形状、色彩与视觉性--弗雷德对朱尔斯·奥利茨基的形式批评(1962~1963)

Shape,Color and Opticality:Michael Fried’s Formal Criticism of Jules Olitzki(1962~1963)

在批评家迈克尔·弗雷德对画家朱尔斯·奥利茨基的形式批评中,线条、形状、色彩、结构等关键因素需被置于彼此的关系中进行解读。在奥利茨基从1962年到1963年的创作转变中,弗雷德重点关注了抽象绘画中的形状、色彩与视觉性因素。弗雷德认为,奥利茨基通过独特的染色技法与色彩使用取代了以线条来构造“所绘形状”的方法,部分解决了“所绘形状”与“实在形状”之间界限模糊、“所绘形状”越出画作基底的问题,并在一定程度上实现了“所绘形状”的“去人格化”品质。此外,画家通过色彩创造出了独特的“色彩情境”和与之相联的画面组织模式及视觉冲击力,以及在时间绵延中进行视觉体验的独特观看方式。但在视觉性的问题上,这一阶段的奥利茨基仍然面临着祛除绘画中的触觉性视错觉、实现纯粹视觉性的挑战。弗雷德对奥利茨基的形式批评,也揭示出批评家对于分析对象之“变”与“不变”的把握,以及基于自身批评理论的关键因素来理解和定位艺术家及其创作的思想路径。

In the critic Michael Fried’s formal criticism of the painter Jules Olitski,the key factors such as line,shape,color,and structure need to be interpreted in the relationship between each other.Regarding Olitski's transitional work from 1962 to 1963,Fried’s criticism mainly focuses on the shape,color and opticality in the painter’s works.Fried believes that by using staining techniques and colors instead of lines to construct the“depicted shape”,Olitski partially solved the problem of blurred boundary between“depicted shape”and“literal shape”,that is,the problem of“depicted shape”transcends the edge of the painting.Therefore,to a certain extent,Olitski achieved the“impersonal”quality of the“depicted shape”.In addition,through the use of color,related pictorial organizational modes and visual momentum,Olitski created a kind of characteristic"color situations"of painting,as well as a unique visual way to appreciate paintings in the duration of time.However,on the issue of opticality,Olitski still faced the challenge of getting rid of the tactile optical illusion and realizing the pure opticality of painting.Fried’s formal criticism of Olitski also reveals the critic’s grasp of“the changed”and“the unchanged”of the analysis object based on the key factors of his art criticism theory,as well as the way of understanding and positioning of artists and their works.