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汉斯·贝尔廷(Hans Belting)在20世纪80年代关于“艺术史的终结”问题的阐述向来在艺术学界饱受争议。作为回应和补充,贝尔廷在90年代用“图画”与“框架”的关系喻证艺术事件与艺术史书写之间的关系,用“破框”来代替“终结”;同时,针对当代艺术状况,积极倡导和研究“全球艺术”。本文以汉斯·贝尔廷的“艺术史的终结”与“全球艺术理念”两个重要命题为基础,梳理当代艺术、全球艺术与艺术史叙事之间的关系,探讨贝尔廷当代艺术思想在发展中的转换和连贯性,并试图说明其理论对当代艺术研究的重要意义。
Hans Belting’s elaboration on the “end of art history” in the 1980s has always been controversial in the academic field of art. In reply and supplement, Bertin used the relationship between “picture ” and “framework ” in the 90s to prove the relationship between artistic events and art history writing, instead of “broken frame At the same time, aiming at the current situation of contemporary art, we actively advocate and study ”Global Art “. Based on the two important propositions of ”End of Art History“ and ”Global Art Idea" of Hans Belting, this paper combs the relationship between contemporary art, the narration of global art and art history, The transformation and coherence of artistic thought in development, and tries to explain the significance of its theory to the study of contemporary art.