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随着象征人类学的诞生,运用人类学的象征理论对艺术体系的研究工作也逐渐在扩大与行进当中。随着时间的流变,对当代艺术现象的关注与讨论也开始变得激烈,本文以独特的人类学视角,运用象征理论对任小林为代表的当代美术现象进行解读。一、当代美术现象与象征人类学所谓当代美术现象,并不是美术作品。崔自默在其《当代美术现象刍言》中提到:“说是‘当代’,尤指目前;而美术现象,又非孤立发生,乃紧密联系并间接反映着社会生活之众多方面,客观的与主观的诸端因素错综其间,难以尽言。”全国许多地区,效仿北京的“798”
With the birth of symbolic anthropology, the research on the art system using the symbolic theory of anthropology is also gradually expanding and marching. With the change of time, the concern and discussion about the phenomenon of contemporary art began to become fierce. This article uses symbolic theory to interpret the contemporary art phenomenon represented by Ren Xiaoling from a unique perspective of anthropology. First, the phenomenon of contemporary art and symbolism Anthropology so-called contemporary art phenomenon, not a work of art. Cui Zi-mei mentions in his “Rumination of Contemporary Art Phenomena” that: “It is” contemporary “, especially at present; while the phenomenon of art, not isolated, is closely linked and indirectly reflects many aspects of social life, objectively It is difficult to make a full statement of the factors that are subjective and subjective. ”“ Many parts of the country follow the example of Beijing’s ”798"