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1913年,杜尚拿…他的名为《泉》的小便器作品在美术馆展出后,自此打破了艺术与生活之间的界限;2013年,霍失曼在香港展出他的作品《大黄鸭》,之后“大黄鸭”便在武汉、重庆、杭州等多地被复制,义一次引起了人们对当代艺术随意“复制”的诟病其实在这一百年间,艺术界始终对于艺术家拿来现成品或简单放大后作为作品,以及民间对这些艺术品进行“山寨”问题的争论不休。但有一点可以肯定,当以后现代审美审视当代岂术时,大家应陔共识的是:“审美性”已经不是当代艺术的核心,取而代之的是艺术的商业性、娱乐性和观念性。故我们如果仍以审视传统艺术的眼光去评论当
In 1913, Duchamp ... His urinal, “Fountain”, was shown in art galleries and has since broken the line between art and life; in 2013, Holmes showed his work in Hong Kong “The Yellow Duck,” then “The Yellow Duck” was copied in Wuhan, Chongqing, Hangzhou and many other places, which once aroused people’s criticism of random “copying” of contemporary art. In fact, in this hundred years, art The community has always debated whether artists can use ready-made products or simply magnify them as works, as well as folk issues such as “cottage” for these works of art. However, one point can be affirmed. When contemporary modern aesthetic examines contemporary art, it should be agreed that: “Aesthetics” is no longer the core of contemporary art. Instead, it is the commercial, entertaining and conceptual nature of art. Therefore, if we still comment on the traditional arts,