“后历史”时代的艺术史写作——托马斯·克洛与20世纪60年代的异见艺术  

The Writing of Art History in the“Post-historical”Era:Thomas Crow and the Art of“Dissent”in the 1960s

作　　者：蒋苇 Jiang Wei

机构地区：[1]浙江大学美学与批评理论研究所

出　　处：《美术》2020年第1期128-133,共6页Art Magazine

摘　　要：在20世纪60年代的西方艺术界所出现的诸种新艺术形式,既突破了传统艺术形态,又挑战了艺术史既定的阐释体系和价值评判标准,使艺术进入了“后历史”时代——即艺术史不再成为具有宏大叙事意味的历史。至此,如何阐释、评价60年代的作品,书写一部历史,则成为艺术史学界的难题。托马斯·克洛撰写的《60年代的兴起——异见时代的欧美艺术》以文化学的研究方法和研究视角,依托社会文化语境,试图建立一部关于60年代“异见”艺术的多元历史。本文分析了这部60年代艺术史的理论立场、阐释方法及写作策略,并提出托马斯·克洛通过建构一套阐释框架,回击了对60年代的消极解读,肯定了60年代的文化艺术成就,使他的艺术史写作也成为了前卫行动。In the 1960s,various new art forms emerged in the western art world,which not only broke through the traditional art form,but also challenged the established interpretation system and value evaluation standard of art history,making the art enter the“post-historical”era,that is,art history was no longer a history with grand narrative significance.At this point,how to interpret and evaluate the works of the 1960s and write a history has become a difficult problem in the field of art history.The Rise of the Sixties:American and European Art in the Era of Dissent by Thomas Crow,based on the social and cultural context,attempts to establish a diverse history of the art of“dissent”in the 1960s in the research methods and perspectives of culturology.This paper analyses the theoretical positions,interpretation methods and writing strategies of the art history of the 1960s,and puts forward that Thomas Crow countered the negative interpretation of the 1960s by constructing a set of interpretation framework,affirmed the cultural and artistic achievements of the 1960s,and made his writings of art history an avant-garde action.

关 键 词：托马斯·克洛 后历史 艺术史写作 

分 类 号：J205[艺术—美术]