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主持人语术语“当代艺术理论”包含了两个迥然有异却又相辅相成的层面:当代的艺术理论与当代艺术的理论。我们可以从哈尔·福斯特(Hal Foster)主编的《反美学》(The AntiAesthetic,1983)和布瑞恩·沃利斯(Brian Wallis)主编的《现代主义之后的艺术》(Art After Modernism,1984)中直观地感受到当代艺术理论的魅力。首先,相对于传统、现代而言,它是当代的艺术理论,是宏大理论(the grand theory)终结之后的艺术理论。与现代艺术理论单一的语言学模式不同,比如瓦尔堡学派、沃尔夫林学派的艺术风格论,维也纳学派的纯视觉主义研究,罗杰·弗莱、克莱夫·贝尔、格
Moderator language “Contemporary Art Theory ” contains two very different but complementary layers: the contemporary art theory and contemporary art theory. We can learn from The AntiAesthetic (1983) edited by Hal Foster and Art After Modernism (edited by Brian Wallis) 1984) intuitively feel the charm of contemporary art theory. First of all, it is a contemporary art theory, relative to the tradition and the modern one, an art theory after the grand theory has ended. Different from the single linguistic model of modern art theory, such as the Warburg School, the Wolffian school of art style, the Vienna school of pure visual studies, Roger Frye, Clive Bell,