| This thesis takes "The visual art of Europe and since the middle of the 20th century" as the research object,analyzes and studies the breakthrough and development of the visual art in this period,try to understand and sum up "Aesthetic construction" of postmodernism.In the second half of the last century,Post-modernism Visual Art of Europe-America completed the postmodernism aesthetic construction from "Aestheticism" and "Formalism" to "Truth-seeking"and "Diversification",during this period,Post-modernism Visual Art of Europe-America turned from focusing on formal language to cultural criticism,and had typical conceptualization.The aesthetic reconstruction of Visual Art of Europe-America and in this period stems from the dilemma of the development of modern art as a whole:in the process of Art language development in pursuit of "Pure form",the subject falls into the stylization of cognition,and led to formalism aesthetic fatigue.In order to avoid the fate of being objectified,Art forsakes material noumenon and goes on the way of philosophizing,but this also leads it to another difficult position:Art and life are completely separated,form and idea tend to split,based on the traditional aesthetic logic of "Art" itself has been deconstructed,Art in the traditional thinking framework of the existence of the basis is questioned.Visual Art of Europe-America is in this predicament to launch self-reflection,and continue to practice and explore its way forward.Through the analysis and research of post-modern visual art,it can be seen that postmodern and contemporary Visual Art of Europe-America have generally transcended the subjective perspective since the middle of the 20th century.They pursue the return of human nature in their artistic concepts.Their works show the aesthetic characteristics of antiessentialism,respect for individual and nation,and concern for subtle perspectives.Since the second half of the last century,the concept of progressive art history no longer dominates the era.The Visual Art of Europe-America has surpassed the definition of modern art stylism,and the division between mainstream and non-mainstream has been weakened.The visual art field has shown the diversity and planarization of non-centralism.The aesthetic construction of Visual Art of Europe-America has created a pluralistic and free artistic atmosphere,creating a broader space for the development of visual art in the contemporary and future.The main contents of each chapter of this thesis are as follows:The introduction defines the "research object and time" of this article based on the historical development of western post-modern theory and the development of Visual Art of Europe-America.In "the origin of the problem" and "the purpose and significance of the research",it introduces the problems and puzzles in the development of contemporary art at home and abroad,and clarify that studying the aesthetic constructs of postmodern visual art in Europe and the United States since the mid-20th century is open to inspiration and positive significance for our understanding of the current state and future of contemporary art.The study of the aesthetic constructs of postmodern visual art in Europe and the United States since the mid-twentieth century is an open-ended revelation and a positive meaning for our understanding of the current state and future of contemporary art.The "Literature Review"section not only includes the "aesthetic analysis of European and American visual arts since the middle of the 20th century" in the historical context at that time,but also includes the achievements of the "aesthetic research of Visual Art of Europe-America phenomena" in the contemporary context,so as to ensure the comprehensiveness and objectivity of the research as far as possible.In addition,the introduction also gives a basic overview of the main research methods and research ideas of the paper.The first chapter introduces the context of the emergence of post-modern Visual Art of Europe-America after the middle of the 20th century from two aspects.First of all,it traces the theoretical origin of the "post-modern situation",combs and distinguishes the relevant concepts in the "modern" and "post-modern" fields,and analyzes their connotation and relationship.Secondly,it introduces the "modernity reflection" of European and American visual arts since the 20th century,especially in the middle of the 20th century,and its specific performance:Marcel Duchamp placed the existing daily objects in Fountain,and challenged the traditional artistic ontology.Duchamp’s critical reflection aroused great concern in the field of European and American aesthetics after the 1960s.If the proposition that "formal beauty is the first element of works of art" is established,then people must recognize the artistic status of his work Spring.The new artistic language and concepts involved in this work will also have the legitimacy of art history,and indicate that art development has entered a new era.Andy Warhol challenged the "boundary between art and life" by using the ready made replica Brillo Box,forcing people to re-examine the social and cultural values contained in ordinary things.The ontological status of "form" language in modernist visual art was once again thoroughly questioned.The following conceptual arts,such as poverty art,earth art,and social sculpture,have eliminated the tangible carrier of traditional visual art,and artists holding post-modernism aesthetic standpoint have paid attention to the concept of social and cultural criticism.They break through the traditional aesthetic paradigm in "gazing at and reflecting on modern art itself".In the process of arguing with modernist visual art,conceptual art clarified its position of "reflecting modernity",which opened the prelude to the aesthetic construction of post-modernism visual art.The second chapter is a theoretical analysis of European and American visual artists and exhibition presentation since the 20th century,focusing on the way of viewing beyond the subject.Their open and transcendent perspectives are mainly reflected in the following three aspects:First,the concept of continuous time.The time factor is one of the components of the way art is viewed.Compared to traditional painting,European and American visual artists after the mid-20th century generally held a "dynamic,evolving concept of time.In this section,I choose to explain the ideas of post-modernism visual artists such as Giacometti and Lopez in detail.Artists take the initiative to visualize the time factor,which makes their works show a completely different spirit from traditional painting.2、Perception rather than cognition,the easel paintings that became popular in Europe and the United States in the 1950s and again thereafter show us a renewed concern for the real world in the postmodern aesthetic era.Visual artists extended their perception of the world to the specific corners under the grand narrative of modernism,and many scattered images of daily life entered the realm of artistic expression in the most direct way,and the figurative world once disdained by mainstream art glowed with a strange new light in the works of postmodern artists.The strangeness of their aesthetics brings us a different kind of heartbeat.All of this stems from a new aesthetic position and a way of viewing beyond the subject,which is the artistic pursuit actively chosen by the postmodernist artists.3、Open generation of works of art.The aesthetic emphasis of post-modern and contemporary visual art includes both "how we look" and "what we see".From the performance of atonal music to virtual image devices,new media in visual arts expand the aesthetic dimension from the technical level,and reconstruct the relationship between works and audiences.This kind of visual art works is dominated by artists in the original stage of creation,and the audience is involved in the exhibition link.In the visual art installations provided by artists,audiences from different backgrounds can obtain different feelings and spiritual enlightenment.For works that break through the perspective of the subject,the generation of their existing ways has unlimited openness.As a result,the existence of works has become a comprehensive process involving time,space,historical and cultural accumulation and other factors.These three aspects constitute the thinking and viewing mode of post-modernism visual art beyond the subject.Thought determines the perspective,and the position of reflection decides to break through the conventional way of viewing.This breakthrough perspective has become a powerful support for the constructive post-modernism aesthetics.It determines that the European and American visual arts returning to the real world will not return to the origin of traditional art aesthetics,but create a new and exotic post-modern visual landscape.The third chapter takes "human nature and reality" as the theme to investigate the presentation and spiritual temperament of post-modern visual arts in Europe and America from five perspectives.After World War II,European and American artist groups began to constantly tap materials and innovative language from new real life.New visual arts either criticized classics in form,released emotions in spirit,or accepted themselves in reality,and returned to nature in materials.Behind these visual presentations and spiritual qualities is the all-round pressure exerted on people’s body and mind by the efficient,rational and orderly modern society,while art bears the responsibility of self-salvation of people’s spiritual reality.Running away from the powerful subject hegemony of rational order,the post-modern visual art in Europe and America has formed different tracks of "art returning to the real world":farewell to the painterly abstraction of hard edges,new representational painting representing the new dimension of"reality",schematic expression of daily life,new expressionist painting focusing on the"physical" and spiritual metaphor of works,and unformal art returning to the symbolic world.These paths of returning to human nature and the real world in art once again confirm the natural umbilical cord relationship that can not be separated between human beings and the homogeneous natural world of their noumenon.When we regard everything as an object for exploitation and unlimited grabbing,and after two world wars in which we fought for control over resources,we fell into a reflection on the development of the subject itself and the overall civilization.The fourth chapter further reveals the aesthetic commonness of post-modernism visual arts in Europe and America on the basis of the investigation and analysis of the second and third chapters.In the middle and late 20th century,visual art shifted from focusing on "formal language noumenon" to critical expression of post-modern and contemporary culture.Artists and audiences left from the dualistic opposition model of creation and aesthetics respectively,which created a pluralistic atmosphere for the development of post-modern art.These free visual art forms contain the common features of aesthetic culture:the ontological perspective of anti-essentialism and the criticism and development of grand narrati ve.The development and evolution of human culture shows that the ontological existence of art is always based on people’s reflective activities.Only when people reflect on themselves and the outside world,and question the value and significance of art,can the ontological existence of art be revealed.Looking back at history from the present,the development of visual art ontology has experienced a process from classical ontology(imitation),romantic ontology(performance),language ontology(form),to critical ontology(culture).After the middle of the 20th century,European and American visual artists recognized the fluidity of time and the dynamic relationship between things.They insisted on the ontological perspective of post-modernism and opposed the search for the invariable essence of art,but they never opposed the search for"what art is".The pluralistic post-modernism art ecology provides the most possible environment for the development and reconstruction of art ontology in the new era.The fifth chapter demonstrates the continuation and development of post-modern Visual Art of Europe-America from the perspective of concept,language and technology.Specifically reflected in:First,the diversity of time and space.After the 1990s,the unsynchronized development of visual art concepts and language emerged in the pattern of world integration.In the globalized art ecology,pluralism is not only reflected in the diversity and flatness of language,form and style,but also in the asynchronous development of postmodernism theory in different regions,nationalities and cultural backgrounds.Throughout the Kassel Document Exhibition since 1987 and the Venice Biennale after 1993,the theme of the exhibition,the composition of the curator team and the artists participating in the exhibition have broken through the central mode of Europe and the United States.This understanding of the temporaland spatial diversity of contemporary art provides important inspiration.2、Comprehensive sensory experience beyond vision.The development of information technology and scientific and technological media has extended the concept expression category of traditional art and expanded the aesthetic perception range.Contemporary art has become a comprehensive sensory experience beyond vision in aesthetics,which further deepens the idea and spiritual pursuit of post-modernism visual art to return to the real world.In the face of the changing and developing real world,contemporary art has the fastest reaction and action power.3、Pay attention to the aesthetics of language and materials.Contemporary visual art never deviates from the concept,but pays more attention to the aesthetics of language and material in the expression of the concept.On the basis of post-modern aesthetics and social culture,contemporary cross media visual art has developed a new artistic language using contemporary science and information technology,and created an integrated and comprehensive aesthetic experience.Behind it is not only the human memory of its early civilization,the subconscious tracing of the original blood relationship between man and nature,but also the acceptance and recognition of various new changes in the real world.It can be seen from this that although contemporary art has a cold and small sense of distance on the surface,it has the greatest tolerance and acceptance in its deep aesthetic connotation.In general,since the middle of the 20th century,post-modern Visual Art of EuropeAmerica has been an all-round expansion of the existing way of traditional art noumenon,such as painting and sculpture.It has gone through the process of criticizing modernism visual art,and finally completed the aesthetic construction of post-modernism visual art.The new visual art contains typical conceptual factors,has a perspective of transcending subjectivity and a posture of actively returning to the real world,has the commonness of anti-essentialism and resisting grand narrative in aesthetics,and presents aesthetic diversity.The development of post-modernism visual art in Europe and the United States has provided us with positive enlightenment today:the new visual art reflects the parallel relationship between the subject and the world in essence,and its ontological existence presents a diversified possibility without center.No matter how it evolves in the contemporary era,compared with classical and modern visual arts,it shows a more peaceful,tolerant,calm,calm and confident attitude. |
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