| Between 1950s and 1960s, major western developed countries have all entered the social stage with consumption-oriented productions, the so-called "consumer society". In the 1990s, China has also stepped into consumer society. Popular and mass culture has launched an unprecedented attack upon traditional art modes. The representation of consumption spectacle has become a popular genre among contemporary artists. As a new art media, photography has become the expressive means of many avant-garde artists, and has taken on the responsibility of representing modern life. This dissertation deals with the interactive relationship between modern photography and consumer society through historical background analysis and case analysis.In the first part, the dissertation explores the relationship between consumer society and consumer spectacle and the role contemporary artists play in the interference and debate of the consumer society through representing the consumer spectacle. The second part reflects the new characteristics of contemporary art through analysis of consumer culture and pop art. The third part mainly focuses on how photography take on the responsibility of presenting modern life as a new art media, and through the cases studies of representative photography artists, it analyzes the interaction between photography art and consumer society:the reality of consumer society carries significant implication for contemporary art. Photography, as an important part of contemporary art, has also been actively engaged in the interpretation of consumer society. The forth part discusses the unique interaction between Chinese photography art and consumer society, and tries to interpret the meaning and implication of representative artworks through image and sociological analysis. In the conclusion it presents the author's own reflection on the interactive relationship between photography and consumer society and some further reflection on her own photographic practice. |
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