画框的隐现与艺术观念转折

画框不只是艺术作品的一个外在物理框架,而是已然内化为我们区分物理空间与艺术空间的视觉隐喻。在传统绘画中,画框的＂窗口＂隐喻与＂透视建构＂纠缠在一起,赋予所框之绘画空间以理性、秩序和清晰等古典主义价值。现代艺术一方面不同程度地表现出对这种＂画框专制＂的质疑与挑战,另一方面通过对画面的割裂、压平、拆解,戳穿了传统绘画的幻觉空间,也因此解构了画框与作品之间那种虚假耦合的美学关系。现代艺术的种种＂去画框＂行为背后总是另有一套关于＂画框＂的话语。某种意义上而言,艺术总是通过＂画框＂这个看似隐而不显的＂外围构件＂来宣称自己的存在。

The frame should not be only regarded as an external physi- cal framework of artworks, but has been internalized as a kind of visual metaphor to separate the to the representation. objects it represents from In the history of painting those objects that are irrelevant since the Renaissance, what is at stake with the frame is the metaphor of painting as window. Within the space contained achieve a cohere by the frame the nt picture space values of reason, order and clarity work to uniting. However, modern artists expose the value-conferring mechanism of space of illusion by refraining from the complete picture plane, thus deconstructing the false aesthetics relationship between the frame and the artwork. Those characteristics of de-framing always refer to another set of discourse systems about absence of rapport. In a sense,the art is given its own rights depending on how the frame seemingly consid- ered as the periphery of the picture.