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英国艺术史家赫伯特·里德把西方19世纪中开场的“实验”艺术,称为“现代艺术”。在相当长的时期内,我们都习惯于把这种基于“先锋(前卫)逻辑”的艺术称作“现代艺术”。20世纪60年代出现的一些“后期”或“极端”“现代艺术”(被美国艺评家称为“后现代艺术”),曾几何时悄悄更名为“当代艺术”,这并非偶然,正如在别的领域“现代化”一词悄悄被“全球化”一词所取代一样(参见拙著《全球化与国家意识的衰微》)。因为“主流”说法的变换,都悄悄发生于美国宣传的指挥棒下。
Herbert Reid, the British art historian, refers to the “experimental” art that opened in the West in the 19th century as “modern art.” For quite some time, we are accustomed to calling this art based on the “vanguard (avant-garde) logic” “modern art.” It is not no coincidence that some “late” or “extreme” “modern art” (referred to as “postmodern art” by American art critics) that emerged in the 1960s was quietly renamed as “contemporary art” The word “modernization” has been quietly replaced by the word “globalization” (see my book, “The Decline in Globalization and National Consciousness”). Because of the “mainstream” of the transformation, all quietly occurred in the United States propaganda baton.