格林伯格现代主义绘画的还原论批判

随着美国极简主义艺术的兴起,人们发现形式主义已经走到了最残酷无情的绝对状态,与此同时,也看到了它在艺术上已经走进了一个彻底的死胡同。这种 20世纪 60年代中期激进还原的艺术得出了格林伯格学说的逻辑结论,即现代主义绘画不可避免地走向绝对平面性,而现代主义雕塑则不可避免地走向绝对立体感的清晰度。本人的批评既是对格林伯格现代主义绘画理论的批评,也是对极简主义的格林伯格式鼓吹的批判。

Critique of Greenberg's Reductionism of Modernist Painting

With the rise of American minimalism,the radically reductive art of the mid-1960's that took to a logical conclusion of the Greenbergian doctrine that painting tended inexorably to approach the condition of absolute flatness,and sculpture that of volumetric clarity,one saw formalism at its most ruthless absolute,and,artistically,one saw a complete dead end.Thus my criticism is a double critique of Greenberg's theory of modernist painting and of Minimalism's Greenbergian advocacy of literalism.