Abstract Expressionism Reexamined

重新审视抽象表现主义

基本信息

批准号：
07610050
负责人：
FUJIEDA Teruo
金额：
$ 1.15万
依托单位：
Musashino An University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
1995
资助国家：
日本
起止时间：
1995 至 1996
项目状态：
已结题

项目摘要

This study addressed primarily painting in terms of the following three aspects.(1) Technical aspects : Abstract expressionist works are painted by a technique in which a raw canvas support is put on the floor for pigments to penetrate into it. This technique is similar to Japanese or Chinese traditional painting techniques, for example Mokkotsu-hoh (a technique of creating shape without line). I researched this technique in comparison to Japanese and Chinese Paintings, and received information on actual practices from a few painters.(2) Formal aspects : In relation to (1), it generally understood that works of abstract expressionism are structured spatially as a single image that a global unity covers the surface by factors including lines and colors. However. these factors are gasped as a structure of line existing in the presence of images which no longer comprise the entirety of the works. I analyzed this as neither continuing nor circulating time but as coexisting time, something with not exactly a Japanese or Asian factor, but that gas nonetheless a different spatial structure that traditional occidental expression.(3) Social aspects : Abstract expressionists. Particularly critics influenced by the movement, employed Marxism in their youth but concentrated on the art itself after the rise of Stalinism. Their abstractions with no message are thus criticized as connected with polities in the context of Coldwar culture. However, while artists participated in national cultural projects, these politics have no relation to their artistic outdoes and ethics, After obtaining testimonies from some participants, I am prepared to object to this criticism.

本研究主要从以下三个方面来探讨绘画。(1)技术方面：抽象表现主义作品的绘画技术是在地板上放置一块原始的画布支撑物，让颜料渗透到其中。这种技术类似于日本或中国的传统绘画技术，例如木骨法（一种不用线条创造形状的技术）。我将这种技术与日本和中国绘画进行了比较研究，并从一些画家那里获得了实际实践的信息。（2）形式方面：相对于（1），人们普遍认为抽象表现主义作品在空间上被构造为单一的想象一下，全球统一体通过线条和颜色等因素覆盖了表面。然而。这些因素作为一种线条结构存在于图像中，而图像不再构成整个作品。我将其分析为既不是连续的也不是循环的时间，而是共存的时间，不完全是日本或亚洲因素，但它仍然产生了与传统西方表达不同的空间结构。（3）社会方面：抽象表现主义者。特别是受该运动影响的批评家，在年轻时就采用了马克思主义，但在斯大林主义兴起后则专注于艺术本身。因此，他们毫无信息的抽象被批评为与冷战文化背景下的政治有关。然而，虽然艺术家参与了国家文化项目，但这些政治与他们的艺术表现和道德无关，在获得一些参与者的证词后，我准备反对这种批评。