【摘 要】
:
后现代绘画是以碎片化的整体来表征时代精神的一种艺术形式,在现代向后现代转型过程中逐步脱胎而出.后现代绘画表征了人的文化心理结构,是后现代性的映现,也是对未来的选择与
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后现代绘画是以碎片化的整体来表征时代精神的一种艺术形式,在现代向后现代转型过程中逐步脱胎而出.后现代绘画表征了人的文化心理结构,是后现代性的映现,也是对未来的选择与方向,以日常生活的审美化呈现出“超美学”超越真实的美学意象.深入到后现代绘画的“超美学”意象之中,是对后现代绘画艺术原象的还原,是后现代绘画审美逻辑的呈现,也是窥见后现代绘画艺术生命本身的重要路径.同时,“超美学”作为鲍德里亚提出和创造的后现代美学观,将哲学、政治、艺术和身体等集结于一起,成为直面后现代艺术的美学范式(1).将后现代绘画置身于后现代场域,以艺术的冒险来呈现哲学上的反基础主义、政治上的反绝对支配、艺术上的反宏大叙事和生活上的反普遍逻辑,具体地表现了后现代绘画超政治、超美学的艺术特质.在后现代绘画中突显的碎片、拼接、复制和挪用等创作形式,一方面呈现出与以往不同的审美追求,超越了绘画表达借用物象、色彩和造型等原初所指;另一方面将艺术形态从传统美学的“原本与摹本”、现代美学的“主观与客观”的对立中升华出来,成为后现代绘画独特的艺术表达.
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