摘要
大地艺术(LandArt、EarthArt或Earthworks)产生于20世纪60年代末期的美国。除了对其时环保运动的呼应之外,它还具有某种属于美利坚民族文化和历史的连续性关系。其中之一就是长期以来蕴涵在美国人血脉之中的"荒野精神"。"荒野精神"至少留下两个方面的问题。一是一种无家可归的"乡愁"感;一是大量被人们遗弃的"荒野"地带。这两点成为大地艺术的两个生发点。其中,指向精神关怀的"乡愁"滋生出构筑一个新的适合于此在栖居的场所的意识;指向物质关怀的"荒野"则衍生出培植一种新的适宜于彼岸瞻仰的神圣的观念。大地艺术否定了美国浪漫主义对"完美自然"的苛求,并犀利地指出:荒野精神所遗存的"荒野",其根本原因在于人对自然的掠夺。无论是"乡愁"的产生,还是"荒野"的出现,都在于人类文明与自然荒野的对立,于是,以艺术来调和文明与荒野就成为大地艺术的主题。大地艺术将荒野重新纳入文明的进程,以文明修复荒野,甚至认为文明就在荒野中。这一艺术,冲出了美国的范围,成为一种崭新的全球艺术,其原因,就在于荒野精神,具有精神家园和环境保护的双重象征,具有全球的意义。
Earth art came into being in the late 1960s and it advocated people to protect environment and it also reflected an American ＂wild spirit＂. There are at least two problems included in the ＂wild spirit＂ for people to consider： one is a sense of homelessness and nostalgia, the other is a great deal of wild abandoned area. These two points are significant to the generation of earth art. ＂Nostalgia＂ is a spiritual concern, and it inspires people to construct a place appropriate for living. ＂Wilderness＂ refers to a material concern, and it inspires to form a divine conception. Earth art again brings wilderness into the advancement of civilization, and tries to restore wilderness with civilization. Earth art goes out of America and becomes a whole new global art. This is because that wild spirit is of global significance and has a double symbol of spiritual homeland and environmental protection.
出处
《艺术百家》
CSSCI
北大核心
2012年第3期135-142,共8页
Hundred Schools In Arts
