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随着中西文化的交融,20世纪90年代的中国当代美术在短短几年就演练了从西方古典艺术到现代艺术再到后现代艺术这样一种跨越了近一个世纪的艺术发展历程中几乎所有的语言方式和审美情趣。此时,刘小东寻找到属于他的现实主义风格,它既不同于80年代以前的以革命主题和恢宏题材为宗旨的艺术形式也摆脱了90年代大部分抒情式古典风格的影响。他的实景写生与再现是基于一种现实主义的艺术创作,他以架上艺术的形式赋予许许多多的平凡人物和事物新的存在,让当下人们庸碌、无为的精神状态呈现新的艺术视角,将庸碌与常态以主观的表达方式根植于不同的场景片段中,也将这些看似无关紧要的片段、场景、人物以非叙事性的、偶发性的状态凝固与画面中。在那个年代,刘小东的这种类似新浪潮的思维观念的表达方式打破了当时中国架上艺术的某种视觉常规和思维常规。
With the blend of Chinese and Western cultures, Chinese contemporary art in the 1990s practiced almost all of the art development spanning nearly a century from Western classical art to modern art to postmodern art in just a few years The language and aesthetic taste. At this time, Liu Xiaodong sought his own realistic style. It was different from the art form of revolution theme and magnificent theme before the 1980s and was free from most of the lyric classical style of the 1990s. His realistic sketching and reproduction are based on a kind of realistic artistic creation. He gives a lot of ordinary people and things new existence in the form of shelving art, presenting a new artistic perspective to the present mentality of mediocrity and inaction , Will be mediocre and normal subjective expression in different scenes fragments, but also seemingly insignificant fragments, scenes, characters in non-narrative, occasional state of solidification and the picture. At that time, Liu Xiaodong’s expression of this new wave of thinking broke through some of the visual conventions and thinking conventions of art in China at the time.