宜货)联系在一起。虽然这里有着误解和附会的成份,但是人们对丝网版“一国两制”艺术品评秤砣的下滑,不能不引起从事和关心我国丝网版画艺术的版画家和版画欣赏者对其处境和前景给予关注和思考。 回顾历史,在丝网印刷被引进艺坛的四十年代,就有美术家运用它来尝试丝网版画艺术创作,六十年代,它就卷入刚掀起的后现代主义艺术浪涛。那时,一批前卫艺术家用丝网创作了脍炙人口的力作:美国沃霍尔的《玛莲兰·梦
In recent years, screen printing art has often been associated with the derogatory name of silk screen art reproductions - Cheap (bargain) since the international art community made extensive use of screenprinting to copy limited painting, pastel and decorative painting. Although there are elements of misunderstanding and annexation here, the decline of the screen-printed version of “one country, two systems” of art criticism can not but be caused to draw attention to the situation and prospects of print-makers and print-engravers who engage in and care about the art of screen-printing in our country. Thinking. In retrospect of history, in the forties where silkscreen printing was introduced into the art world, some artists used it to try silkscreen prints. In the 1960s, it was involved in the wave of post-modern art that was just set off. At that time, a group of avant-garde artists used screenmasks to create a popular masterpiece: Warhol’s "Malianlan Dream