A Study On The Image Perception Of "Objects" In Minimalist Art

In the 1960 s,there seemed to be a huge gap between modernism,which focused on form and media abstraction,and postmodernist conceptual art,and studying the internal evolution of minimalist art between this period is in fact a search for answers to the key factors connecting postmodernism.Minimalist art,from its understanding of the structure of "things" to perceptual phenomena,has contributed to the process of postmodern art and to a new aesthetic system.The author finds that the key to this great achievement lies in the deep expansion of the image perception of "things",which is the result of a joint experience of sensory and perceptual processes.In the long history of human beings,the meaning given to"things" often transcends the thing itself and becomes an object that only serves people,leading to the solidification of the thingness.When a blank canvas or a cube began to be exhibited as a work of art,the meaning of object was pushed to the tip of the wave,and the minimalist artists realized that they should pay attention to the object itself and start from the phenomenon to awaken people’s self-awareness and perception.Significantly,Minimalist art can be understood as a contested domain-specific practice,a collective practice that deliberately abandoned the perceived "visual" and "formal" interpretative scope of modern art and moved toward "perception" and "time.perception" and "time"in order to achieve a change in philosophical thinking or aesthetic order.This is not only a retrospective of minimalism,but also a question of how art creators should objectively deal with the image of objects in today’s fast-consuming society,as well as a reflection on the mode of existence of daily life hidden behind the image of "objects.In the first chapter of this paper,I provide a systematic overview of the origins and historical background of minimalist art,and at the same time synthesize the relevant literature from home and abroad,compiling the theoretical and creative literature as well as the possible shortcomings.Chapter 2 is the core chapter of the study on the image perception of "things" in Minimalism,in which the model of perception is established from "things" as the perceived objects,and the "image perception of things in the structure" and "things in the knowledge" are discussed respectively."First,we trace the nature of objects and a series of "sensory processes" such as formal logic,structure,shape,sequence,color,etc.,in an attempt to understand the internal information of "objects".The first is to trace the essence and formal logic of the object,its structure,shape,sequence,color and other"sensory processes",trying to deconstruct the internal information of the object.Secondly,the special image of "object" is treated secondly,that is,several typical features of "perceptual process" are used to elaborate,and the concept of new theater proposed by Michael Freed is used to support the experience of phenomenal space;then the body,time and space are analyzed from several aspects.It also analyzes the interpretation of the external environment in the process of perceptual experience by the image of "object" in several aspects.Chapter 3 reflects on the use of the image of "things" in minimalist art and perceptual phenomenology,citing its influence on minimalism,the emancipation of"things",and the perceptual awakening of the subject.At the same time,this chapter analyzes my perception and understanding of "things" in my own works in relation to the core of the thesis and my own artistic creations,showing my construction of the image of "things" and my artistic attitude after studying Minimalist art,and developing an understanding of objects,space and the body in the context of the current times.I develop a new reflection on the experience of objects,space and body perception.