我拍摄不想绘制的东西,我绘出无法拍摄的东西。——曼·雷摄影诞生之日,便与绘画有着一种剪不断理还乱的暧昧牵连:既互相指斥又互相影响,既互相鄙视又互相借鉴。1839年,相机在法国初初诞生,就因其逼真的再现能力,令很多画家产生焦虑感与危机感,更有人高喊:绘画死了。这是一种面对新技术的恐慌心理,在这种心理的暗示下,画家群体不得不直面自 I did not want to draw things, I painted something that I could not shoot. - Man Ray Photography The birth of the day, and the painting has a kind of cut the clutches of unreasonable ambiguous implicated: both reprimanded and affect each other, both despise each other and learn from each other. In 1839, the camera was first born in France. Because of its realistic reproduction ability, many painters felt anxiety and sense of crisis. Some even shouted: the painting is dead. This is a panic psychology in the face of new technologies. Under this psychological implication, the group of painters have to face themselves