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如今美术圈里的一些人,似把美术视为哲学、文学或其他人文学科,非要琢磨出一套艰深的理论话语才肯罢休,这几乎已成为一种时尚,比如说,一件艺术作品面世,铺天盖地给它加上这个“上义”那个“观念”,越说越玄,越来越让人摸不着头脑。也有一些画家,当他的作品被评论家包装一番之后,连自己都要对其刮目相看了,惊叹本人还有这么多的“主义”和“思想”。以致于在下次创作时不知如何是好,满脑子别人的观点和辞藻,从此以后不知不觉地被评论家推着荡起了秋千,无形中埋没了自己的艺术天赋,最后江郎才尽却自以为找对了方向。 许多艺术的创作结果是难以用语言来阐释的,它是艺术家在某种特定的环境和心境下的灵感爆发,有时候只能意会无法言传。观者只能记录你对该作品的心理感受。而评论作品则是评论家的一种创作,这是无可非议的。但可悲的是有些艺术家却盲目崇拜一些从事职业包装的“评论家”,深深地陶醉在连自己都还未搞懂的“观点”里面,为此改变了自己,失去了自我,很
Nowadays, some people in the art circle seem to consider art as philosophy, literature or other humanities. It is necessary to ponder a set of hard-working theoretical discourse to stop it. This has almost become a fashion. For example, a piece of art Available, overwhelming it with this “sense” that “concept”, more and more mysterious, more and more people puzzled. There are also some painters who, after his works have been packaged by critics, even have their eyes on them, and are amazed at how many “doctrines” and “thoughts” they have. So that I do not know what to do when I next make my own ideas and rhetoric from other people’s minds. Since then, I have been unknowingly pushed by the critics and swung their own artistic abilities, finally, Right direction. The result of many artistic creations is difficult to explain in words. It is an artist’s inspirational eruption in a particular environment and mood, and sometimes it can only be interpreted as impotent. The viewer can only record your feelings about the work. Commenting works is a kind of creation of critics, which is beyond reproach. But sadly, some artists blindly worship some “critics” engaged in professional packing and are deeply intoxicated by the “viewpoint” that they have not yet understood, thus changing themselves and losing themselves.