陕西当代摄影艺术发展研究
发布时间：2018-11-19 19:22
【摘要】：1976年“四·五”运动爆发,国人压抑了多年的苦闷情绪推动着一场翻天覆地的历史巨变在我国文化、艺术界产生。在这场巨变中摄影首当其冲地打破了统治我国多年以“高大全,红光亮”为特点的视觉经验,并由此展开了一场激动人心的当代摄影艺术的变革运动。如今,无论是充满人文主义关怀的纪实摄影还是饱含现实主义批判的观念摄影都已经深刻的影响了国人传统的观看习惯与视觉经验,而摄影艺术也早已深入到当代艺术的语境中,成为了艺术家们最有力的创作媒介之一。在这场变革运动的前三十多年中陕西摄影家功不可没,以胡武功、侯登科、潘科、石宝t、等人为核心的“陕西群体”凭着自觉的使命感以他们质朴的底层视角记录着西部沃土上生活的人民,他们基于现实主义立场的摄影作品及摄影批判在中国摄影界刮起了一阵“西北风”。但在刚刚进入21世纪的一段时间内,“陕西群体”渐渐的成为了闪耀的历史称谓,年轻一代的摄影新秀也鲜有显示出陕西摄影人曾经的锋芒,对比我国如火如荼的当代摄影大潮后知后觉的陕西摄影竟显示出远离现实、逐渐边缘的态势,不再处于先锋地位。对此,意识到问题的陕西摄影人在今天历经反思重新出发,将陕西当代摄影艺术带领到全新发展阶段的过程是本文的研究重点。本文将以中国当代摄影艺术发展为背景参照,主要对21世纪以来的陕西当代摄影艺术发展进行研究,其中以“陕西群体”曾经的辉煌对比辉煌过后青黄不接的陕西摄影人处境,对进入新世纪头十年沉寂的陕西摄影界展开观察。继而进一步从名声的包袱与曾经的理念、文化的自足与表面的观看、现实的漠视与甜俗的沙龙、学术的薄弱与交流的缺失四个方面指出新世纪陕西摄影人面临的困境与问题,并以此为基础分析如今的陕西摄影新生代是如何历经反思重新出发以摄影这一媒介对现实进行积极回应的。最后陕西摄影人以摄影媒介重构现实与自我的关系,完成了自我救赎与重生,重新站在了新的历史起点上为本文的结论。论文正文共三个部分:第一部分将重点关注进入新世纪后的头十年(2000-2010),对陕西当代摄影艺术发展过程中产生的的现状与问题进行分析与概括;第二部分将对2010年至今的陕西摄影人经历反思之后,如何通过摄影媒介构建现实与自我的关系进行描述与评析;第三部分将对陕西当代摄影艺术的发展进行阶段性总结与未来展望。
[Abstract]:In 1976, the "fourth Five-Year" Movement broke out, and the depressed mood of Chinese people for many years pushed a tremendous historical change in Chinese culture and art circles. In this great change, photography is the first to break the visual experience which has dominated our country for many years, which is characterized by "tall and complete, red and bright", and thus launched an exciting revolution movement of contemporary photography art. Nowadays, whether it is documentary photography full of humanist concern or concept photography full of realism criticism, photography has deeply influenced the traditional viewing habits and visual experience of Chinese people. Photography has already penetrated into the context of contemporary art and has become one of the most powerful creative media for artists. In the first 30 years or so of this movement of change, Shaanxi photographers have made unremitting contributions to Hu Wugong, Hou Dengke, Panco, and Shi Baotou. The "Shaanxi group" with the core of "Shaanxi", with its sense of purpose, records the people living on the fertile soil of the west with their simple, bottom-level perspective. Their photographic works and criticism based on realism have created a "northwest wind" in the field of Chinese photography. However, just entering the 21st century, the "Shaanxi Group" has gradually become a shining historical term, and the young generation of new photographers have rarely shown the former vanguard of Shaanxi photographers. The contrast of Shaanxi photography, which is in full swing in our country, shows that Shaanxi photography is far away from reality and gradually marginal, and is no longer in the vanguard position. In view of this, the Shaanxi photographer who is aware of the problem is the focus of this paper after rethinking and restarting the process of leading the contemporary photography art of Shaanxi to a new stage of development. This article will take the Chinese contemporary photography art development as the background reference, mainly carries on the research to the Shaanxi contemporary photography art development since the 21st century, among them "Shaanxi colony" once the glorious contrast after the Shaanxi photography person's situation which is unable to catch up with the blue and yellow. In the first ten years of the new century, the silent Shaanxi photography industry began to observe. Then it points out the difficulties and problems faced by Shaanxi photographers in the new century from four aspects: the burden of fame and the former concept, the self-sufficiency of culture and the superficial view, the indifference of reality and the salon of sweetness and vulgarity, the weakness of learning and the lack of communication. On the basis of this, this paper analyzes how the new generation of Shaanxi photography has experienced reflection and restarted to respond positively to the reality with the medium of photography. Finally, Shaanxi photographers reconstruct the relationship between reality and self with photography media, complete self-redemption and rebirth, and re-stand on a new historical starting point for the conclusion of this paper. The first part will focus on the first decade after entering the new century (2000-2010), and analyze and summarize the current situation and problems arising from the development of contemporary photography art in Shaanxi Province. The second part will describe and comment on how to construct the relationship between reality and self through photography media after the reflection of Shaanxi photographers' experience from 2010 to present. The third part will carry on the stage summary and the future prospect to the Shaanxi contemporary photography art development.
【学位授予单位】：西安理工大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J405
本文编号：2343204
[Abstract]:In 1976, the "fourth Five-Year" Movement broke out, and the depressed mood of Chinese people for many years pushed a tremendous historical change in Chinese culture and art circles. In this great change, photography is the first to break the visual experience which has dominated our country for many years, which is characterized by "tall and complete, red and bright", and thus launched an exciting revolution movement of contemporary photography art. Nowadays, whether it is documentary photography full of humanist concern or concept photography full of realism criticism, photography has deeply influenced the traditional viewing habits and visual experience of Chinese people. Photography has already penetrated into the context of contemporary art and has become one of the most powerful creative media for artists. In the first 30 years or so of this movement of change, Shaanxi photographers have made unremitting contributions to Hu Wugong, Hou Dengke, Panco, and Shi Baotou. The "Shaanxi group" with the core of "Shaanxi", with its sense of purpose, records the people living on the fertile soil of the west with their simple, bottom-level perspective. Their photographic works and criticism based on realism have created a "northwest wind" in the field of Chinese photography. However, just entering the 21st century, the "Shaanxi Group" has gradually become a shining historical term, and the young generation of new photographers have rarely shown the former vanguard of Shaanxi photographers. The contrast of Shaanxi photography, which is in full swing in our country, shows that Shaanxi photography is far away from reality and gradually marginal, and is no longer in the vanguard position. In view of this, the Shaanxi photographer who is aware of the problem is the focus of this paper after rethinking and restarting the process of leading the contemporary photography art of Shaanxi to a new stage of development. This article will take the Chinese contemporary photography art development as the background reference, mainly carries on the research to the Shaanxi contemporary photography art development since the 21st century, among them "Shaanxi colony" once the glorious contrast after the Shaanxi photography person's situation which is unable to catch up with the blue and yellow. In the first ten years of the new century, the silent Shaanxi photography industry began to observe. Then it points out the difficulties and problems faced by Shaanxi photographers in the new century from four aspects: the burden of fame and the former concept, the self-sufficiency of culture and the superficial view, the indifference of reality and the salon of sweetness and vulgarity, the weakness of learning and the lack of communication. On the basis of this, this paper analyzes how the new generation of Shaanxi photography has experienced reflection and restarted to respond positively to the reality with the medium of photography. Finally, Shaanxi photographers reconstruct the relationship between reality and self with photography media, complete self-redemption and rebirth, and re-stand on a new historical starting point for the conclusion of this paper. The first part will focus on the first decade after entering the new century (2000-2010), and analyze and summarize the current situation and problems arising from the development of contemporary photography art in Shaanxi Province. The second part will describe and comment on how to construct the relationship between reality and self through photography media after the reflection of Shaanxi photographers' experience from 2010 to present. The third part will carry on the stage summary and the future prospect to the Shaanxi contemporary photography art development.
【学位授予单位】：西安理工大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J405
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