摘要
在传统艺术中 ,艺术追求的是高于生活的理想化、典型化和崇高化 ,早期现代艺术对传统艺术的反叛 ,大都只是将艺术家的主体精神和形式、语言的探索推向了极致 ,但仍然维护的是高雅艺术的精英性质。当马塞尔·杜尚将命名为《泉》的小便器送进艺术的圣殿———美术馆 ,彻底颠覆了亘古不变的艺术真理 ,达达主义对艺术原则的动摇 ,为波普艺术、新波普艺术的滥觞提供了基础。波普、新波普艺术让艺术从高高的神坛走向生活 ,在消解了艺术与生活的界线 ,使艺术大众化、商业化的同时 ,也使其彻底丧失了精神价值。在高消费主义的商业社会 ,在艺术理想匮乏的时代 ,艺术家只能把自己变成机器 ,去迎合、认同、生产、复制所有的流行时尚 ,并最大限度的去获取商业利润和争取“15分钟的成功。”
Traditionally, arts are manifestation of idealization, classicality and loftiness that surpass life. In the times the rebellion of traditional arts against the modern ones mostly touched the artists' main spirits, forms and the language exploration. But it still maintained the consummate quality of the elegant arts. When Marcel Duchamp had the porcelain urinal entitled Fountain exhibited in the art gallery——the palace of arts, the permanent truth of arts was completely overthrown. The fluctuation of art principles caused by Dadaism established the origination for pop arts and new pop arts. Pop arts and new pop arts have made arts enter people's everyday life from the altar. When the borderline of life gets faint and arts become popularized and commercialized, arts will surely lose their spiritual value. In the commercial society of high consumption, in the era of the lacking of art ideals, artists,as machines, can only cater to, identify,produce and copy the fashions, and gain commercial profits and “succeed in 15 minutes”.
出处
《贵州大学学报（艺术版）》
2004年第2期29-32,共4页
Journal of Guizhou University Art Edition
