美术馆中的影像

发布时间：2018-03-22 01:04

本文选题：影像艺术　切入点：美术馆　出处：《中央美术学院》2013年硕士论文　论文类型：学位论文

【摘要】：笔者在文中揭示出隐藏在影像艺术形式语言背后的某种类似宗教的发展逻辑——影像艺术家借用最新的技艺形式进行自己的创作,其实质是影像背后的工业文明确立了以生产消费为主题的技术经济时代,在这个时代里一种历史进步的技术宗教应运而生,它承诺人之生活中所有的问题都可以依靠技术进步解决,无论是政治的,还是社会的,还是文化的。影像从摄影术的诞生到电影成为一种新文化现象的这段时间里,乃至现在一直扮演着应用新技术、拓展艺术的表现手段的角色,并努力使人们的精神生活、艺术创作活动更为“理性化”。影像如此的功能也面临着如何在所内展开、展示的问题,也会催生不同的议题介入我们的生活。影像艺术如何进入美术馆展示、观看、被保存,是整个现代艺术被接受并逐渐成为主流的再次演绎。如今这一过程正在中国上演。本文通过对现实的观察、分析、讨论美术馆中的影像与其他场域内存在的影像在观看方式、展示方式上的差异以及我们可以用影像在艺术创作领域做什么的问题。
[Abstract]:In this paper, the author reveals the development logic of a kind of similar religion hidden behind the language of image art form-image artists use the latest art forms to create their own works. Its essence is that the industrial civilization behind the image has established a technological economic era with the theme of production and consumption. In this era, a historical and progressive technological religion emerged as the times require. It promises that all problems in people's lives can be solved by technological progress, whether political, social, cultural. Images range from the birth of photography to the time when film becomes a new cultural phenomenon. Even now, they have been playing the role of applying new technology, expanding the means of expression of art, and trying to make people's spiritual life and artistic creation activities more rational. The question of display, also can produce different topic to intervene in our life. How the image art enters the art gallery to display, watch, and be preserved is another deduction of the whole modern art being accepted and gradually becoming the mainstream. Now this process is being performed in China. This paper discusses the differences in viewing modes between images in art galleries and those in other fields, and the question of what we can do with images in the field of art creation.
【学位授予单位】：中央美术学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905;J124

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