融合与突围——论图像时代下的影像绘画

Integration and Breakthrough—Photographic Painting in the Image Time

在新兴技术出现时,传统产业往往受到冲击,但最终一定会在碰撞中产生出一条新的道路。自上世纪60年代起,绘画与摄影两种艺术的相互交融和借鉴已成为一种长期的文化现象,由此诞生了一种新的绘画表达方式——影像绘画,其参照影像的虚化模糊、低饱和度的灰色调、消除分离与重构、曝光与负片感等图式特性进行艺术创作。通过探讨摄影术与架上绘画的关系梳理影像绘画的诞生和发展,以格哈德·里希特、乌维·维特沃和凯伊·多纳基等艺术家的影像绘画作品洞察不同身份创作者在影像绘画领域如何在保有传统绘画的基础上适应新媒体技术冲击下的市场,借此启发文化艺术在当下人工智能技术力图革新时代的社会背景下突破和共存的着力点。

When emerging technologies appear, traditional industries are always impacted, but eventually a new path is bound to be generated in collision. Since the 1960s, the intermingling and borrowing of the two arts of painting and photography has become a long-term cultural phenomenon, resulting in the birth of a new way of painting expression, Photographic Painting, which refers to the graphic characteristics of images such as vignetting and blurring, low-saturation gray tones, elimination of separation and reconstruction, exposure and negative style. This paper will explore the relationship between photography and easel painting to understand the birth and development of Photographic Painting. In this paper, we will explore the relationship between photography and easel painting to understand the birth and development of Photographic Painting. Through the Photographic Paintings of artists such as Gerhard Richter, Uwe Witwer and Kaye Donachie, we will gain insight into how creators of different times, national boundaries and gender identities have adapted to the market under the impact of new media technology in the field of Photographic painting while maintaining the traditional painting, thus inspiring how culture and art will break through and coexist in the current social context where artificial intelligence technology seeks to revolutionize the era.