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Timeless in Asia: Wordless and Silent Experiences of Minimalism in Postcolonial American Art

机译：亚洲的永恒：后殖民美国艺术中极简主义的无语和寂静体验

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摘要

This thesis borrows its framework from one of the themes presented in The Third Mind: American Artists Contemplate Asia, 1860-1989 (2009 exhibition Alexandra Munroe curated at the Solomon R. Guggenheim Museum): Art of Perceptual Experience: Ecstatic Minimalism. The title for the theme, Art of Perceptual Experience, is driven from one of Ad Reinhardt's writings, where he stated the value of art is coming from the perceptual process, which he believed is the ageless "universal formula" of art--- Reinhardt saw this value in Asian philosophies and art forms. The title of this thesis comes from one of the Reinhardt's writings on his thought of Asia, "Timeless in Asia" (1960), where he wrote Asia's art is about "its timelessness, its monotony, its inaction, its detachment, its expressionlessness, its clarity, its quietness, its dignity, and its negativity."1 James Turrell, Agnes Martin, and La Monte Young are Minimalist artists who accepted the new understanding of nature, existence, and consciousness through Asian sources and sought to emulate the universally and timelessly unchangeable values in art like Reinhardt. For Turrell, by operating space where viewer can actively engage, he allows the viewer to experience perceptual phenomena that could change the viewer's consciousness. For Martin, through her two-dimensional art, she set an idea of art as a mode of developing awareness and heightening perception; thus, creating a spiritual paradigm for artist and viewers alike, which she believed it is everywhere and forever. Through the process, art can obtain its eternal value, which comes through the pure and egoless abstraction of emptied mind. For Young, through the repetition and long sustained tones, he created music that has meditative values where the notion of time has stretched to point where the music can be conceived forever. This thesis looks at how Asian art, literature, and philosophy were transmitted and transformed within the language of Minimalism by exploring Turrell, Martin, and Young's new visual and conceptual languages.
机译：本论文的框架借鉴了《第三种心态：美国艺术家构想亚洲，1860-1989年》（2009年在亚历山大·所罗门·古根海姆博物馆策划的亚历山德拉·蒙罗展览）中提出的主题之一：知觉艺术：狂喜的极简主义。主题的名称是“感知体验的艺术”，源于Ad Reinhardt的一部著作，他说艺术的价值来自于感知过程，他认为这是永恒的艺术“通用公式”-Reinhardt在亚洲哲学和艺术形式中看到了这种价值。本论文的标题来自赖因哈特（Reinhardt）关于亚洲思想的其中一部著作《亚洲永恒》（Timeless in Asia，1960年），他在其中写道亚洲的艺术是关于“永恒，单调，无为，超脱，无表情， 1 James Turrell，Agnes Martin和La Monte Young是极简主义的艺术家，他们通过亚洲资源接受了对自然，存在和意识的新理解，并试图效仿世界范围内的普遍存在和意识形态。莱因哈特（Reinhardt）等艺术中永恒不变的价值观。对于Turrell，他通过操作观看者可以主动参与的空间，允许观看者体验可能会改变观看者意识的感知现象。对于马丁来说，通过她的二维艺术，她树立了一种艺术观念，将其作为发展意识和提高知觉的一种方式。因此，她为艺术家和观众创造了一种精神范式，她认为这是无处不在的。通过这一过程，艺术可以获得其永恒的价值，这是通过对虚无心智的纯粹和无情的抽象而实现的。对于Young，他通过重复和持久的音调创作了具有沉思价值的音乐，其中时间的观念已经延伸到可以永远构思音乐的地步。本文通过探索图瑞尔，马丁和扬的新视觉和概念语言，探讨了亚洲艺术，文学和哲学如何在极简主义语言中进行传播和转化。

著录项

  • 作者

    Yu, Jisu.;

  • 作者单位

    Sotheby's Institute of Art - New York.;

  • 授予单位 Sotheby's Institute of Art - New York.;
  • 学科 Art history.;Asian studies.;Asian literature.
  • 学位 M.A.
  • 年度 2016
  • 页码 56 p.
  • 总页数 56
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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