中國當(dāng)代藝術(shù)創(chuàng)作中的“卡通”現(xiàn)象研究
發(fā)布時間：2019-03-13 11:25
【摘要】： 90年代是中國社會的轉(zhuǎn)型期，中國當(dāng)代藝術(shù)發(fā)生、發(fā)展的現(xiàn)實依據(jù)也隨之發(fā)生了重大的變化，市場經(jīng)濟的發(fā)展、中國都市文化和青少年文化的興起和不斷更新的社會現(xiàn)實共同決定了藝術(shù)家作品的傾向。從上世紀(jì)末到本世紀(jì)初，人們的生活已經(jīng)發(fā)展為在很大程度上依賴于數(shù)字化科技，人們的審美經(jīng)驗，也無法避免地從虛構(gòu)的卡通、動漫、游戲和網(wǎng)絡(luò)的傳輸中產(chǎn)生了新的認(rèn)知與欣賞系統(tǒng)，遠遠脫離了傳統(tǒng)的認(rèn)定標(biāo)準(zhǔn)。 出生于70年代和80年代的年輕人是我國都市文化和青少年文化的主要構(gòu)建者，“70”后藝術(shù)家則是我國藝術(shù)界的新生力量，在商品經(jīng)濟大潮的沖擊下，他們在生活態(tài)度、藝術(shù)態(tài)度上和其他藝術(shù)家截然不同，體現(xiàn)了青年藝術(shù)家的生活體驗、思維方式和審美經(jīng)驗。在“70”后藝術(shù)家的創(chuàng)作中，很多藝術(shù)家不約而同地選擇了與自己的日常生活緊密聯(lián)系，形式夸張的卡通形象，以繪畫、裝置等藝術(shù)形式在作品中大量使用卡通形象，70后藝術(shù)家的“卡通”藝術(shù)作品在同齡人中具有很強的親和力，極易被認(rèn)同，并有著強烈的視覺沖擊感，逐漸成為眾多的中國當(dāng)代藝術(shù)家和評論家關(guān)注的對象。 “卡通一代”和“新卡通一代”藝術(shù)現(xiàn)象是當(dāng)代青年文化的一部分，中國當(dāng)代藝術(shù)中的“卡通”現(xiàn)象并不是一種簡單的標(biāo)新立異，在這種新異題材的背后有著深刻的經(jīng)濟、社會、文化背景和復(fù)雜的心理因素�！八麄冮L在輕飄的紅旗下，又浸染過資本主義的酷和物質(zhì)感”，“卡通”藝術(shù)現(xiàn)象的出現(xiàn)和我國社會轉(zhuǎn)型、生活環(huán)境的變化、生活方式的改變、傳統(tǒng)的缺失和文化的多元化、青少年個人身心發(fā)展歷程有著密切的關(guān)系。 “卡通一代”藝術(shù)工作組由黃一瀚、響叮當(dāng)(陳秋彤)、田流沙、馮峰、孫曉楓、江衡、蘇若山等一批畫家組成�！翱ㄍㄒ淮边M行的是一種卡拉OK式的批判，即借助流行手段、流行符號進行最輕松、直接的批判。既關(guān)注了卡通一代的存在方式和日常態(tài)度，突出了這種態(tài)度下不加遮蔽的快樂原則，又披露了他們易于成為拷貝文化俘虜、缺乏進入社會的能動性和主體性的精神障礙�！翱ㄍㄒ淮睒�(biāo)志著中國一部分藝術(shù)家的創(chuàng)作重心從批判、反思、形而上的政治話語，轉(zhuǎn)換到對日常生活與文化的具體感受�？ㄍㄔ凇翱ㄍㄒ淮蹦抢锔嗟氖亲鳛槲幕瘑栴}而提出的，這是作為一個社會問題而出現(xiàn)的藝術(shù)潮流， 近幾年來掀起的“新卡通一代”的藝術(shù)浪潮，是“卡通”藝術(shù)現(xiàn)象的延續(xù)發(fā)展和推進。被認(rèn)為屬于“新卡通一代”的畫家有孔巍蒙、熊宇、沈娜、熊莉鈞、李繼開、歐陽春、徐毛毛、高踽等。“新卡通一代”并沒有自覺地關(guān)注卡通這一文化問題，而是不自覺地受到卡通文化的影響——卡通是他們在自己的成長經(jīng)驗中找到的視覺形式，強調(diào)卡通的“感覺”，更多地是表達他們自己的、切身的、本真的卡通生活。他們的圖式、風(fēng)格與趣味基本上是在卡通文化的影響下建立的。 總體來說，“卡通”藝術(shù)作為一種正在新一代藝術(shù)家群體中大規(guī)模崛起和蔓延的藝術(shù)現(xiàn)象，，已經(jīng)是中國當(dāng)代藝術(shù)不可忽視的一個新潮流，表現(xiàn)了新人類對世界的全新認(rèn)知方式，這種直接切入大眾流行文化、網(wǎng)絡(luò)文化與商業(yè)消費文化的做法，從本質(zhì)上看乃是當(dāng)代藝術(shù)發(fā)展的一種大趨勢。
[Abstract]:The 90 's is the transition of Chinese society, the development of Chinese contemporary art, the realistic basis of the development also has changed greatly, the development of the market economy, the rise of the Chinese urban culture and the youth culture and the renewal of the social reality together determine the tendency of the artist's work. From the end of the last century to the beginning of this century, people's life has been developed to depend to a great extent on the digital science and technology, people's aesthetic experience, and can not avoid the new cognition and appreciation system from the transmission of the fictitious cartoon, the animation, the game and the network, It's far from the traditional identification standards. The young people born in the 1970s and 1980s are the main constructs of the urban culture and the youth culture in our country. The post-"70" artists are the new forces of the art world in our country, and under the impact of the spring tide of the commodity economy, they are living The attitude and the artistic attitude are very different from other artists, which embody the life experience, the way of thinking and the aesthetic of the young artists Experience. In the post-"70" artist's creation, many artists have chosen to be in close contact with their daily life, in the form of an exaggerated cartoon image. In the art of painting, device and so on, a large number of cartoon images are used in the work, and the "Cartoon" art of the post-70s artist has a strong affinity in his peers, is very easy to be recognized, and has a strong sense of visual impact, gradually becoming a large number of contemporary Chinese artists and critics The "Cartoon generation" and "new cartoon generation" art phenomenon is a part of the contemporary youth culture, the "Cartoon" phenomenon in contemporary Chinese contemporary art is not a simple standard, and there is a deep economic, social, cultural background and complex behind this new theme In the red flag of the light, they also dip into the cool and material feeling of capitalism, the appearance of the "cartoon" art phenomenon and the social transformation of our country, the change of the living environment, the change of the traditional lack and the culture, and the physical and mental development of the young people. Close relationship. The "Cartoon generation" art working group is composed of the yellow one, the ring-jingling (Chen Qiuyi), Tian Liusha, Feng Feng, Sun Xiaoer, Jiang Heng, and Su. A group of painters, such as the mountain. "The Cartoon generation" is a kind of Karaoke type of criticism, that is, by means of popular means, the most popular symbol is the most important. It is easy and direct criticism. It is not only concerned with the existence way and the daily attitude of the cartoon generation, but also highlights the principle of happiness without shading in this attitude, and also reveals that they are easy to be a copy of the cultural prisoners, and the lack of the initiative of entering the society. The mental disorder of the subjectivity. The "Cartoon generation" marks the creative center of gravity of a part of the Chinese artists from the criticism, reflection, metaphysical political discourse, and the transformation to the daily life In the cartoon generation, more of the cartoon is put forward as a cultural problem, as a social problem The art tide, the "new cartoon generation" of art in recent years, is the "Cartoon" art. The continuing development and promotion of the phenomenon of the operation. The painter who is considered to belong to the "new cartoon generation" has the hole, Xiong Yu, Shen Na, Xiong Lijun, Li Jikai, The "new cartoon generation" is not consciously concerned with the cultural problem of the cartoon, but is not consciously influenced by the cartoon culture. The cartoon is the visual form that they have found in their own development experience, emphasizes the "feel" of the cartoon, and more expressing their own, Cut body, this real cartoon life. Their schemata, style and interest are basically in Under the influence of the cartoon culture, as a whole, the "Cartoon" art, as a new generation of the art phenomenon of large-scale rise and spread in the new generation of the artists, has been a new trend that the Chinese contemporary art can't ignore, and represents the new human's new cognition to the world The direct cut into the popular culture of the mass, the network culture and the commercial consumption culture, from the essence
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2007
【分類號】：J120.9
本文編號：2439346
[Abstract]:The 90 's is the transition of Chinese society, the development of Chinese contemporary art, the realistic basis of the development also has changed greatly, the development of the market economy, the rise of the Chinese urban culture and the youth culture and the renewal of the social reality together determine the tendency of the artist's work. From the end of the last century to the beginning of this century, people's life has been developed to depend to a great extent on the digital science and technology, people's aesthetic experience, and can not avoid the new cognition and appreciation system from the transmission of the fictitious cartoon, the animation, the game and the network, It's far from the traditional identification standards. The young people born in the 1970s and 1980s are the main constructs of the urban culture and the youth culture in our country. The post-"70" artists are the new forces of the art world in our country, and under the impact of the spring tide of the commodity economy, they are living The attitude and the artistic attitude are very different from other artists, which embody the life experience, the way of thinking and the aesthetic of the young artists Experience. In the post-"70" artist's creation, many artists have chosen to be in close contact with their daily life, in the form of an exaggerated cartoon image. In the art of painting, device and so on, a large number of cartoon images are used in the work, and the "Cartoon" art of the post-70s artist has a strong affinity in his peers, is very easy to be recognized, and has a strong sense of visual impact, gradually becoming a large number of contemporary Chinese artists and critics The "Cartoon generation" and "new cartoon generation" art phenomenon is a part of the contemporary youth culture, the "Cartoon" phenomenon in contemporary Chinese contemporary art is not a simple standard, and there is a deep economic, social, cultural background and complex behind this new theme In the red flag of the light, they also dip into the cool and material feeling of capitalism, the appearance of the "cartoon" art phenomenon and the social transformation of our country, the change of the living environment, the change of the traditional lack and the culture, and the physical and mental development of the young people. Close relationship. The "Cartoon generation" art working group is composed of the yellow one, the ring-jingling (Chen Qiuyi), Tian Liusha, Feng Feng, Sun Xiaoer, Jiang Heng, and Su. A group of painters, such as the mountain. "The Cartoon generation" is a kind of Karaoke type of criticism, that is, by means of popular means, the most popular symbol is the most important. It is easy and direct criticism. It is not only concerned with the existence way and the daily attitude of the cartoon generation, but also highlights the principle of happiness without shading in this attitude, and also reveals that they are easy to be a copy of the cultural prisoners, and the lack of the initiative of entering the society. The mental disorder of the subjectivity. The "Cartoon generation" marks the creative center of gravity of a part of the Chinese artists from the criticism, reflection, metaphysical political discourse, and the transformation to the daily life In the cartoon generation, more of the cartoon is put forward as a cultural problem, as a social problem The art tide, the "new cartoon generation" of art in recent years, is the "Cartoon" art. The continuing development and promotion of the phenomenon of the operation. The painter who is considered to belong to the "new cartoon generation" has the hole, Xiong Yu, Shen Na, Xiong Lijun, Li Jikai, The "new cartoon generation" is not consciously concerned with the cultural problem of the cartoon, but is not consciously influenced by the cartoon culture. The cartoon is the visual form that they have found in their own development experience, emphasizes the "feel" of the cartoon, and more expressing their own, Cut body, this real cartoon life. Their schemata, style and interest are basically in Under the influence of the cartoon culture, as a whole, the "Cartoon" art, as a new generation of the art phenomenon of large-scale rise and spread in the new generation of the artists, has been a new trend that the Chinese contemporary art can't ignore, and represents the new human's new cognition to the world The direct cut into the popular culture of the mass, the network culture and the commercial consumption culture, from the essence
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2007
【分類號】：J120.9
【引證文獻】
相關(guān)期刊論文 前1條
1 洪浩;;“80后”一代藝術(shù)創(chuàng)作現(xiàn)狀與思考[J];美術(shù)大觀;2011年09期
相關(guān)會議論文 前1條
1 楊冰瑩;;作為仿像的卡通與作為卡通的藝術(shù)[A];中央美術(shù)學(xué)院青年藝術(shù)批評獎獲獎?wù)撐募?011年）[C];2012年
相關(guān)碩士學(xué)位論文 前4條
1 潘東;各種藝術(shù)形式間的融合[D];中央美術(shù)學(xué)院;2011年
2 洪浩;80后當(dāng)代藝術(shù)創(chuàng)作現(xiàn)狀與思考[D];湖北美術(shù)學(xué)院;2011年
3 向美玲;中國當(dāng)代藝術(shù)中“卡通繪畫”的娛樂取向研究[D];華中師范大學(xué);2012年
4 游偉;當(dāng)代中國油畫藝術(shù)“卡通化”表現(xiàn)形式的探析[D];贛南師范學(xué)院;2012年
本文編號：2439346
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