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在美术界的“89新潮”之后,中国当代艺术中开始出现借用卡通形象或电子游戏机中的人物形象置换而成的波普绘画作品。艺术家试图用新的造型形象消解过去意识形态主题的严肃绘画,强调生活中的空洞、滑稽、无所谓。紧接着,有一大群当代艺术家开始沿用此类画法。其中一种是借用相机广角镜头的成像,简单地拍摄对象以后直接画照片,表现艺术家观察到的年轻一代的无聊与茫然。他们有的是故作深沉,有的嬉皮笑脸,仿佛是对应王朔的痞子文化与京派的玩世现实主义。还有一种是借助动画片里出现过的卡通形象,表现自己所面对的现代生活,力图制造一种莫名其妙的反讽和对现实的嘲笑,画面人物以卡通面貌出现,但动态是连环
After the “89 Trendy” in the art world, pop art paintings borrowed from cartoon characters or characters in video game machines are starting to appear in Chinese contemporary art. The artist tries to use the new styling image to dispel the serious paintings of the past ideological themes and emphasize the empty, funny and indifferent aspects of life. Shortly thereafter, a large group of contemporary artists began to follow this type of painting. One of them is borrowing the imaging of a wide-angle lens of a camera to directly draw a picture after simply photographing an object, showing the boring and dazed young artists the artist has observed. Some of them are pretending to be deep, hippies and smiling faces, as if they correspond to Wang Shuo’s riffraff culture and Beijing’s cynical realism. Another is to use cartoon characters appearing in the cartoons to represent the modern life they are facing and to create an inexplicable irony and ridicule of the reality.