摘要
文章聚焦大卫·史密斯(David Smith)的雕塑摄影以及NFT艺术,分析二战后艺术空间公共性的内涵与形式的嬗变。从雕塑的视觉传播到艺术品时空的去物质化,媒介深刻重塑了艺术的创作与传播,影响了艺术空间生产范式的转换。在梳理和分析这条媒介线索的同时,文章反思现代主义的话语建构,进而指向了对当代技术文化环境下艺术的新感性与新公共性的思考。
Focusing on David Smith’s sculpture photography and NFT art, this paper analyzes the transmutation of the connotations and forms of the public nature of art space after World War II.From the visual transmission of sculptures to the dematerialization of artworks, the medium has profoundly reshaped the creation and transmission of art and influenced the paradigm shift in the production of art space. While sorting out and analyzing the thread of medium, the essay probes into the discursive construction of modernism, which in turn points to a reflection on the new sensibility and new public nature of art in the contemporary techno-cultural environment.
作者
吴维忆
WU Wei-yi(School of Arts,Nanjing University,Nanjing,Jiangsu 210093)
出处
《艺术百家》
CSSCI
北大核心
2022年第6期18-27,共10页
Hundred Schools In Arts
基金
2020年度国家社科基金艺术学重大项目“艺术学理论的跨媒介建构及其知识学研究”(项目编号:20ZD27)阶段性成果
中央高校基本科研业务费专项资金项目“跨媒介的表演性与艺术的空间生产”(项目编号:0115/14370106)阶段性成果之一。