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一段时间以来,以材料的制作性及工艺技巧作为评判标准的风气在美术界有流行的风头,当红的艺术家竞相将自己的作品体量无限放大,同时,对作品材料的选择越来越高级或离奇,许多人沉溺于对材料效果的钻研,制作工艺越来越趋向精致细腻,某种程度上与中国当代的工艺美术有些不谋而合,而与当代艺术的目的却越来越远。当代艺术语言应当是对繁复工艺技巧的超越,关注的主要是对人生存感觉的把握,因为材料和手艺顶多令人惊叹,而不能打动人心,太注重材料与手艺,往往是艺术家没有非表达不可的精神困扰时,又为了证明自己的艺术家身份,对生存感觉的表达便让位于对材料和手艺的追求。一旦作品不能正确把握材料、技术和艺术的关系,就很容易落入“唯材料”、“唯技术”的圈子,材料的花样翻新和技术上的趣味追求,远比对现实生活中的深刻挖掘要来得轻松。当下艺术界呈现出的这种
For some time now, the trend of using material making and technique as the standard of judgment has prevailed in the art world. Popular artists are competing to magnify the volume of their works. At the same time, the selection of works materials is getting more advanced or Bizarre, many people addicted to the study of the effect of the material, the production process tends to delicate and delicate, to some extent, with some contemporary Chinese arts and crafts coincide, but with the purpose of contemporary art is farther and farther. Contemporary art language should be transcendental to the complicated craftsmanship. The main concern is the grasping of people’s sense of existence because the materials and workmanship are amazing at most, not touching the heart, and the material and workmanship are too much, often the artists have no non-expression Impatient mental distress, but also in order to prove their own artist identity, the expression of the feeling of existence will give way to the pursuit of materials and craftsmanship. Once the work can not correctly grasp the relationship between materials, technology and art, it is easy to fall into the circle of “material”, “technology only”, material innovation and technical pursuit of fun, far more than real life In the profound excavation to come easily. The present art world has shown this