本文選題：現(xiàn)實(shí)主義 + 藝術(shù)制度��； 參考：《中國(guó)美術(shù)學(xué)院》2010年碩士論文

【摘要】： 打破線性的敘事方式,采用“知識(shí)考古”的方式重新論述和組織中國(guó)當(dāng)代藝術(shù)的發(fā)展歷程和線索是本篇論文的基本方法。本篇論文采取建構(gòu)觀念單元(Unit Ideas)的形式組織書寫,通過(guò)前期大量的文獻(xiàn)閱讀和社會(huì)實(shí)踐,摘取出“觀眾”和“西方”作為論文的兩個(gè)主題。這里需要注意的是,作為始終伴隨中國(guó)當(dāng)代藝術(shù)發(fā)展的兩個(gè)基本要素,“觀眾”和“西方”這兩個(gè)核心概念之間不是簡(jiǎn)單的延伸和遞進(jìn)關(guān)系,它們相互映照、彼此疊加,提示出了當(dāng)代藝術(shù)發(fā)展的兩個(gè)面向。 作為“中國(guó)當(dāng)代藝術(shù)關(guān)鍵詞考察計(jì)劃”的第一部分,本次論文通過(guò)對(duì)不同時(shí)代背景和具體案例的對(duì)比和分析,梳理了“觀眾”和“西方”在不同藝術(shù)史事件中扮演的角色和施加影響的方式�！坝^眾”作為藝術(shù)作品的交流對(duì)象,同時(shí)還暗含了一種潛在的評(píng)判標(biāo)準(zhǔn),經(jīng)過(guò)幾十年的變動(dòng),其地位和主體發(fā)生了怎樣的變化?“西方”在整個(gè)80年代發(fā)生了怎樣的意義嬗變,它在不同時(shí)期如何對(duì)中國(guó)當(dāng)代藝術(shù)產(chǎn)生影響?這是本篇論文試圖回答的兩個(gè)基本問(wèn)題。
[Abstract]:It is the basic method of this paper to break the linear narrative way and rediscuss and organize the development course and clue of Chinese contemporary art by the way of "knowledge archaeology". This paper adopts the form of Unit ideas to organize and write. Through a large amount of literature reading and social practice in the early stage, the author selects "audience" and "the West" as the two themes of the thesis. What needs to be noted here is that, as two basic elements that have always accompanied the development of Chinese contemporary art, the two core concepts of "audience" and "West" are not simple extension and progressive relations, they reflect each other and superimpose each other. This paper points out two aspects of the development of contemporary art. As the first part of the "Chinese Contemporary Art keyword investigation Plan", this paper compares and analyzes the different historical backgrounds and specific cases. This paper combs the role and influence of audience and West in different events of art history. "audience" as the object of communication of the works of art, but also implied a potential standard of evaluation, after decades of changes, its status and subject has changed? How did the "West" change in significance throughout the 1980s, and how did it affect Chinese contemporary art in different periods? These are two basic questions this paper tries to answer.
【學(xué)位授予單位】：中國(guó)美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J05

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 江豐;藝術(shù)為人民大眾服務(wù)——1979年11月21日在美協(xié)常務(wù)理事擴(kuò)大會(huì)議上的發(fā)言(摘要)[J];美術(shù);1980年01期

2 吳冠中;關(guān)于抽象美[J];美術(shù);1980年10期

3 子泉;致星星美展作者們的一封信[J];美術(shù);1981年01期

4 王克平;問(wèn)答[J];美術(shù);1981年01期

5 黃永(石水);談我的幾張畫[J];美術(shù);1983年01期

6 吳冠中;評(píng)選日記[J];美術(shù);1984年11期

7 吳山專;關(guān)于中文[J];美術(shù);1986年08期

8 王廣義;對(duì)三個(gè)問(wèn)題的回答[J];美術(shù);1988年03期

9 邵大箴 ,顧征宇 ,沈鵬 ,劉曦林;“偽”古典畫風(fēng)和“偽”現(xiàn)代主義之爭(zhēng)——座談會(huì)發(fā)言摘要[J];美術(shù);1988年04期

10 殷雙喜;;上世紀(jì)90年代以來(lái)的中國(guó)裝置與雕塑[J];藝術(shù).生活;2010年01期

，

本文編號(hào)：2052069