艺术之后的摄影:从本雅明到波德里亚

Photography after Art:From Walter Benjamin to Jean Baudrillard

作为一种视觉现代性的标志,摄影的出现从根本上颠覆了人们既有的艺术观念。本文以本雅明、巴特和波德里亚三位理论家的影像理论为研究对象,对其有关艺术和摄影关系问题的论述进行考察。本雅明把前卫视为摄影最重要的品质,将摄影理解为一种前卫艺术。巴特把疯狂视为摄影最重要的品质,将摄影理解为一种超艺术。波德里亚把沉默视为摄影最重要的品质,将摄影理解为一种反艺术。他们的影像理论,一方面挑战了既有的艺术观念和摄影观念,另一方面也折射了一个多世纪以来艺术和摄影自身所发生的巨大变化。

As a visual symbol of modernity, the invention of photography radically subverts the old concept of art. This paper examines Walter Benjamin, Roland Barthes and Jean Baudrillard＇s works on the relationship between art and photography. Waiter Benjamin considers avant-garde as the most important quality of photography. In his view, photography should be avant-garde art. Roland Barthes considers madness as the most important quality of photography. In his view, photography should be trans-art. Jean Baudrillard considers silence as the most important quality of photography. In his view, photography should be anti-art. On one hand, their theories challenge the old concept of art and photography. On the other hand, their works reflect the great changes of art and photography during the last century.