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从历史角度看待新摄影在90年代中期的发端,的确应以1996年《新摄影》影印版杂志的印行及1997年北京《新影像》观念摄影展的举办为标志。摄影家出身的刘铮、荣荣、韩磊.吴小军等人与艺术家出身的洪磊、庄辉、赵半狄、王劲松、郑国谷等人逐渐形成某种资源整合.作为一个整体的创作力量浮现于艺术与摄影两个圈子的交汇处。他们联手打造的一个个影像盛宴,直接诉诸人的内心,在内行、外行中都激起一阵阵视觉震撼。他们的作品观念与手法新颖.在突破原有条条框框方面几乎是百无禁忌.与保守的主流摄影模式形成巨大的文化落差与审美落差.一扫摄影的工具化特性存留在人们头脑中的一贯的陈旧印
From a historical point of view, the start of new photography in the mid-1990s should be marked by the printing of the 1996 “New Photography” magazine and the 1997 Beijing “New Imaging” concept photo exhibition. Photographers from Liu Zheng, Rong Rong, Han Lei. Wu Xiaojun and other artists and artists Honglei, Zhuang Hui, Zhao Bandi, Wang Jinsong, Zheng Guogu and others gradually formed some kind of resource integration. As a whole creative force emerged in The intersection of the two circles of art and photography. One by one, they jointly create a feast of images directly appealing to people’s hearts and arousing the visual shock in the laymen and laymen. Their concepts and techniques are novel and almost taboo in breaking through the original rules and regulations, forming a huge cultural gap and aesthetic gap with the conservative mainstream photography model.Cleaning the stereotypical features of the photographic tools in people’s minds