本文選題：當代藝術(shù) + 材料　； 參考：《華東師范大學》2010年碩士論文

【摘要】： 伴隨著二十世紀科技的巨大發(fā)展,人類在思想上也歷經(jīng)了現(xiàn)代主義和后現(xiàn)代主義的洗禮,后者更是以懷疑和重新審視一切事物的態(tài)度,對人類的歷史和命運作出重新思考。視覺藝術(shù)作為人文學科的重要組成部分,在這個圖象盛行的時代,為人類社會的發(fā)展作出重要貢獻。然而,媒介作為藝術(shù)的物質(zhì)載體,其自身的意義也在隨時代的發(fā)展而不斷發(fā)展,尤其在當代藝術(shù)當中,一切物質(zhì)材料都有可能成為藝術(shù)作品的組成部分。藝術(shù)材料范圍的無限擴大是與人類觀念的轉(zhuǎn)變分不開的,也正是主客觀之間的相互作用,使得藝術(shù)本體的價值和存在方式再次蛻變,“美”已儼然不再是藝術(shù)家追尋的目標。 二十世紀還是一個人類文化交流空前頻繁的時代,其結(jié)果便是外來文化對本土文化的沖擊。當然,盲目地崇拜外來文化將使民族自身文化在不同文化的碰撞中喪失主動性,而刻意地因循傳統(tǒng)又易于陷入固步自封的狀態(tài)�；诖�,結(jié)合對當代藝術(shù)自身文化特點的思考,我想中國當代藝術(shù)的出發(fā)點仍在于對社會的反映,而切入點則在于對各種社會問題的反思和批判。中國作為一個發(fā)展中國家,這樣的經(jīng)濟基礎(chǔ)使得國內(nèi)的社會問題具有一定的獨特性,如人口問題、貧富差距,以及教育體制不健全等等。因此,中國當代藝術(shù)的文化身份便在于對社會的“介入”,從而體現(xiàn)一種“當下文化身份”,只是這種“身份”不同于傳統(tǒng)的文化身份,不同之處就在于當代藝術(shù)的批判態(tài)度。
[Abstract]:With the great development of science and technology in the 20th century, human beings have also experienced the baptism of modernism and postmodernism in their thoughts. The latter has reconsidered the history and destiny of mankind with the attitude of doubting and reexamining everything. Visual art, as an important part of humanities, has made great contribution to the development of human society. However, media as the material carrier of art, its own significance is also developing with the development of the times, especially in contemporary art, all material materials may become a part of art works. The infinite expansion of the scope of artistic materials is inseparable from the transformation of human concepts, and it is also the interaction between subjectivity and objectivity, which makes the value and the way of existence of the art Noumenon degenerate again. "Beauty" is no longer the goal pursued by artists. The 20th century is also an era of unprecedented frequent human cultural exchanges, the result of which is the impact of foreign culture on local culture. Of course, blindly worshipping foreign culture will make the nation's own culture lose its initiative in the collision of different cultures, and deliberately follow the tradition and easily fall into a state of self-determination. Based on this, and considering the cultural characteristics of contemporary art, I think the starting point of Chinese contemporary art is still the reflection to the society, and the breakthrough point lies in the reflection and criticism of various social problems. As a developing country, such economic foundation makes China's social problems unique, such as population problem, gap between rich and poor, and imperfect education system. Therefore, the cultural identity of Chinese contemporary art lies in the "intervention" of the society, thus reflecting a "present cultural identity", which is only different from the traditional cultural identity, and the difference lies in the critical attitude of contemporary art.
【學位授予單位】：華東師范大學
【學位級別】：碩士
【學位授予年份】：2010
【分類號】：J120.9

【引證文獻】

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1 曹軍;;中國當代藝術(shù)時限性下的表象[J];名作欣賞;2012年06期

相關(guān)碩士學位論文 前1條

1 邱愛艷;刺繡在當代藝術(shù)設(shè)計中的運用及其語言轉(zhuǎn)換研究[D];中央美術(shù)學院;2013年

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本文編號：1946650