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在20世纪70年代艺术的文本转向中,美学实践的领域拓宽了,绘画和雕塑的学院限制被打破了。在某种程度上,这将公认的实践形式拉下了神坛,但是,新的崇拜很快取代了旧的崇拜。正如第三章所述,后现代主义艺术的两种理论版本,倾向于将艺术史和大众文化图像都当做拜物教的对象,也就是说,当成了一堆可供处理的、彼此不相干的能指。到20世纪80年代中期,所有的流派和媒介(如抽象和绘画)都陷入了一种惯例主义作风,将复杂的历史实践还原为各种各样的静态符号,仿佛它们能独立于时光之外。在这一章里,我将追寻这种惯例主义美学在80年代的轨迹。
In the textual shift of art in the 1970s, the field of aesthetic practice was broadened and the academic restrictions on painting and sculpture were broken. To some extent, this has taken the acknowledged practice down the altar, but the new worship soon replaced the old worship. As mentioned in chapter 3, two theoretical versions of postmodernism tend to treat both art history and popular culture as objects of fetishism, that is, as a set of treatable and irrelevant Means By the mid-1980s, all genres and media (such as abstraction and painting) had fallen into a conventionalist style, restoring complex historical practices to a wide variety of static symbols as if they were independent of the time . In this chapter, I will follow the path of this conventionalist aesthetics in the 1980s.