本文選題：艷俗藝術(shù)　切入點：大眾文化　出處：《西南師范大學(xué)》2002年碩士論文　論文類型：學(xué)位論文

【摘要】： 本論文是以20世紀(jì)90年代中期以后，由國當(dāng)代藝術(shù)盛行的一種新的藝術(shù)潮流——艷俗藝術(shù)為研究對象，探尋這一特定藝術(shù)現(xiàn)象產(chǎn)生的根源及其發(fā)展?fàn)顩r，并對其形成的社會、經(jīng)濟、文化因素以及本質(zhì)特征進行探索性的研究。以填補當(dāng)代美術(shù)史中對艷俗藝術(shù)現(xiàn)象研究的空白。 艷俗藝術(shù)這種說法，最初見于藝術(shù)評論家栗憲庭對1996年4月在北京舉辦的兩個藝術(shù)展——《艷裝生活》、《大眾樣板》的作品特點的總結(jié)。其后經(jīng)過一段時期的醞釀，1999年5月一批藝術(shù)家又相繼在天津泰達藝術(shù)博物館和北京中山公園舉行了兩場名為《跨世紀(jì)彩虹——艷俗藝術(shù)展》和《酚苯乙烯》的藝術(shù)展，，正式以艷俗藝術(shù)為名，向藝術(shù)界顯示了這類藝術(shù)的集團性的強勁力道。從此，艷俗藝術(shù)也開始變得為社會所關(guān)注，成為90年代中國一種具有鮮明特色的藝術(shù)創(chuàng)作形式。 廖雯在“跨世紀(jì)彩虹——艷俗藝術(shù)展”的前言中把“滿眼亂七八糟的艷俗，急功近利的暴發(fā)，滿地打滾的廉價，沒有根基的浮華”，歸結(jié)為“艷俗”，并稱艷俗藝術(shù)“真似一出喜劇：熱鬧、喜慶、幽默、且始終以類似喜劇的批判姿態(tài)——反諷，揭示著我們生活中人們習(xí)以為常的荒誕的一面”。谷子在《中國艷俗藝術(shù)背景淺析》一文中大至是這樣闡釋的：“艷俗藝術(shù)反映的是90年代以來中國文化的基本特征，運用夸張、平涂、光亮的廣告手法，以一種‘暴發(fā)式’的農(nóng)民喜慶趣味為基調(diào)，站在精英文化的立場對當(dāng)下泛濫的‘艷俗文化’進行反諷和批判”。艷俗藝術(shù)應(yīng)當(dāng)歸結(jié)為中國的現(xiàn)代化建設(shè)向縱深推進的產(chǎn)物，艷俗藝術(shù)是對中國90年代以來隨著市場經(jīng)濟的出現(xiàn)而出現(xiàn)的社會的都市化，生活的世俗化，文化的大眾化等趨向作出了較為徹底、純粹而又暖昧復(fù)雜的反應(yīng)。它用它獨特的語言，表明著藝術(shù)家在紛繁復(fù)雜的現(xiàn)實世界中自身的態(tài)度。 艷俗藝術(shù)在社會上引發(fā)了許多爭論。贊揚者把它稱為“當(dāng)代藝術(shù)中一個十 分耀目的藝術(shù)現(xiàn)象”。反對者把它斥責(zé)為制作粗陋，無病呻吟，穿著時髦的文化 外衣，是“商業(yè)和膚淺文化的產(chǎn)物”卜I。但無論怎樣，“不管你喜歡也好，反對 也罷，它都在迅速地擴張，占領(lǐng)著一切”p‘，艷俗藝術(shù)不可避免地成為了中國 當(dāng)代美術(shù)史中不可缺少一部分，對構(gòu)建完整的當(dāng)代藝術(shù)體系具有重要的作用。 因此，對艷俗藝術(shù)的研究也變得十分必要，它終將有助于我們了解中國90 年代的的藝術(shù)發(fā)展?fàn)顩r，為當(dāng)代中國的藝術(shù)發(fā)展提供可資惜鑒的寶貴經(jīng)驗。
[Abstract]:This paper is in the middle of the 1990s, is a new trend of art in Chinese contemporary art popular gaudy art as the research object, to explore the origin and development condition of this specific art phenomena, and the formation of social, economic, and cultural factors were explored and to fill the contemporary essential feature. In the history of art of gaudy art on the blank.
Gaudy art of this statement, first seen in the art critic Li Xianting of the two art exhibition held in Beijing in April 1996 -- > < < UIP life, works and summarizing the characteristics of public model >. Later after a period of deliberation, in May 1999 a group of artists who have been in Tianjin for the Thai Art Museum and the Zhongshan Park in Beijing held two names "cross century rainbow gaudy art exhibition > and < > styrene phenol with gaudy art exhibition, formal name of art, displayed the strength of this kind of art to the art world. Since then, gaudy art began to become the concern of the society and become a distinctive China 90s the form of art creation.
Liao Wen in the "cross century rainbow gaudy Art Exhibition" in the preface to "out of order of the eyeful gaudy, quick in the floor of cheap, there is no foundation for vanity", attributed to the "vulgar", and said "gaudy art really like a comedy: lively, happy, humorous, and always in a similar comedy critical attitude of irony, reveals the absurd side" in our life. People are accustomed to the millet in China < gaudy art background of a paper to > explained: "gaudy art reflects the basic characteristics of Chinese culture since 90s the use of exaggeration, Ping Tu, advertising light, with a kind of" explosive "farmers interest to the festive tone, standing in the position of the current elite culture spread" kitsch culture "irony and criticism". Gaudy art should be attributed to the China modernization To push the product, gaudy art is Chinese since 90s with the advent of urbanization on the market economy and the emergence of social life, secular, popular trend in culture to make a more thorough, pure and ambiguous complex reaction. It uses its unique language, that the artist in the complex in the real world of their own attitude.
Colourful art has sparked a lot of controversy in society. The praises call it "a ten of contemporary art."
Dazzling art phenomenon ". Divided opposition condemns it to the production of crude, making a fuss, wearing fashionable culture
The coat is "the product of business and shallow culture", but no matter what, "whether you like it or not," I.
All of it, it is expanding rapidly and occupying all "P". The art of colourful art inevitably becomes China
An indispensable part of the history of contemporary art plays an important role in the construction of a complete system of contemporary art.
Therefore, the study of gaudy art is also very necessary. It will eventually help us to understand China 90.
The development of art in the years provides valuable experience for the development of contemporary Chinese art.

【學(xué)位授予單位】：西南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2002
【分類號】：J120.2

【引證文獻】

相關(guān)碩士學(xué)位論文 前2條

1 楊洪毅;“觀念”介入，二十世紀(jì)九十年代中國艷俗藝術(shù)的社會指向性研究[D];華東師范大學(xué);2011年

2 王志英;走進音樂劇角色的內(nèi)心[D];河北師范大學(xué);2012年

本文編號：1628923