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今日中国艺坛,似乎有越来越多的艺术家们不是将注意力集中在艺术语言的纯化和强化,而是热衷于一种视觉图式的确立。这种费尽心思寻找或者设计出来的或新奇或怪异的视觉图式,通过一系列商业化的艺术促销活动,如展览、研讨和媒体的宣传,反复出现,不断强化,以致像广告学中的“符号化传播”,越来越成为一种符号化的东西,成为标示该艺术家作品的一个恒定的商标。可以说这些作品并不是出于对艺术本体的探究,而完全是出于
It seems that more and more artists in China today are not concentrating their attention on the purification and enhancement of artistic language. Instead, they are keen on the establishment of a visual schema. This painstakingly sought-after or novelty or weird visualization has repeatedly appeared and intensified through a series of commercial art promotions, such as exhibitions, seminars and media campaigns, so that, as in advertising “Symbolic Communication” has become more and more a symbolic thing and has become a constant trademark of the artist’s work. It can be said that these works are not based solely on the exploration of the art ontology, but entirely on the basis of it