我拍故我在——以观光文化为例看当代艺术的文化塑形性  

I Take Photos Therefore I Exist:Considering Culture Shaping of Contemporary Art with Touristic Culture as an Example

作　　者：梁丽霞[1] Liang Lixia

机构地区：[1]天津美术学院艺术与人文学院

出　　处：《天津美术学院学报》2016年第6期105-109,共5页Northern Art:Journal of Tianjin Academy of Fine Arts

摘　　要：当代艺术要做的并不仅仅是简单呈现消费景观,而是要通过反思消费文化,达到一种警醒的目的,从而提醒人们生活在这样一个消费社会和广告时代中,人们的判断很容易动摇,很难有自己独立思考下的判断,消费文化对人的影响强大而且不易察觉,就商品的消费本质来说,实际是一种视觉的消费。这里的消费不仅仅指对于物质商品的消耗,也包括作为消费行为的观光旅游。杜安·汉森创作的"游客系列"、贾斯珀·琼斯对于国旗和地图等符号意义的思考、法国画家杰拉德的作品城市抽象景观风格系列等等,要做的并非是对消费景观的简单呈现,而是以观光文化为一个切入点,对整个消费文化进行反思,从而起到警示作用,提醒我们对流行文化进行自主的选择,避免盲从于广告图像的观念导向,最终获得真正符合自身精神需求的生活方式。Contemporary art’s responsibility is not only to simply present the full view of consumption, but also to achieve the purpose of awakening people and reminding them that living in such a consumer society and advertising age, they can’t have independent and stable judgments. The influence of consumer culture on human beings is great but not easily perceptible. In terms of commodities’ nature of consumption, consumption is visual. Here, consumption includes not only that of material commodities but also sightseeing tours as consuming behaviors. Duane Hansen’s “Tourist series”, Jasper Jones’s thinking of national flags, maps and other symbols, the French painter Jellard’s urban landscape series do not try to simply present the full view of consumption, but reflect on the whole consumer culture with touristic culture as an entry point, so that they may play a warning role to remind us of our autonomic selection of fashionable culture and avoid blindly following the conception orientation of advertising images and finally attain the life style that conforms to our own spiritual needs.

关 键 词：炫耀性消费 视觉消费 观光文化 文化塑形 

分 类 号：J05[艺术—艺术理论]