本文選題：涂鴉藝術(shù) + 紐約地鐵　； 參考：《中國(guó)美術(shù)學(xué)院》2014年碩士論文

【摘要】：當(dāng)代涂鴉藝術(shù)已經(jīng)深入到我們生活的方方面面，包括我們的生活空間、服飾、日常用品、商業(yè)標(biāo)牌等等都成為涂鴉藝術(shù)衍生的“墻壁”。如果沒有涂鴉藝術(shù)的參與，我們的生活必會(huì)失色很多。但涂鴉藝術(shù)在當(dāng)代藝術(shù)史中的重要性并不被認(rèn)可，盡管它出現(xiàn)在美國(guó)紐約這個(gè)20世紀(jì)的世界藝術(shù)之都。為什么它處處存在于我們的身邊卻又一直被忽略？追溯它的起源，涂鴉藝術(shù)興起于20世紀(jì)60年代的紐約地鐵，由社會(huì)底層的青少年們發(fā)起，成為他們表達(dá)自我的一種特殊的藝術(shù)形式，是Hip-Hop文化的組成部分。但這場(chǎng)轟轟烈烈的涂鴉運(yùn)動(dòng)卻一直遭到政府的鎮(zhèn)壓，直至1989年被紐約政府斥巨資撲滅——最后一輛滿載涂鴉的地鐵停運(yùn)。 本文著眼于分析紐約地鐵涂鴉藝術(shù)中的文化政治，去探究這場(chǎng)地鐵涂鴉運(yùn)動(dòng)產(chǎn)生的時(shí)代、社會(huì)根源，以及其藝術(shù)表達(dá)形式之下折射的社會(huì)文化意義。從涂鴉手的特定人群——紐約青少年、涂鴉場(chǎng)所的特定——紐約地鐵，兩方面闡釋這場(chǎng)運(yùn)動(dòng)背后的政治、文化訴求，以及促使這場(chǎng)運(yùn)動(dòng)發(fā)展壯大的驅(qū)動(dòng)力，從而使得紐約地鐵這一公共空間通過涂鴉藝術(shù)的形式成為政治斗爭(zhēng)和自由表達(dá)的場(chǎng)所。雖然涂鴉藝術(shù)在80年代末被當(dāng)局從紐約地鐵上清除殆盡，但它已然繁衍開花，衍生出如今的“街道藝術(shù)”（StreetArt）。無論它是不是被主流社會(huì)所接納，它帶給我們的影響都將繼續(xù)，它最初起源在藝術(shù)面貌之下的精神一直都在煥發(fā)。
[Abstract]:Contemporary graffiti art has penetrated into all aspects of our life, including our living space, clothing, daily necessities, commercial signs and so on, and become the "wall" derived from graffiti art. Without the participation of graffiti art, our life would be a lot worse. However, the importance of graffiti art in the history of contemporary art is not recognized, even though it appears in New York, the 20th century art capital of the world. Why does it exist everywhere around us but is ignored all the time? Tracing back to its origin, graffiti art rose in the New York subway in the 1960s, initiated by the young people at the bottom of the society, and became a special art form for them to express themselves. It is a part of the Hip-Hop culture. But the raging graffiti movement was stifled by the government until 1989, when the New York government put it out-the last subway full of graffiti. This paper focuses on the analysis of cultural politics in New York subway graffiti art, to explore the generation of the subway graffiti movement, the social root, and the social and cultural significance reflected by its artistic expression. In terms of the specific crowd of graffiti people-New York teenagers, the specific New York subway in graffiti venues, the political and cultural demands behind the movement, and the driving forces behind the movement's growth, This makes the New York subway a public space through the form of graffiti art to become a political struggle and free expression. Although graffiti was wiped out of the New York subway in the late 1980s, it has thrived, spawning what is now called Street Art. Whether it is accepted by the mainstream society or not, its influence on us will continue.
【學(xué)位授予單位】：中國(guó)美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J205

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 單世聯(lián);;文化、政治與文化政治[J];天津社會(huì)科學(xué);2006年03期

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本文編號(hào)：1902991