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第二次世界大战以后,随着西方现代艺术中心向纽约的转移,伴随着抽象表现主义的兴起,以彼得·沃克斯和约翰·迈森为主导的所谓“抽象表现主义陶艺运动”,宣告着美国陶艺幼稚时代的结束和新时代的到来。随后,北卡罗莱纳黑山学院、芝加哥大学等地陶艺运动的发展,它们共同探讨了材料的真实性、概念纯粹性、原创性、承认抽象、拒绝装饰等现代主义原则。而1960年代罗伯特·阿纳森的“慌刻”运动,则将波普艺术、超现实主义等观念融入陶艺创作中,寻找陶艺开拓的新空间。本文着重探讨了陶艺与后现代主义这两个当代概念的联姻,以及在此过程中,陶艺中所完成的现代与后现代的转换。
After the Second World War, with the transfer of Western Modern Art Center to New York, along with the rise of abstract expressionism, the so-called “Abstract Expressionism Pottery Movement” led by Peter Vaux and John Meissen The end of the naive era of American pottery and the advent of a new era. Subsequently, Montenegro Institute of North Carolina, University of Chicago and other pottery movement development, they jointly discussed the authenticity of the material, the concept of purity, originality, recognition of abstract, refused to decorate the principles of modernism. The “panic” movement of Robert Arnassin in the 1960s put Pop Art, surrealism and other concepts into the creation of pottery, looking for a new space for pottery exploration. This article focuses on the marriage of the two modern concepts of pottery and postmodernism, and in the process, the conversion of modernity and postmodernity accomplished in pottery.