摘要
从美国现代主义艺术家乔治·奥特的晚期艺术活动与超现实主义艺术的关联,可以对美国早期现代艺术中存在的艺术史话语叙述中的语焉不详及相互抵牾之处进行厘定与分析。首先检视奥特作品中的浪漫主义倾向及其作品中去政治化的特点;其次探讨其作品中的形而上维度及其与艺术家个人生活经验和私人幻想之间的勾连;再次,则透过对奥特作品中的“形式主义”立场的阐释,分析其与艺术批评家格林伯格在形式主义话语上的隔阂与冲突,从而呈现出二次世界大战之后,抽象表现主义艺术全面占领艺术话语权之前,美国早期现代主义艺术中复杂而微妙的景观。
From the connection between the late modern art activities of American modernist artist George Ault and the surrealist art, it is possible to determine and analyze the unclear and contradictory aspects of the discourse of the art history in the early modern American art. First, it examines the romantic tendency in Ault’s works and the characteristics of depoliticization in his works. Second, he discusses the metaphysical dimension in his works and its connection with the artist’s personal life experiences and private fantasies. The interpretation of the "Formalism" position in the special works analyzes the gaps and conflicts between the formalist discourses with the art critic Greenberg, thus showing an imagery that is complex and subtle of early modern American art before the full occupation of art discourse by abstract expressionist art after the Second World War.
出处
《艺术探索》
2019年第4期54-62,共9页
Arts Exploration
