摘要
作为抽象表现主义的重要画家,巴内特·纽曼在创作的同时发展了一套批判性的绘画哲学。从“绘画之死”的历史论断出发,纽曼试图找到纯抽象和超现实主义之间的第三条道路,他一方面将主题确立为绘画的真正对象,另一方面又用血浆图像来对抗形式之美。在确立其“拉链”风格的实验过程中,纽曼通过不断地呈现起源,形成了一种错时论的历史观,制造出原始主义和先锋派的辩证图像。而在“崇高即此时”的命题下,纽曼将崇高引向了当下在场的位置感,这被利奥塔阐释为事件之空位的呈现。由此,纽曼的作品既在时间上召唤艺术史的重新开始,也在艺术上标志着事件的当代转向。
As an important painter of Abstract Expressionism,Barnett Newman developed a critical philosophy of painting.Starting from the historical judgement of"the death of painting,"Newman sought a third path between pure abstraction and Surrealism.He established subject matter as painting's true object while opposing plasmic image to formal beauty.In the experiment of establishing his"zip"style,Newman continually presented origins,forming an anachronistic view of history which produced dialectical image of primitivism and avantgarde.Under the proposition"The Sublime is Now,"he brought the sublime to the sense of present presence,which is interpreted by Lyotard as the manifestation of the void of event.Thus,Newman's work temporally invokes a new beginning of art history and artistically marks the contemporary turn of event.
出处
《美术观察》
北大核心
2026年第2期71-82,共12页
Art Observation
关键词
巴内特·纽曼
抽象
错时
崇高
事件
Barnett Newman
abstraction
anachronism
sublime
event
