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在女性主义艺术作为一个术语被提出前,女性艺术实践一直存在,只是碍于社会形态、评价机制、权力话语等因素的影响,其对自身身体的呈现总是表现得相当低调、沉寂且神秘。待女性主义艺术作为一个历史事件发生以来,其一改女性艺术实践行事作风,凭借先锋性和前卫性不仅扭转了传统艺术格局,而且丰富了人类文明经验。文章拟从身体、身份、性别等主题词介入,分阶段展示中西方女性主义艺术实践的同时,旨在强调其在空间审美观念及视觉形态转型过程中明显存在相似性及共通之处。
Before feminist art was put forward as a term, the practice of feminine art had existed only because of the influence of social formation, evaluation mechanism, power discourse and other factors. It always showed a rather low profile, quiet and mysterious appearance to the body itself. Since feminist art as a historical event has changed its practice of acting style of female art, by virtue of avant-garde and avant-garde, not only the traditional art pattern has been reversed, but also the experience of human civilization has been enriched. In the meantime, the article intends to intervene with the keywords of body, identity, gender and so on, demonstrating the artistic practice of Chinese and western feminism in stages, and at the same time aims to emphasize the obvious similarities and commonalities in the process of spatial aesthetic conception and visual modality transformation.