發(fā)布時(shí)間：2018-07-11 12:49

  本文選題：現(xiàn)代藝術(shù) + 后現(xiàn)代藝術(shù)��； 參考：《武漢理工大學(xué)》2005年碩士論文

【摘要】：本文試圖談?wù)劕F(xiàn)代藝術(shù)兩種主要發(fā)展趨勢(shì)。 當(dāng)前“后現(xiàn)代主義”話題正方興未艾,在藝術(shù)領(lǐng)域同樣也陷于“后現(xiàn)代主義”的混亂無(wú)章中。面對(duì)這一局面,藝術(shù)理論界發(fā)出了“藝術(shù)的終結(jié)”和“繪畫(huà)死亡了”的驚呼。 在這藝術(shù)已經(jīng)進(jìn)入阿瑟·丹托所謂“后歷史”階段的當(dāng)下,本文試圖回顧從印象主義開(kāi)始,到當(dāng)代的“后現(xiàn)代主義”繪畫(huà)——這緊密相連的幾代藝術(shù)家之間的藝術(shù)觀念、藝術(shù)形式以及他們所處的時(shí)代的演變關(guān)系入手,理清這段藝術(shù)史的演變規(guī)律。依阿瑟·丹托之見(jiàn),現(xiàn)代主義藝術(shù)的創(chuàng)新隨著格林伯格的推動(dòng)已經(jīng)實(shí)現(xiàn)了它自身,已經(jīng)取得了它在出發(fā)伊始就想要取得的東西——所以它終結(jié)了。那么在這個(gè)“藝術(shù)已經(jīng)終結(jié)”后的“后歷史”、“后美學(xué)”或“后現(xiàn)代主義”時(shí)期,藝術(shù)需要以新的方式重新解讀。 文章把現(xiàn)代主義藝術(shù)的抽象化進(jìn)程作為第一部分:印象主義的崛起,后印象主義,現(xiàn)代主義的發(fā)展,這是一個(gè)藝術(shù)逐漸抽象的過(guò)程;杜尚以后的藝術(shù)作為第二部分:杜尚與達(dá)達(dá)主義,超現(xiàn)實(shí)主義,裝置與新達(dá)達(dá)主義,波普藝術(shù),從極少藝術(shù)到觀念藝術(shù),新具象藝術(shù),這是一個(gè)以具象形式對(duì)抽象主義的反撥。 杜尚的出現(xiàn)影響了西方現(xiàn)代藝術(shù)的進(jìn)程。西方現(xiàn)代藝術(shù),尤其是第二次世界大戰(zhàn)之后的藝術(shù),主要是沿著杜尚的思想軌跡進(jìn)行的。他破壞了既定的程式,顛覆了傳統(tǒng),超越了繪畫(huà)和雕塑的亙古至今建立的模式。他對(duì)藝術(shù)的顛覆主要體現(xiàn)在兩個(gè)方面:一是他讓繪畫(huà)不像傳統(tǒng)的繪畫(huà),二是他索性完全放棄動(dòng)手繪畫(huà),直接把現(xiàn)成品拿來(lái)當(dāng)藝術(shù)品。也就是說(shuō),他反對(duì)藝術(shù)的自律和抽象化,并開(kāi)始了以具象的形式對(duì)抗抽象的形式的進(jìn)程。 這幾代緊密相連的藝術(shù)家所做的工作是繼承。是的,“變化”本身就意味著“繼承”,用馬克思主義哲學(xué)的說(shuō)法是“揚(yáng)棄”,當(dāng)前后現(xiàn)代藝術(shù)所普遍采用的挪用、摹仿、復(fù)制等手法,在作者看來(lái)也莫不是對(duì)藝術(shù)史的“揚(yáng)棄”�，F(xiàn)代藝術(shù)的價(jià)值所在正是其質(zhì)疑的高貴品質(zhì)和創(chuàng)新的價(jià)值觀,后現(xiàn)代藝術(shù)的摹仿、挪用、剽竊等手段卻正是對(duì)“創(chuàng)新的價(jià)值觀”的質(zhì)疑。在這里,藝術(shù)的變化和繼承又怎能用言辭說(shuō)清楚呢。所以我談?wù)撝患约阂矡o(wú)法說(shuō)清的事情。
[Abstract]:This article attempts to talk about the two main development trends of modern art.
At present, the topic of "postmodernism" is in the ascendant. In the field of art, the "postmodernism" is also confused. In the face of this situation, the art theorists have sent out the exclamation of "the end of art" and "the death of painting".
At the moment when this art has entered the stage of Arthur Danto's so-called "post history", this article attempts to review the art history from the beginning of Impressionism to the contemporary "postmodernism" painting, the artistic conception, the artistic form and the evolution of the times between the closely connected generations of artists. The law of evolution. According to Arthur Dan Ting, the innovation of modernist art has realized itself with the impetus of Greenberg, and has achieved what it wants to obtain at the beginning of the beginning - so it ends. Then, after the "art has come to an end", "post history", "post Aesthetics" or "postmodernism". In a period of time, art needs to be reinterpreted in a new way.
The abstract process of modernism art is taken as the first part: the rise of Impressionism, Postimpressionism, and the development of modernism, which is an abstract process of art; Duchamp's later art is the second part: Duchamp and dada, surrealism, device and new dada, pop art, from little art to Conceptual art, new figurative art, this is a counterexample of abstract form in concrete form.
The appearance of Duchamp influenced the process of western modern art. Western modern art, especially after the Second World War, was mainly carried out along the path of Duchamp's thought. He destroyed the established program, subverted the tradition, transcended the ancient patterns of painting and sculpture. His subversion of art was mainly reflected in the art. Two aspects: one is that he makes painting unlike traditional painting, and the two is that he completely abandonment hands-on painting and directly bring the finished product to work of art. That is to say, he is opposed to the self-discipline and abstraction of art, and begins the process of confronting abstract forms in the form of representational form.
The work of these generations of closely connected artists is inheriting. Yes, "change" means "inheritance" in itself. It is "sublation" in Marx's philosophy. The current post-modern art of misappropriation, imitation, copying, and so on, is not a "sublation" to the history of art. The value of the noble quality and the value of innovation is in question. The imitation, misappropriation and plagiarism of post-modern art are the question of "the value of innovation". Here, how can the change and inheritance of art be clear in words. So I talk about something that I can't say.
【學(xué)位授予單位】：武漢理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2005
【分類(lèi)號(hào)】：J110.9

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 李丁;袁奕;;論現(xiàn)代主義藝術(shù)對(duì)設(shè)計(jì)的影響[J];當(dāng)代教育理論與實(shí)踐;2011年06期

相關(guān)碩士學(xué)位論文 前2條

1 吳婷;現(xiàn)代藝術(shù)視野中的園林景觀設(shè)計(jì)[D];南京林業(yè)大學(xué);2007年

2 郝風(fēng)博;褐地開(kāi)發(fā)治理初探[D];北京林業(yè)大學(xué);2008年

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本文編號(hào)：2115252