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当代艺术与哲学的边界

三月 31, 2012

在现代主义以前的艺术品,由于形式的鲜明特征,没有促使人们专门从理论上去明确划分艺术品的概念边界——美的作品就是艺术品。到了现代主义阶段,不断追求艺术的纯粹状态成为艺术家的直接目的,艺术功能性的缺失导致类似“一切皆艺术”或者“人人都是艺术家”这样口号的提出。于是被阿瑟·丹托称为“哲学阶段”的后艺术史时期出现在了当下。

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在这个“最终”的阶段里,不断地发现自身的准确定义成为了艺术的目的。这样一个哲学式的审美介入,使得即使像安迪·沃霍尔的现成品“布里洛盒子”,也能区别于普通物品被明确划分为艺术作品。即当一个对象是关于某物的,同时它表达了它的意义,那么这个对象就是艺术品。进一步通俗的说,当代的艺术品界限在于,第一,它是人工制品,第二,需要有能代表艺术界的某个人或某些人授予它一个“有待欣赏的候选作品”的身份。在此,我们似乎看到了一个最大化的宽容的艺术品判定标准,虽然有些可悲,但是与贡布里希所说的作者与观者共同完成艺术,却又是遥相呼应的。这是一个开放性的结论,也许能包含未来的艺术发展,尽管丹托只敢保证未来有效30年。
 

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