涂鸦艺术诞生于上世纪中叶的纽约贫民窟,后现代的艺术土壤使其迅速成长并蔓延至世界的各个角落。它有着与波普艺术、达达艺术、表现主义一脉相承的后现代语汇,艺术实践充满着“反形式”和“解构主义”的特征。它对形式的漠视、简化和剥离,挑战了传统的美学权威,对图像的挪用与重构,又颠覆了精英的艺术标准。在大众艺术逐渐掌握“话语权”的大气候中,涂鸦以其大胆的审美和叛逆的表达生动诠释了后现代美学的本质,即“反美学”。 Graffiti art was born in the midst of New York slum in the middle of the last century, the post-modern art soil to make it grow rapidly and spread to every corner of the world. It possesses the postmodernist vocabulary which has the same line with Pop Art, Dada Art and Expressionism. The artistic practice is full of the characteristics of “anti-form” and “deconstruction”. Its neglect, simplification and separation of forms have challenged the traditional aesthetic authority, appropriated and reconstructed images, and subverted the elite art standards. Graffiti vividly interprets the essence of postmodern aesthetics, namely “anti-aesthetics”, in the atmosphere in which mass art gradually grasps “discourse power ”.