20世纪60年代艺术边界的修辞与早期装置艺术的确立

The Rhetoric of Artistic Boundaries and the Establishment of Early Installation Art in the 1960s

20世纪60年代是现代主义艺术史和理论中一个里程碑式的时代。当时,媒介或艺术形式的问题备受关注。一方面,克莱门特·格林伯格和迈克尔·弗里德等有影响力的批判家认为审美自主与艺术之间存在明确界限;另一方面,极简主义者(唐纳德·贾德、托尼·史密斯)以及环境艺术家(阿伦·卡普罗)在突破艺术之间界限的同时,还打破了艺术与生活之间的界限。迈克尔·弗里德对极简主义、“剧场性”的批评,最终证明了早期装置艺术中“剧场性”思维与视觉的巧妙结合。

The 1960s was a landmark era in modernist art history and theory.At that time,the issue of media or art form attracted much attention.On the one hand,influential critics such as Clement Greenberg and Michael Freed argue that there is a clear boundary between aesthetic autonomy and art.On the other hand,minimalists and environmental artists,while breaking the boundaries between art,they also broke the boundaries between art and life.Michael Fried’s criticism of minimalism and“theatricality”finally proved the ingenious combination of“theatricality”thinking and vision in the early installation art.