水平性何以成为新媒介——克劳斯论波洛克满幅绘画  

How Horizontality Became a Medium:Rosalind Krauss on Pollock's All-over Paintings

作　　者：沈语冰[1] 毛秋月[2] Shen Yubing(is a professor in the Institute of Aesthetic and Critical Theory, Zhejiang University Hangzhou 310058, China)

机构地区：[1]浙江大学美学与批评理论研究所 [2]浙江大学外语学院

出　　处：《文艺理论研究》2016年第5期156-163,共8页Theoretical Studies in Literature and Art

基　　金：教育部规划课题"格林伯格艺术理论与批评研究"[项目编号:10YJA760042]的结题成果

摘　　要：学者罗萨琳·克劳斯认为,杰克逊·波洛克通过在满幅绘画中创造出摆脱具体形象的水平性空间,开创了新的艺术媒介。这一媒介脱离物质的实体层面,成为一套持续发挥效用的模型,启发了之后的极简主义及波普艺术。克劳斯的批评并未完全脱离现代主义的经典理论范式,但同时亦呈现为一种不同于现代主义侧重形式分析的结构主义叙事。其对艺术品的讨论涉及创作者、环境与作品的共同参与,因此显示出比现代主义理论更大的包容性和更强的阐释力度。Art historian Rosalind Krauss argues that Jackson Pollock has introduced a new medium in art practices by creating horizontal space in his all-over paintings. Such a medium has transcended the physical dimension of the object and become a persistent model, which greatly illuminated the subsequent minimalism and pop art. While setting out from a classic modernist approach, Krauss＇s criticism takes on a Structuralist outlook different from modernism. Centering on the co-participation of the artist, the environment and the work, her observation is more inclusive and powerful as a method of interpretation than modernist theories.

关 键 词：杰克逊·波洛克 罗萨琳·克劳斯 格林伯格 水平性 视觉性 媒介 

分 类 号：J205[艺术—美术]