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从杜桑把小便器搬入堂皇的展览厅之后,神圣的绘画艺术便撕去了最后一片遮羞布,泼辣地进入到常人的生活之中。特别是到了八十年代后期,一股以描写凡人琐事为主导意识的新具象主义画风几乎席卷了整个世界。在这种新具象的语汇中,重新唤起人们对传统技法、样式的记忆,并以一种新的审美价值取向直指当代现实生活本身,它使得以往的前卫艺术变得苍白无力,又驱使艺术家从立体的材料、装置、行为回到平面艺术本身。从“老前卫”那种以绝对创新为神圣不可动摇的价值准则中,重新回到了具体的、常见的、毫无新奇之感的芸芸众生的形象中。现实生活中的那种平凡的主题性与文学性在当代人
After Duchamp moved the urinal into the grand gallery, the sacred art of painting torn off the last fig leaf and entered the ordinary life. Especially in the late 1980s, a neo-figurative style of painting based on the description of mortal things almost swept the entire world. In this new figurative language, people regain their memory of traditional techniques and styles, and at a new aesthetic value orientation point to contemporary real life itself. It makes the avant-garde art in the past become pale and weak and drives the artist From three-dimensional materials, installations, acts back to the graphic art itself. From the “old avant-garde” kind of absolute innovation as the sacred unshakable value criteria, the return to a specific, common, there is no sense of novelty among the mortal image. The kind of ordinary theatrical and literary in real life is contemporary