作为观念的影像

【作者】 李笑男；

【导师】 易英；

【作者基本信息】 中央美术学院 ， 美术学， 2009， 博士

【副题名】溯源20世纪60、70年代西方影像艺术之产生

【摘要】 本文致力于研究20世纪西方现代主义艺术转型期的艺术形态发展,在本质上还是立足于艺术史本体的研究。20世纪60、70年代的西方艺术史流派与运动众多,以格林伯格为代表的现代主义艺术理论面对新的艺术实践已经缺乏解释能力,用形式主义一条标准与价值来叙述艺术历史的期望已经显示出极大的无力感了。在这段时期,影像因素开始介入到西方当代艺术本体当中,并且逐渐开始形成了自己独立的艺术价值。笔者在本篇论文中所要解决的问题是,在这一转型阶段,影像为什么以及如何得以介入到艺术本体当中,并且逐渐发展为影像艺术的,并试图通过对这一特定对象的研究增进对于这一时期西方艺术历史的理解。本文以现代主义艺术客体观念的流变和发展为主要的线索,通过考察西方现代主义艺术客体观念在20世纪60、70年代,伴随着新的艺术实践被瓦解和更新的历史现实,清理出一条影像艺术产生的艺术史自身的发展逻辑。这条发展逻辑的核心在于:观念本身成为艺术。观念是影像艺术的灵魂,这是何以一件电子复制品具有艺术含义的关键。影像艺术自身是一种多源混杂的艺术形式,它的起源同观念艺术和行为艺术密切相关,同电视相关的大众媒介相关,同达达和激浪派的艺术理念相关,再向前追溯,同极少主义的走向物质的过程也有相关性。这些不同的相关点共同构筑了影像艺术的思想框架。早期的影像艺术实践反映出艺术家所受的不同影响和广泛的问题关注面,他们用自己的实践诠释了早期影像艺术的前卫意义。早期影像艺术继承了现代主义艺术前卫观念中未受挑战的一部分,即前卫观念在发生学上的“批判现实”的功能。早期影像艺术通过探索廉价的影像媒介所能提供的创作空间反对艺术商业体制,反对以消费为主导的大众文化传播体系,反对性别不公等社会和政治现状,以最低的成本、最大的传播效率将艺术的触角延伸至更为广阔的现实实践领域。尽管今天的影像艺术依然可能不可避免地被纳入到艺术市场之中,然而,作为一种前卫观念的影像艺术,它的产生对于更为深刻地理解西方现当代艺术具有重要的意义。更多还原

【Abstract】 This dissertation focuses on the development of art configuration during the transition period of western modernistic art in 1960s and 1970s.In nature,it is based on the research of art reality.In the 60’s and 70’s of 20th century,many schools and movements occurred,in the face of new art practice,modernistic art theory has been lack of explanatory power,using formalism as the only standard and value to describe the expectations of art history has shown a great sense of powerlessness.During this period,the video factors began to be involved in ontology among the western contemporary art,and gradually began to form its own independent artistic value.In this paper,the problem I want to solve is that in this transition stage,why and how videos can be involved in the ontology of art,and became video art later step by step.And I also want to get a further understanding about the history of western art in that period through studying this particular topic.In this dissertation,the evolution and development in the concept of modernistic art object are taken as the main clue.In the sixties and seventies,the concept of modernistic art object was collapsed with the new art practice and the new historical realities,by research focus on that,I want to find its own development logic of video art.The core of the development logic lies on:the concept became art itself.Concept is the soul of video art,that is why an electronic copier can be deemed to be an art object.Video art itself is a multi-source hybrid art form,its origins are closely related to conceptual art and performance art,to the mass media culture of television,to the art concepts of Dada and Fluxus,and then forward retrospective, to the progress of minimalism turning to material.The relevance of these different points together built the ideological framework of video art.The practice of early video art reflected the different effects on artists and a wide range of issues,artists’ own practice interpreted the avant-garde meaning of the early video art.The early video art heritaged the undoubted parts of avant-garde artistic ideas of modernism——criticize the reality.This is the function of avant-garde concept in phylogeny.Video is a "cheap" media and low quality media,through exploring in its creative way,early video art provided a creative space against the art business systems and the consumer-led mass media culture system,against gender injustice and other social and political status quo.At the lowest cost,video art got the maximum efficiency to transmit art message,to extend art tentacles to broader areas of the realities.Although video art today is still inevitably involved into the art market,however,as an avant-garde conception, video art is of great significance for us to understand contemporary art.更多还原