【摘要】：1976年“四·五”運(yùn)動爆發(fā),國人壓抑了多年的苦悶情緒推動著一場翻天覆地的歷史巨變在我國文化、藝術(shù)界產(chǎn)生。在這場巨變中攝影首當(dāng)其沖地打破了統(tǒng)治我國多年以“高大全,紅光亮”為特點(diǎn)的視覺經(jīng)驗,并由此展開了一場激動人心的當(dāng)代攝影藝術(shù)的變革運(yùn)動。如今,無論是充滿人文主義關(guān)懷的紀(jì)實攝影還是飽含現(xiàn)實主義批判的觀念攝影都已經(jīng)深刻的影響了國人傳統(tǒng)的觀看習(xí)慣與視覺經(jīng)驗,而攝影藝術(shù)也早已深入到當(dāng)代藝術(shù)的語境中,成為了藝術(shù)家們最有力的創(chuàng)作媒介之一。在這場變革運(yùn)動的前三十多年中陜西攝影家功不可沒,以胡武功、侯登科、潘科、石寶t、等人為核心的“陜西群體”憑著自覺的使命感以他們質(zhì)樸的底層視角記錄著西部沃土上生活的人民,他們基于現(xiàn)實主義立場的攝影作品及攝影批判在中國攝影界刮起了一陣“西北風(fēng)”。但在剛剛進(jìn)入21世紀(jì)的一段時間內(nèi),“陜西群體”漸漸的成為了閃耀的歷史稱謂,年輕一代的攝影新秀也鮮有顯示出陜西攝影人曾經(jīng)的鋒芒,對比我國如火如荼的當(dāng)代攝影大潮后知后覺的陜西攝影竟顯示出遠(yuǎn)離現(xiàn)實、逐漸邊緣的態(tài)勢,不再處于先鋒地位。對此,意識到問題的陜西攝影人在今天歷經(jīng)反思重新出發(fā),將陜西當(dāng)代攝影藝術(shù)帶領(lǐng)到全新發(fā)展階段的過程是本文的研究重點(diǎn)。本文將以中國當(dāng)代攝影藝術(shù)發(fā)展為背景參照,主要對21世紀(jì)以來的陜西當(dāng)代攝影藝術(shù)發(fā)展進(jìn)行研究,其中以“陜西群體”曾經(jīng)的輝煌對比輝煌過后青黃不接的陜西攝影人處境,對進(jìn)入新世紀(jì)頭十年沉寂的陜西攝影界展開觀察。繼而進(jìn)一步從名聲的包袱與曾經(jīng)的理念、文化的自足與表面的觀看、現(xiàn)實的漠視與甜俗的沙龍、學(xué)術(shù)的薄弱與交流的缺失四個方面指出新世紀(jì)陜西攝影人面臨的困境與問題,并以此為基礎(chǔ)分析如今的陜西攝影新生代是如何歷經(jīng)反思重新出發(fā)以攝影這一媒介對現(xiàn)實進(jìn)行積極回應(yīng)的。最后陜西攝影人以攝影媒介重構(gòu)現(xiàn)實與自我的關(guān)系,完成了自我救贖與重生,重新站在了新的歷史起點(diǎn)上為本文的結(jié)論。論文正文共三個部分:第一部分將重點(diǎn)關(guān)注進(jìn)入新世紀(jì)后的頭十年(2000-2010),對陜西當(dāng)代攝影藝術(shù)發(fā)展過程中產(chǎn)生的的現(xiàn)狀與問題進(jìn)行分析與概括;第二部分將對2010年至今的陜西攝影人經(jīng)歷反思之后,如何通過攝影媒介構(gòu)建現(xiàn)實與自我的關(guān)系進(jìn)行描述與評析;第三部分將對陜西當(dāng)代攝影藝術(shù)的發(fā)展進(jìn)行階段性總結(jié)與未來展望。
[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.
【學(xué)位授予單位】：西安理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J405

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