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这是一个后波普的时代,也是一个影像生存的时代。摄影自它诞生之日起,从来没有像今天这样与大众的生活紧密相连。与此同时,视觉艺术家在当下与影像媒介之间的深刻联系毫无疑问超越了以往150年里任何一个时间节点,尽管整个现当代艺术史是如此执拗地与摄影艺术(包括技术)的演进和发展犬牙交错、此起彼伏。上世纪20年代,那个擅长摄影术的包豪斯前卫艺术家莫霍利·纳吉诚然发现了这种被称为以“新视觉”观察和表现事物的幻术。于是,就有了美国前卫之父阿尔弗雷德·斯德格里兹拍摄他周围发生的一切事物,从纽约繁忙街道
This is a post-Pop era, but also an era of image survival. Photography has never been linked to popular life as it is today since it was born. At the same time, the deep connection between visual artists and the media now undoubtedly surpassed any one in the past 150 years. Although the entire history of modern and contemporary art is so stubbornly associated with the evolution of photographic arts (including technology) and Staggered development, one after another. In the 1920s, Bauhaus avant-garde artist Mohali Najib, who was good at photography, certainly found the illusion known as “seeing and expressing” things with “new vision.” As a result, Alfred Sdeglez, the avant-garde father of the United States, filming everything around him from the busy New York streets