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通过把修拉创作于80年代的作品,与马奈创作于70年代的作品,以及塞尚创作于90年代的作品进行并置,并且通过对这30年的艺术史进行横切,克拉里不仅消解了传统艺术史中常见的连续性和影响的神话,突出了各个横截面的“考古断层”的性质,及其与该时期的大量话语实践之间的共生关系;而且在艺术史方法论的层面上,确立了视觉考古学的地位。它探讨的是:绘画,作为一种实践活动,是如何介入当初的各类话语实践,而当初的各类话语实践,又是如何发明绘画的创作机制的?因此,至少就方法论而言,它已经极大地提高了人们对艺术作品的认知和理解的深度。
By combining her work in the 1980s with Manet’s work in the 1970s and Cezanne’s work in the 1990s, and through the 30-year history of art, Clarion is not only Dispelling the myth of the common continuity and influence in traditional art history, highlighting the nature of the “archeological fault” of each cross section and its symbiotic relationship with a large number of discourse practices in that period; and in the field of art history methodology The level of visual archeology has been established. It explores: painting as a practical activity, how to intervene in the original practice of all kinds of discourse, and the original practice of various discourse, how to invent the creative mechanism of painting? Therefore, at least in terms of methodology, it Has greatly enhanced the depth of people’s cognition and understanding of works of art.