西方现代艺术的两种发展倾向

发布时间：2018-07-11 12:49

本文选题：现代艺术 + 后现代艺术　；参考：《武汉理工大学》2005年硕士论文

【摘要】：本文试图谈谈现代艺术两种主要发展趋势。当前“后现代主义”话题正方兴未艾,在艺术领域同样也陷于“后现代主义”的混乱无章中。面对这一局面,艺术理论界发出了“艺术的终结”和“绘画死亡了”的惊呼。在这艺术已经进入阿瑟·丹托所谓“后历史”阶段的当下,本文试图回顾从印象主义开始,到当代的“后现代主义”绘画——这紧密相连的几代艺术家之间的艺术观念、艺术形式以及他们所处的时代的演变关系入手,理清这段艺术史的演变规律。依阿瑟·丹托之见,现代主义艺术的创新随着格林伯格的推动已经实现了它自身,已经取得了它在出发伊始就想要取得的东西——所以它终结了。那么在这个“艺术已经终结”后的“后历史”、“后美学”或“后现代主义”时期,艺术需要以新的方式重新解读。文章把现代主义艺术的抽象化进程作为第一部分:印象主义的崛起,后印象主义,现代主义的发展,这是一个艺术逐渐抽象的过程;杜尚以后的艺术作为第二部分:杜尚与达达主义,超现实主义,装置与新达达主义,波普艺术,从极少艺术到观念艺术,新具象艺术,这是一个以具象形式对抽象主义的反拨。杜尚的出现影响了西方现代艺术的进程。西方现代艺术,尤其是第二次世界大战之后的艺术,主要是沿着杜尚的思想轨迹进行的。他破坏了既定的程式,颠覆了传统,超越了绘画和雕塑的亘古至今建立的模式。他对艺术的颠覆主要体现在两个方面:一是他让绘画不像传统的绘画,二是他索性完全放弃动手绘画,直接把现成品拿来当艺术品。也就是说,他反对艺术的自律和抽象化,并开始了以具象的形式对抗抽象的形式的进程。这几代紧密相连的艺术家所做的工作是继承。是的,“变化”本身就意味着“继承”,用马克思主义哲学的说法是“扬弃”,当前后现代艺术所普遍采用的挪用、摹仿、复制等手法,在作者看来也莫不是对艺术史的“扬弃”。现代艺术的价值所在正是其质疑的高贵品质和创新的价值观,后现代艺术的摹仿、挪用、剽窃等手段却正是对“创新的价值观”的质疑。在这里,艺术的变化和继承又怎能用言辞说清楚呢。所以我谈论着一件自己也无法说清的事情。
[Abstract]:This article attempts to talk about the two main development trends of modern art.
At present, the topic of "postmodernism" is in the ascendant. In the field of art, the "postmodernism" is also confused. In the face of this situation, the art theorists have sent out the exclamation of "the end of art" and "the death of painting".
At the moment when this art has entered the stage of Arthur Danto's so-called "post history", this article attempts to review the art history from the beginning of Impressionism to the contemporary "postmodernism" painting, the artistic conception, the artistic form and the evolution of the times between the closely connected generations of artists. The law of evolution. According to Arthur Dan Ting, the innovation of modernist art has realized itself with the impetus of Greenberg, and has achieved what it wants to obtain at the beginning of the beginning - so it ends. Then, after the "art has come to an end", "post history", "post Aesthetics" or "postmodernism". In a period of time, art needs to be reinterpreted in a new way.
The abstract process of modernism art is taken as the first part: the rise of Impressionism, Postimpressionism, and the development of modernism, which is an abstract process of art; Duchamp's later art is the second part: Duchamp and dada, surrealism, device and new dada, pop art, from little art to Conceptual art, new figurative art, this is a counterexample of abstract form in concrete form.
The appearance of Duchamp influenced the process of western modern art. Western modern art, especially after the Second World War, was mainly carried out along the path of Duchamp's thought. He destroyed the established program, subverted the tradition, transcended the ancient patterns of painting and sculpture. His subversion of art was mainly reflected in the art. Two aspects: one is that he makes painting unlike traditional painting, and the two is that he completely abandonment hands-on painting and directly bring the finished product to work of art. That is to say, he is opposed to the self-discipline and abstraction of art, and begins the process of confronting abstract forms in the form of representational form.
The work of these generations of closely connected artists is inheriting. Yes, "change" means "inheritance" in itself. It is "sublation" in Marx's philosophy. The current post-modern art of misappropriation, imitation, copying, and so on, is not a "sublation" to the history of art. The value of the noble quality and the value of innovation is in question. The imitation, misappropriation and plagiarism of post-modern art are the question of "the value of innovation". Here, how can the change and inheritance of art be clear in words. So I talk about something that I can't say.
【学位授予单位】：武汉理工大学
【学位级别】：硕士
【学位授予年份】：2005
【分类号】：J110.9

【引证文献】