美学?观念?——迈克尔·弗雷德的当代摄影批评及其问题

Aesthetics or Concept?——Michael Fried’s Contemporary Photography Criticism and Its Problems

从晚期现代主义艺术批评到极少主义艺术批评再到法国现代主义绘画前史的研究,弗雷德在不同的研究阶段始终以现代主义的媒介独特性理论为基点,以此坚守他的现代主义价值观。面对20世纪70年代末80年代初出现的大尺幅且挂在墙上的当代摄影作品,弗雷德再次沿用了自己的这套批评体系。弗雷德的当代摄影批评是建立在严格限定的基础上的。实际上,大尺幅且挂在墙上的当代摄影可能更多得益于极少主义的遗赠和从极少主义发展而来的观念艺术的继续,它并不致力于反剧场性的现代主义事业,而是对后现代艺术标榜的剧场性的拥抱。

From the late modernist art criticism to the minimalist art criticism to the study of the pre-history of French modernist painting, Fried has always adhered to the modern media’s unique theory of media at different stages of his research to stick to his modernist values. In the face of the large-scale contemporary paintings that appeared on the wall in the late 1970 s and early 1980 s, Fried once again used his own criticism system. Fried’s contemporary photography criticism is based on a strict definition. In fact, contemporary photography with large scales and hanging on the wall may benefit more from minimalist bequests and development from minimalism. The continuation of the conceptual art, it is not devoted to the anti-theatre modernist career, but to the embrace of theater-like post-modern art.