从“视觉性”到“形状”——形式重心的转移与美国晚期现代主义艺术的危机

From Visuality to Shape:The Core Shift of the Form and the Crisis of American Late Modernism Art

从以杰克逊·波洛克为代表的抽象表现主义到以弗兰克·斯特拉为代表的后涂绘性抽象,步入中晚期的美国现代主义艺术一直在找寻和建构自身区别于欧洲抽象艺术的特点。从"视觉性"到"形状",美国晚期现代主义艺术家在形式语言上的探索重心发生了转移,虽然最终找到了属于美国抽象艺术自身的特点,但由于在不断进行形状实验的过程中过于凸显绘画基底的实在形状,在很大程度上导致作为现代主义对立面的"实在性"成了现实的可能,现代主义艺术由此走向自身的反面。就此而言,格林伯格现代主义辩证法所假设的晚期现代主义艺术的"物性"危机也宣告到来。

From the abstract expressionism represented by Jackson Pollock to post-painterly abstraction represented by Frank Stella, American modernist art in the middle and late period was seeking and constructing its own characteristics diflferent from European abstract art. The focus of the modernism artists in later period on the formal language shifted from visuality to shape. Although the proper characteristics of American abstract art were finally found, the modernism art might move towards its opposite because the solid basal shape was too much emphasized in the process of constant shape experiments and the substantiality became possible as modernism opposite to a great extent. In this regard, the crisis of objecthood of the late modernist art assumed in Greenbergs modernism dialectics was also coming.