悖谬、反讽与身体的历史——论尚扬

发布时间：2018-06-25 08:34

本文选题：尚扬 + 当代艺术家　；参考：《文艺研究》2017年08期

【摘要】：在20世纪40年代出生的艺术家群体中,尚扬是唯一从传统写实主义走出来,坚持不断实验,始终身处中国当代艺术风口浪尖的人物。四十多年来,他每一个阶段的探索都在当代艺术史上留下了印迹,并且被批评界广泛关注。"尚扬黄"、"大肖像"、"大风景"、"董其昌计划"等,已成为他身上特有的标签,其中蕴含的问题线索与当代性追求,为同时代许多艺术家所不及。本文追踪尚扬80年代初以来的创作轨迹,解析他不同时期作品的问题由来及解决方式,发掘其视觉表达中的认识论结构,以揭示这位中国当代艺术家的独特性与普遍意义。
[Abstract]:Among the artists born in the 1940s, Shang Yang was the only figure who came out of traditional realism, kept on experimenting and was always in the vanguard of Chinese contemporary art. For more than 40 years, his exploration at every stage has left a mark in the history of contemporary art, and has received wide attention from critics. " "Shang Yanghuang", "Great Portrait", "Great scenery", "Dong Qichang Plan" and so on, have become his unique label, which contains the problem clue and contemporary pursuit, which is beyond many contemporary artists. This paper traces the creative track of Shang Yang since the early 1980s, analyzes the origin and solution of the problems in his works in different periods, and explores the epistemological structure in his visual expression in order to reveal the uniqueness and universal significance of this contemporary Chinese artist.
【作者单位】：中国艺术研究院文艺研究杂志社;
【基金】：国家社科基金艺术学项目“西方现代审美主义思想源流”(批准号:12BA011)成果
【分类号】：J203

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