对话图像——解读当代绘画的独特视角
摘要
当今是一个视觉先行的时代,人们凭借视觉体验去感知和认识世界,人们获得经验的途径也比以往任何时候都视觉化和图像化。图像的发展改变了人们观看世界的方式,同时也深刻地改变着人们的精神生活和思维模式,成为现代生活的主导因素。步入读图时代的我们正生活在一个图像富裕甚至过剩的年代,媒体对图像的传播越来越广泛,无数形态各异、内容千差万别的图像簇拥着我们,使我们在图像中体验不同的生活。伴随新媒体的广泛影响力,绘画创作也获得了丰富的图像资源,大量优质的图像素材、方便快捷的获取方式、无处不在的传播媒体,图像正以越来越大的影响力作用于当代艺术家,作用于当代绘画。当代绘画与图像做了完美的“结合”,借鉴照片、影像、计算机技术等手段,绘画作品普遍采用图像资源作为素材进行艺术创作,艺术家通过对图像的创作或再创作,充分诠释个体和大众的感受,为观者创造出新奇的视觉情境,形成了新的视觉文化氛围。图像化的绘画作品展现了信息时代艺术的全新样式,艺术家把图像转变为具有隐喻性且富于情境的画面,观者通过作品中具有符号性的图像来感悟艺术家的内心世界。
本文的视角选择在图像这一核心上,由阐述艺术作品切入图像本身,将当代绘画纳入图像这个视觉范畴加以分析,通过当代艺术家独特的创作视角和创作方式研究图像在当代绘画中的重要性。
Now is the age of vision leading, when people feel and understand the world with visual experience and gain experiences in the way more visualizing and imaging than ever before. The development of image has changed the way people view the world, but also deeply changed people's spiritual life and thinking, and the image becomes an important element of modern life. Stepping into the era of image, we are living in the time when there are massive and even excessive images. Images are being propagated widely by media and in various sizes and shapes are surrounding us, who experience a varying life with images. With the wide impact of new media, painting also gains rich image resources and a large number of high-quality image materials. In a convenient and quick way to access and with media surrounding us, the image is making a growing impact on contemporary artists and on contemporary painting. Contemporary painting perfectly marries images. By means of pictures, videos and computer technologies, image resources are widely used as painting materials in creative works. Artists through the creation or recreation of the image, perfectly express the personal and the public feelings, create a novel vision to viewers and form a new air of visual culture. Paintings made with images show a brand new style of art in the information era. Artists make images into the metaphorical paintings with rich contents and viewers get feeling of the artist's inner world through symbolic images in paintings.
The perspective of this article focuses on image as core. The article digs into images by reading art works, analyzes modern paintings with visual method of image, and study the importance of image in modern painting in unique perspectives of contemporary artists and ways of creative work.
本文的视角选择在图像这一核心上,由阐述艺术作品切入图像本身,将当代绘画纳入图像这个视觉范畴加以分析,通过当代艺术家独特的创作视角和创作方式研究图像在当代绘画中的重要性。
Now is the age of vision leading, when people feel and understand the world with visual experience and gain experiences in the way more visualizing and imaging than ever before. The development of image has changed the way people view the world, but also deeply changed people's spiritual life and thinking, and the image becomes an important element of modern life. Stepping into the era of image, we are living in the time when there are massive and even excessive images. Images are being propagated widely by media and in various sizes and shapes are surrounding us, who experience a varying life with images. With the wide impact of new media, painting also gains rich image resources and a large number of high-quality image materials. In a convenient and quick way to access and with media surrounding us, the image is making a growing impact on contemporary artists and on contemporary painting. Contemporary painting perfectly marries images. By means of pictures, videos and computer technologies, image resources are widely used as painting materials in creative works. Artists through the creation or recreation of the image, perfectly express the personal and the public feelings, create a novel vision to viewers and form a new air of visual culture. Paintings made with images show a brand new style of art in the information era. Artists make images into the metaphorical paintings with rich contents and viewers get feeling of the artist's inner world through symbolic images in paintings.
The perspective of this article focuses on image as core. The article digs into images by reading art works, analyzes modern paintings with visual method of image, and study the importance of image in modern painting in unique perspectives of contemporary artists and ways of creative work.
引文
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[13]贾微、蓝皮1979-2005最有价值先锋艺术评论[M].兰州：敦煌文艺出版社,2006.
[14]舒可文.相信艺术还是相信艺术家[M].北京：中国人民大学出版社,2003,P103-146.
[15]高名潞墙：中国当代艺术的历史与边界[M].北京：中国人民大学出版社,2006.
[16]孙叙伦主编.艺术界[J].2007.1-2月号双月刊
[17]艺术与设计[J].艺术与设计杂志社出版社,2006.第十期
[18][奥]罗伯特.休斯.新的冲击[M].天津：百花文艺出版社,2003,P407-421.
[19][法]奥古斯特.罗丹.罗丹艺术论[M].南宁：广西师范大学出版社,2002,P99-116.
[2]选自(美)鲁道夫·’阿恩海姆. 艺术与视知觉[M].滕守尧朱疆源译.四川人民出版社1998,P57
[3]选自(美)苏珊·朗格.艺术问题[M].南京出版社2006,P47
[1]滕守尧.审美心理描述[M].成都：四川人民出版社,2005.
[2]王红媛.波普艺术与大众传媒的关系[J].美术观察,1999，总第46期,P76.
[3]谢玉凤、马跃.达利图传[M].北京：中国书籍出版社,2004,P50-128.
[4]吕澎.20世纪中国艺术史[M].北京：北京大学出版社,2007.
[5]清华美术.卷2：多元视界中的中国画[J].王宁.图像时代的境遇.北京：清华大学出版社,2006.
[6]段钢.寻觅图像世界的密码-图像世界的学理解读[M].上海：上海人民出版社出版,2008,P83-86.
[7]王瑞延.从现代到后现代-西方艺术论说[M].北京：中国人民大学出版社,2005.
[8][德]本雅明.机械复制时代的艺术[M].重庆：重庆出版社,2006.
[9]邵亦杨.后现代之后-后前卫视觉艺术[M].上海：上海人民美术出版社,2008.
[10]王静.迷上当代艺术的20个人[M].成都：四川美术出版社,2008.
[11]高字民.从影像到拟像-图像时代视觉审美范式研究[Z].北京：人民出版社,2008,P209-345.
[12]周宪.视觉文化的转向[Z].北京：北京大学出版社,2008.
[13]贾微、蓝皮1979-2005最有价值先锋艺术评论[M].兰州：敦煌文艺出版社,2006.
[14]舒可文.相信艺术还是相信艺术家[M].北京：中国人民大学出版社,2003,P103-146.
[15]高名潞墙：中国当代艺术的历史与边界[M].北京：中国人民大学出版社,2006.
[16]孙叙伦主编.艺术界[J].2007.1-2月号双月刊
[17]艺术与设计[J].艺术与设计杂志社出版社,2006.第十期
[18][奥]罗伯特.休斯.新的冲击[M].天津：百花文艺出版社,2003,P407-421.
[19][法]奥古斯特.罗丹.罗丹艺术论[M].南宁：广西师范大学出版社,2002,P99-116.