矛盾的窥视—论费舍尔的艺术
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摘要
从19世纪末到20世纪五六十年代，西方现代主义运动对形式的探索走到了自己的一个象牙塔里。抽象表现主义艺术家们甚至把绘画从架上、画布上挪下来，极大弱化了色彩、图像、结构等传统绘画因素，并且认为架上绘画已经没有意义，甚至扬言绘画已经死亡。现代主义极端的追求个性，语言的纯粹性和不可重复性，虽然回归到了艺术本体，但它的发展越来越像科学发明，人们终日面对冷漠呆板的艺术已感到厌烦，艺术家逐渐意识到现代主义和人类的情感越来越远，五六十年代后现代主义逐渐兴起，它表达了人们对于人性化，自由化的追求，后现代主义认为艺术即生活，艺术的表达方式是矛盾性与复杂和多元化的统一。到了七十年代末，欧洲艺坛开始出现了以德国表现主义为先锋的复苏态势，在这种新的绘画运动的影响下，美国出现了一批绘画群体，被称为“新表现主义”“新写实主义”“新象征主义”“具象表现主义”“涂鸦艺术”等的艺术形式，并逐渐成为了美国绘画艺术的主流。在这种背景下，艾瑞克费舍尔（Eric Fischl)顺应了这一潮流，他探索艺术发展的道路，以其独具特色的视角揭示了美国中产阶级生活的内在矛盾性，他的作品常常涉及到关于隐私和禁忌的题材创作，由此把观者带入了一个矛盾与尴尬的处境，并激起观者进行深刻的反思，从而意识到他们所面临的问题严重性。他的艺术复杂而矛盾、严肃而又戏谑、深刻而又庸俗、伤感而又快乐，这些种种模糊的、不确定的元素相互交织在一起，在画面上相互冲突和碰撞，显示出典型的后现代主义文化的特征。
在当代国际艺坛上，费舍尔虽是最富有独立性的具象画家之一，然而与其成就相比，国内对其进行系统研究的人或专着比较少见，本人搜集到的关于他的资料大多是对其的访谈的翻译和评论，仅搜集到两篇他的研究性的资料，分别是通过分析费舍尔的艺术作品来探讨美国中产阶级所面临的社会问题，和探讨费舍尔艺术中的真实。而本文所要探讨的是费舍尔艺术中的矛盾。文章共分为三个部分：第一部分介绍费舍尔的个人经历以及他的艺术思想的发展过程。第二部分是本文的重点部分，通过对费舍尔作品的解读分别从题材、观者心理分析费舍尔绘画艺术中的矛盾点，并且提出了费舍尔的艺术属于后现代主义的范畴是因为他的艺术兼顾了写实主义绘画与现代主义绘画的矛盾。第三部分探讨费舍尔的艺术给中国当代社会和艺术带来的思考。
本文认为研究费舍尔有以下两点价值：第一点，就表现手法而言他并不是完全照搬传统写实的法则，80,90年代的作品都是来自影像照片，近些年的作品更是直接通过照片处理软件拼贴而成，给人带来视觉上的矛盾与迷惑。他的作品点出了写实主义绘画与现代主义绘画中审美的矛盾，让我们不得不去思考在日常的审美经验与纯粹的审美经验冲突中，在后现代主义绘画的发展过程中我们如何不走极端如何调和他们二者之间的矛盾？第二点，费舍尔的艺术是叙事性的，他表现了美国中产阶级真实的隐私生活。画中出现的人物与周围的环境显得格格不入，让人产生疑问，甚至怀疑的态度：画中人们在华丽的物质生活外表下，精神生活却都处于无聊，乏味的生活状态中，困窘，难堪，手足无措，描绘了中产阶级大部分的隐私生活，包括在卧室，庭院中的一些非常私人的行为，这些不受约束的隐私生活违反了人类的道德准则，却反应了人类最原始的欲望。费舍尔的艺术为我们展示了当代社会中人们的欲望与道德的矛盾性，使我们不得不去反思在当代高度发达的理性社会中，是继续压抑这些本能的欲望，权当它们不存在，还是找一个合适的渠道表现出来，以便疏导。
From the end of the nineteenth Century to twentieth Century fifty or sixty years, westernmodern movement to form exploration came to own an ivory tower. Abstract expressionist artistseven painting from frame, canvas move down, greatly weakening the color, image, structure andother traditional painting factors, and that the painting has no meaning, and even threatenpainting has died. Modern extreme pursuit of personality, language is pure and not reproducible,although return to the noumenon of art, but it has become more and more like science andinvention, people always face the inhospitality boring art bored, artists gradually aware ofmodernism and human emotion is more and more far, fifty or sixty's postmodernism graduallyon the rise, it expressed concern about human nature, free of pursuit, postmodernism believesthat art is life, artistic expression is contradictory and complex and the unity of diversity. Arrivedseventy time end, European art began to appear in German Expressionism as pioneer recovery, inthis new painting movement under the influence of the United States, appeared a batch ofpainting group, known as the" New Expressionism"" new realism " and "new" symbolism"Figurative Expressionism"" graffiti art", art form, and gradually become the mainstreamAmerican art. In this context, Eric Fischl comply with this trend, he explores the art developmentof the road, with its unique perspective reveals the American middle class life inner contradiction,his work often involved on privacy and the taboo theme creation, so the viewer into a conflictand awkwardness situation, and arouse the audience deeply, so as to realize the problems theyface serious. His art is complex and contradictory, serious and tongue-in-cheek, profound andvulgar, sadness and happiness, all these fuzzy, uncertain elements interweave together, in thepicture on the conflict and collision, showing a typical post-modern cultural characteristics.In the contemporary international art scene, Fischl is the richest one of the independence of thefigurative painter, but comparison with the achievements of domestic, the systematic research onpeople or monographs are relatively rare, I collected information about him is mostly for itsinterviews with translation and commentary, only collected two of his research. Data,respectively, through the analysis of Fischl 's art works of the American middle class socialissues faced by Fischl, and of the truth in art. This article wants to discuss is Fischl contradictionin art. The article is divided into three parts: the first part introduces Fischl's personal experienceand his artistic thought development process. The second part is the main part of the paper,through to the Fischl works separately from the subject matter, the viewer psychological analysisof Fischl in the art of painting the contradiction, and put forward the art of Fischl belongs to the postmodern category because of his art both realism and modernism painting contradiction. Thethird part explores Fischl's art to Chinese contemporary art and society brings to think.
The article is divided into three parts: the first part introduces Fischl's growing environment andhis artistic environment. The second part is the main part of the paper, through to the Fischlworks separately from the subject matter, the viewer psychological analysis of Fischl in the art ofpainting the contradiction, and put forward the art of Fischl belongs to the postmodern categorybecause of his art both realism and modernism painting contradiction. The third part exploresFischl's art to Chinese contemporary art and society brings to think.
This paper thinks that the study of Fischl the following two points: first, on the value ofexpression he is not completely copy the traditional realistic law,80,90's works are from thepicture, in recent years the work is directly through the photo processing software collagetogether, bring visual contradiction and confusion. His work points out the realistic painting andmodern painting aesthetic contradiction, make us to think in daily aesthetic experience and pureaesthetic experience conflict, in modernism painting in the development process of how we donot go to extremes to reconcile the contradiction between the two of them? In second, Fischl isthe art of narrative, he showed American middle class real privacy. The presence of people andenvironment appears to be misfits, make people doubt, even doubt: the people in the richmaterial life and spiritual life appearance, but are boring, boring life, embarrassed, embarrassed,helpless, depicting the middle class most of the private life, including in the bedroom, garden insome very personal behavior, the unconstrained privacy violation of human morality, butreactions the most primitive desire. Fischl's art as we show in contemporary society people'sdesire and moral contradiction, so that we have to reflect on the contemporary highly developedrational society, is to suppress the instinctive desire, right when they don't exist, or to find asuitable channels displayed, in order to ease.
在当代国际艺坛上，费舍尔虽是最富有独立性的具象画家之一，然而与其成就相比，国内对其进行系统研究的人或专着比较少见，本人搜集到的关于他的资料大多是对其的访谈的翻译和评论，仅搜集到两篇他的研究性的资料，分别是通过分析费舍尔的艺术作品来探讨美国中产阶级所面临的社会问题，和探讨费舍尔艺术中的真实。而本文所要探讨的是费舍尔艺术中的矛盾。文章共分为三个部分：第一部分介绍费舍尔的个人经历以及他的艺术思想的发展过程。第二部分是本文的重点部分，通过对费舍尔作品的解读分别从题材、观者心理分析费舍尔绘画艺术中的矛盾点，并且提出了费舍尔的艺术属于后现代主义的范畴是因为他的艺术兼顾了写实主义绘画与现代主义绘画的矛盾。第三部分探讨费舍尔的艺术给中国当代社会和艺术带来的思考。
本文认为研究费舍尔有以下两点价值：第一点，就表现手法而言他并不是完全照搬传统写实的法则，80,90年代的作品都是来自影像照片，近些年的作品更是直接通过照片处理软件拼贴而成，给人带来视觉上的矛盾与迷惑。他的作品点出了写实主义绘画与现代主义绘画中审美的矛盾，让我们不得不去思考在日常的审美经验与纯粹的审美经验冲突中，在后现代主义绘画的发展过程中我们如何不走极端如何调和他们二者之间的矛盾？第二点，费舍尔的艺术是叙事性的，他表现了美国中产阶级真实的隐私生活。画中出现的人物与周围的环境显得格格不入，让人产生疑问，甚至怀疑的态度：画中人们在华丽的物质生活外表下，精神生活却都处于无聊，乏味的生活状态中，困窘，难堪，手足无措，描绘了中产阶级大部分的隐私生活，包括在卧室，庭院中的一些非常私人的行为，这些不受约束的隐私生活违反了人类的道德准则，却反应了人类最原始的欲望。费舍尔的艺术为我们展示了当代社会中人们的欲望与道德的矛盾性，使我们不得不去反思在当代高度发达的理性社会中，是继续压抑这些本能的欲望，权当它们不存在，还是找一个合适的渠道表现出来，以便疏导。
From the end of the nineteenth Century to twentieth Century fifty or sixty years, westernmodern movement to form exploration came to own an ivory tower. Abstract expressionist artistseven painting from frame, canvas move down, greatly weakening the color, image, structure andother traditional painting factors, and that the painting has no meaning, and even threatenpainting has died. Modern extreme pursuit of personality, language is pure and not reproducible,although return to the noumenon of art, but it has become more and more like science andinvention, people always face the inhospitality boring art bored, artists gradually aware ofmodernism and human emotion is more and more far, fifty or sixty's postmodernism graduallyon the rise, it expressed concern about human nature, free of pursuit, postmodernism believesthat art is life, artistic expression is contradictory and complex and the unity of diversity. Arrivedseventy time end, European art began to appear in German Expressionism as pioneer recovery, inthis new painting movement under the influence of the United States, appeared a batch ofpainting group, known as the" New Expressionism"" new realism " and "new" symbolism"Figurative Expressionism"" graffiti art", art form, and gradually become the mainstreamAmerican art. In this context, Eric Fischl comply with this trend, he explores the art developmentof the road, with its unique perspective reveals the American middle class life inner contradiction,his work often involved on privacy and the taboo theme creation, so the viewer into a conflictand awkwardness situation, and arouse the audience deeply, so as to realize the problems theyface serious. His art is complex and contradictory, serious and tongue-in-cheek, profound andvulgar, sadness and happiness, all these fuzzy, uncertain elements interweave together, in thepicture on the conflict and collision, showing a typical post-modern cultural characteristics.In the contemporary international art scene, Fischl is the richest one of the independence of thefigurative painter, but comparison with the achievements of domestic, the systematic research onpeople or monographs are relatively rare, I collected information about him is mostly for itsinterviews with translation and commentary, only collected two of his research. Data,respectively, through the analysis of Fischl 's art works of the American middle class socialissues faced by Fischl, and of the truth in art. This article wants to discuss is Fischl contradictionin art. The article is divided into three parts: the first part introduces Fischl's personal experienceand his artistic thought development process. The second part is the main part of the paper,through to the Fischl works separately from the subject matter, the viewer psychological analysisof Fischl in the art of painting the contradiction, and put forward the art of Fischl belongs to the postmodern category because of his art both realism and modernism painting contradiction. Thethird part explores Fischl's art to Chinese contemporary art and society brings to think.
The article is divided into three parts: the first part introduces Fischl's growing environment andhis artistic environment. The second part is the main part of the paper, through to the Fischlworks separately from the subject matter, the viewer psychological analysis of Fischl in the art ofpainting the contradiction, and put forward the art of Fischl belongs to the postmodern categorybecause of his art both realism and modernism painting contradiction. The third part exploresFischl's art to Chinese contemporary art and society brings to think.
This paper thinks that the study of Fischl the following two points: first, on the value ofexpression he is not completely copy the traditional realistic law,80,90's works are from thepicture, in recent years the work is directly through the photo processing software collagetogether, bring visual contradiction and confusion. His work points out the realistic painting andmodern painting aesthetic contradiction, make us to think in daily aesthetic experience and pureaesthetic experience conflict, in modernism painting in the development process of how we donot go to extremes to reconcile the contradiction between the two of them? In second, Fischl isthe art of narrative, he showed American middle class real privacy. The presence of people andenvironment appears to be misfits, make people doubt, even doubt: the people in the richmaterial life and spiritual life appearance, but are boring, boring life, embarrassed, embarrassed,helpless, depicting the middle class most of the private life, including in the bedroom, garden insome very personal behavior, the unconstrained privacy violation of human morality, butreactions the most primitive desire. Fischl's art as we show in contemporary society people'sdesire and moral contradiction, so that we have to reflect on the contemporary highly developedrational society, is to suppress the instinctive desire, right when they don't exist, or to find asuitable channels displayed, in order to ease.
引文
①《论照片在当代绘画中的运用》申大鹏《天津美术学院》2009年
②《现代主义与现实主义的较量——埃利克·费舍尔三十年创作谈》阿瑟·C·丹托[美]等《中国艺术》2008年3期
①来自互联网http://art.m6699.com/content-7088.htm
①《平常事物，瞬间与陌生感——费谢尔艺术中的真实》赵江海《河南大学》2005
①DonaldKuspit:《An Interview with Eric Fischl》，VintageBooks，1987，第.6页
①·菲谢尔的写实绘画与现代美国中产阶级的生活关晓辉-《华南师范大学硕士论文》-2003-05-01
②费舍尔：忘记自己是谁,你就失去了力量。财经日报记者周舒
①《平常事物，瞬间与陌生感——费谢尔艺术中的真实》赵江海《河南大学》2005
②《风格迥异的西方当代绘画大师》刘晓敏《世界文化》2009年10期
①《忘记自己是谁,你就失去了力量》财经日报记者周舒
②《西方现代艺术史80年代》阿纳森北京广播学院出版社1992年第117页
①《平常事物，瞬间与陌生感——费谢尔艺术中的真实》赵江海《河南大学》2005
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②《现代主义与现实主义的较量——埃利克·费舍尔三十年创作谈》阿瑟·C·丹托[美]等《中国艺术》2008年3期
①来自互联网http://art.m6699.com/content-7088.htm
①《平常事物，瞬间与陌生感——费谢尔艺术中的真实》赵江海《河南大学》2005
①DonaldKuspit:《An Interview with Eric Fischl》，VintageBooks，1987，第.6页
①·菲谢尔的写实绘画与现代美国中产阶级的生活关晓辉-《华南师范大学硕士论文》-2003-05-01
②费舍尔：忘记自己是谁,你就失去了力量。财经日报记者周舒
①《平常事物，瞬间与陌生感——费谢尔艺术中的真实》赵江海《河南大学》2005
②《风格迥异的西方当代绘画大师》刘晓敏《世界文化》2009年10期
①《忘记自己是谁,你就失去了力量》财经日报记者周舒
②《西方现代艺术史80年代》阿纳森北京广播学院出版社1992年第117页
①《平常事物，瞬间与陌生感——费谢尔艺术中的真实》赵江海《河南大学》2005
[1]Barbara Rose.Twentieth Century American Painting[C].Rizzoli，1986.
[2] Arthur C Danto.ErieFisehl:1970一2000[C].naeelliPress，2000.
[3]DonaldKusPit.AnIntervie份withErieFisehl[D].VintageBooks,1987.
[4]埃里克费舍尔.11位来自不同地区的艺术家——22个永恒瞬间：值得相信的再现[J].沈莹/译.
[5]费舍尔.忘记自己是谁,你就失去了力量[N].财经日报，周舒,2011.
[6]段正渠.西方当代大师埃里克费舍尔[M].河南美术出版社,2001.
[7]杨中华.性的赤裸和被扭曲的性——菲谢尔绘画的真实表白[N].惠州学院学报,2010.
[8]关晓辉.菲谢尔的写实绘画与现代美国中产阶级的生活[D].华南师范大学，2003.
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