【摘要】：藝術“大眾化”的思想源起于后現(xiàn)代主義藝術，具有藝術大眾化傾向的藝術作品致力于表現(xiàn)普通民眾的生活，探討藝術與生活的關系，特別強調藝術家與觀眾的互動性，強調觀眾對藝術作品的參與性。劉小東藝術“大眾化”思想的產生與他所處藝術環(huán)境、自身的成長背景以及個人的藝術理念是緊密相連的。 劉小東作為“新生代”藝術的代表人物，他的作品具有典型的“大眾化”藝術風格。劉小東“大眾化”藝術風格，首先源于他藝術情感的“大眾化”，對普通民眾生活的高度關注，決定了其藝術創(chuàng)作題材的“大眾化”，對日常生活的描繪，這體現(xiàn)出他對日常生活中偶然發(fā)生場景的偏愛，但是這種偶然性又具有某種必然性，是一種對當下普通民眾無聊生活狀態(tài)的呈現(xiàn)，是劉小東對處于經濟轉型期中國普通民眾真實生存體驗以及心理狀態(tài)的理解與闡釋。其次，劉小東在藝術創(chuàng)作中運用大眾化藝術表現(xiàn)手法塑造大眾化藝術題材，“LOMO”式隨意抓拍的構圖，盧西安弗洛伊德式的狂放筆觸，依據(jù)畫面需求變化豐富的色彩以及中國畫“留白”的手法，這是一種寫實性與寫意性的完美結合，一種隱藏在看似漫無目的寫實性背后的目標明確寫意感的存在，向觀眾傳達出一種隨意性。 劉小東的“大眾化”藝術內含著精英情節(jié)，進一步引發(fā)我們對中國當代藝術的思考。以劉小東為代表的中國當代藝術被精英階層操縱控制著，特別是西方的精英階層，創(chuàng)作著體現(xiàn)精英階層思想價值觀念的大眾化藝術，這種大眾化藝術最終的接受群體也是社會精英階層。在這個過程中，藝術作品的商業(yè)性凸顯，自律性隱退，警醒我們思考中國當代藝術的出路，，一種精英藝術與大眾藝術共存是狀態(tài)，是兩者有機的結合，藝術的自律性處于主導的主動地位，藝術的商業(yè)性處于被支配的被動地位。
[Abstract]:The thought of "popularization" of art originates from post-modernism art, and works of art with the tendency of art popularization are devoted to expressing the life of ordinary people, exploring the relationship between art and life, and emphasizing the interaction between artist and audience. Emphasis is placed on the participation of the audience in the work of art. The emergence of Liu Xiaodong's thought of "popularization" of art is closely related to his artistic environment, his own background of growth and his own artistic idea. Liu Xiaodong, as the representative of the new generation art, his works have a typical "popular" art style. Liu Xiaodong's "popular" art style, first of all, stems from his "popularization" of artistic feelings, and his high concern for the life of the ordinary people determines the "popularization" of his artistic creation subject matter and his depiction of daily life. This reflects his preference for occasional scenes in his daily life, but this contingency has a certain inevitability, and it is a presentation of the boring life state of the ordinary people. Liu Xiaodong's understanding and interpretation of the real living experience and psychological state of the ordinary Chinese people in the period of economic transition. Secondly, Liu Xiaodong used popular art expression to shape the popular art theme in his artistic creation, the composition of "LOMO" style random capture, Lucian Freudian style of wild brushwork, This is a perfect combination of realism and freehand brushwork, a clear sense of freehand brushwork hidden behind the seemingly aimless realism, according to the rich colors of the picture demand and the technique of "keeping white space" in Chinese painting. To convey a sense of arbitrariness to the audience. Liu Xiaodong's "popular" art contains elite plot, which further causes us to think about Chinese contemporary art. Chinese contemporary art, represented by Liu Xiaodong, is manipulated and controlled by the elite, especially the elite in the West, who create popular art that embodies the ideological values of the elite. The final acceptance group of this popular art is also the social elite. In this process, the commercial prominence of artistic works, the retreat of self-discipline, the wake-up call for us to think about the way out of Chinese contemporary art, is that the coexistence of an elite art and a popular art is a state and an organic combination of the two. The self-discipline of art is in the dominant active position, and the commercial of art is in the passive position of being dominated.
【學位授予單位】：湘潭大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J205

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