前一时期国内由向南一篇《有害的艺术》引发了关于艺术评判标准的大讨论,笔者对此一直保持沉默的原因在于:其一,真正的“百花齐放,百家争鸣”恐怕并未在艺术界实现其真正的价值与意义;其二,几乎所有的有关文章都并非学理层面上的研究性质的论文,大多或人身攻击或人为投机或一知半解,令人不忍啐读。 艺术之所以在当代产生定位的巨大困惑与评判尺度的无限纷争,是因为当代文化的大规模变迁。20世纪50年代之后审美观念指向了一个新的焦点即反美学传统。当代社会的文化转型,导致了传统审美观念的全方面崩溃,传统审美观念的整体转型成为当代大多数美学家的共识。当代艺术品的价值,只有当我们把它看作是向传统艺术概念中的某一方面挑战时,对它们的判断才有意义。当代艺术从美学向反美学的转换及从审美向审丑的过渡,说明当代艺术已从线性逻辑向复合逻辑演进,从单一的评判尺度向多维的生态系统评判原则跃进。当代艺术 In the previous period, the domestic issue of a “harmful art” south led to a great discussion on the criteria of art criticism. The reasons why the author has been silent about this are: First, the real “all-encompassing and contending” is not in the art world To achieve its true value and significance; Second, almost all the relevant articles are not academic-level research papers, mostly or personal attacks or artificial speculation or ill-conceived, it is intolerable. The immense confusion over the positioning of art in the contemporary era as well as the endless controversy over the scale of art is due to the large-scale changes in contemporary culture. After the 1950s aesthetic concepts point to a new focus, anti-aesthetic tradition. The cultural transformation of contemporary society has led to the collapse of the traditional aesthetic concept. The overall transformation of the traditional aesthetic concept has become the consensus of most contemporary aestheticians. The value of contemporary art is only meaningful when we see it as challenging one aspect of the traditional art concept. The transition from aesthetics to anti-aesthetics and the transition from aesthetics to ugly appreciation of contemporary art shows that contemporary art has evolved from linear logic to compound logic and from a single criterion to a multidimensional eco-system principle. modern Art