The Influence of Western Modern Art on China Art

1. The disintegration of modern art originated from western art along the ancient Mediterranean coast (Egypt, Greece and West Asia) and showed signs of transformation in the late19th century. After entering the 20th century, this symbol has become the mainstream of western art, that is, modern western art..

Western modern art can be regarded as a building. Composed of various visual styles, the principle of building this building is scientific and reasonable. This is the ideological and cultural core of the west for hundreds of years, and what we lack here. Westerners have made rapid progress in technology and social management with these; However, it also brings limitations, which is part of the vitality of life. For example, the attraction of nature is indispensable to both men and women. If we only consider and calculate from the perspective of position, income and family status, we will have a rational attitude, but our feelings will be affected. Therefore, wherever human emotions and spirits are involved, we can't just listen to science.

The creation of modern art is inseparable from scientific thought, structuralism and cubism, industrial technology thought and futurism, de stijl, mechanical manufacturing form and Dadaism mechanical sketch painting, Freud's dream interpretation theory and surrealism, and irrational abstract expressionism of rational means. All this is the result of the joint efforts of science and art People regard artistic creation as a routine creative process, allowing artists to draw drawings and factories to produce them accordingly. At that time, many artists engaged in various industrial and material experiments, invented new synthetic materials, used mechanical devices to become the power system of their works, and acousto-optic electromagnetism became new artistic resources. The following artistic activities can illustrate the situation at that time:

(1) OPArt is an experimental art of psychology based on optical knowledge. The creators create dynamic light and color effects through accurately corrected colors and geometric figures, and the representative artists are Bridgei Riley and Vasa-relev.

(2) Few arts (ninlallsn 1) are characterized by the industrialized production of artistic works and the pursuit of mathematical accuracy. The representative figure is donald judd, whose works are usually repetitions of the same unit.

(3) "Kinetic Energy Art", many representative figures, such as Swiss Jean Tit-ian, made a variant painting machine and made a "fragrant variant car" for the first Paris Biennale; Len Iye made moving sculptures with delicate balance and so on.

(4) Light sculpture (Lighi Ari) is another development direction of sculpture, and its form is similar to neon advertising. The representative figure is the young artist Dan Flavin.

(5) 1966, the new york armory held the "Art and Engineering" experimental exhibition, which exhibited many works of art designed by high-tech means, thus promoting the close cooperation between artists and scientific and technological workers. Subsequently, the' Art and Technology Experiment' organization was established, with 3,000 participants.

There are more similar activities, which frequently appear all over the world, forming a trend. For example, new york Museum of Modern Art has an exhibition of "machinery", Whitney Museum of Art has an exhibition of "light", London has an exhibition of "the power of machinery" and Los Angeles has an exhibition of "industry". The power of science and technology has developed from intermediary art to dominant art, while modern western art has created new achievements with the help of scientific power, it has also sent itself to the point of no return.

The following artists are representatives of the combination of 1960s art and industry:

(1) Barnett-man is an abstract color surface painter, who made a single color block in an almost repetitive way.

(2) David Sitis (1906 ~ 65), a metal sculptor, worked as a welder in a military tank factory in his early years, and later developed a steel sculpture, which provided the audience with its mechanical quality and had no practical function.

(3) The painter Franckenthaler (1928-), who combined performance art with color abstraction, reused abstract expressionist resources and turned art into the expression of some physical information. (4) Frank:tLixlla (1936-), a painter with black stripes, used copper and aluminum to explore different shapes of canvas.

Second, the nature of modern art Some scholars have summarized the history of western art into three stages, namely, pre-modernity, modernity ... post-modernity. In this method of staging, all arts are determined around "modernity", and "modernity" has become the coordinate for dividing history. This staging method is simple and easy to remember, so we might as well cherish it.

In an article about Japanese postmodern culture, NaOki SakiIJi, a Japanese literary theorist living in the United States, said: "The sequence of pre-modernity, modernity and postmodernism implies a time series, which we must remember has always been combined with the geopolitical structure of the modern world. Now it is well known. This order is basically the historical framework of 19 century, through which people can understand the position of nationality, culture, tradition and race in this system. " The division of the official stage is not purely temporal, but intertwined with space. This means that at the same time, different regions may be in different stages of civilization; For example, in the19th century, China was a feudal monarchy, and the west had already entered capitalism. So some people say that all contemporary art is contemporary art: this is wrong. At present, many works of art in our national exhibition do not have the characteristics of contemporary art, or even modern art, which is the result of regional differences between East and West.

Whether it is "pre-modernity" or "post-modernity", it is possible to have opinions after comparing with "modernity". It is the premise of this comparison to find out what "modernity" is. We can observe the reasons for the transformation of "modern art" from two angles.

One is the angle of style and form, which is a concept of quantity. Theoretically, we can calculate the number of visual forms and styles created in the stage of western modernism, which is many, several times more than any previous era, and incomparable to the sum of existing artistic forms and styles in China.

The other is the perspective of values. The so-called value is the standard of what is good and what is not good. Value is a very important qualitative concept. Different values lead to different evaluation results. For example, if you watch today's Chinese paintings with the value of Ming and Qing literati, you will feel that today is not as good as before.

Looking at modern art from a quantitative perspective, we will find that western artists have made great efforts in many aspects in just over half a century. The spirit of all-round exploration has practiced all kinds of possibilities for the transformation of art forms (easel art), and even left little room for future generations to explore. The revolution was successful, and comrades did not have to work hard. Later artists had to find another way.

Looking at modern art from the perspective of value, we will find that it basically belongs to the category of elite culture, can adhere to the integrity of elegant art, and disdains interacting with ordinary people. This concept is essentially a derivative of aristocratic culture in history, but society has changed, and spiritual nobles have lost their hereditary territory and have to work hard in the world.