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艺术-艺术是表现德国表现主义到新表现主义（Art-artisGermanExpressionismtoNeoexpressionism）Abstractartisthe"performance"criticismasanewtheoryofartandliterature.From1920sto30s.Atthattime,manyyoungGermansandtheEuropeansaretryingtobreakthe"artimitates"concepttocreateanewformofart,theartisofsomeconceptsandideasofexpressionism.Inthepostmodernera,for"artisamanifestationofthenewfurtherinterpretation,andthusmorein-depthunderstandingofthisnewtype.KeywordsperformancepointofviewistheperformanceofthenewGermanExpressionismexpressionistartSinceancienttimes,artcreationtheory,istornbetweensimulationtheoryandcreation.WesttotheancientGreekphilosopherAristotlefirstproposedtheartistoimitateormimictheory,waslaterreveredasthetheoryofimitation(theoryofmimesis,ortheoryofimitation):Platonisthefounderofthetheoryofcreativity(theoryofcreativity)master.Aristotlestressedthatartworksbycopyingsimulationsurfaceappearance,theuseofdifferentmaterials,differentpeoplethroughwhichtheartist'shandandmade.Platonisthefamousartofcontempt.Heopposedtheconsciousnessofartistheimitationorsimulationtheory.Putforwardasetofhisowntheory,thatthesourceofartisticcreationishumancreativity,artistocapturetheabstractionandsimplificationoftheconceptofwork.Platonputtheartworkforrationalabstraction,arthasbeendescribedastheconceptofmagicmaster,onlyrational,consciouslybythephilosophertocomplete.ButfromthepointofviewofthehistoryofWestern art,Aristotle'simitation/mimictheoryhastheupperhand,afterhundredsofyears,hasbeenthedominantideologyofWesternarttheoryandaesthetics.DuringtheRenaissance,ontheonehand,Platon'stheoryofanewunderstanding,ontheonehandandtheRenaissanceofthesimulationoftheartofancientgreece.IneighteenthCentury,WilliamBlake(WilliamBlack)returnedtoPlaton'stheory,criticismofRenaissanceartimitatingtherealpractice,thereisnoliferepeatingmyself,donotstoptoart.FromtheendofnineteenthCentury,theFrenchimpressionistpainter,tohisownartisticcreationtobreakthroughtheartsimulationtheory,butthepostimpressionistuntiltwentiethCentury,VanGoghandGauguintrulymakesartisticcreationoutofsimulatedbondage,artcanbeshown.Theartists'innerfeelings,desires,hopes,etc.canbeexpressedbytheidealofart.Therefore,fromtheaesthetictheory.VanGoghandGauguin'scontributioncannotbeignored.ArttheorycanbesaidtobethecoreideaofmodernartintwentiethCentury.Althoughmanymodernartfactions,butbothKandinsky(Kandinsky),Mondriaan(Mondrlan),(Malevich)orGreenbergLeninwiki(Greenberg)conceptartistsandscientistshavereasontoinsistonPlaton'schatterwithoutstop:artisbyinspirationorimaginationtoPhilosophyandtruetoindia.WepreviouslyintroducedthedadaartistDuchampin1913,thebicyclewheelupsidedown.Thefirsttimeagainstthepursuitofwesterncultureandartinthefieldofartforalongtimeforthemetaphysicalendless,fromthispointofview,Duchampshouldberegardedasthegreatestmasterofcontemporarywesternaesthetics.Laterinthepostmoderntimes"deconstructionist"furthershatteredDuchampforartcanreachthemetaphysicalphilosophy andrealitycanbemadeoneofdoubtandpursuit.Thementionofartistheconceptofperformance,peoplecannotfailtomentiontheGermanexpressionistpainting,andlatertheemergenceoftheNewExpressionismetc..1,GermanExpressionismAnyWesternknowledgeofthehistoryofart,modernartinGermanyknowthecontributionofGermanyisanimportantcountryinthedevelopmentofwesternmodernart.GermanExpressionism,Dadaism,expressionismandBoice,Bauhausandafterforthedevelopmentofmodernartplaysanimportantroleinpromoting.However,in1930s,withHitleraftertheNaziregimein1933.ThedevelopmentofmodernartinGermanyappearedstagnantsituation.Hitlermodernartknownas"decadence",orderedthepublicexhibitionofmodernartis,whatismore,somemodernartistsofpersecutionandrepression.ThereasonfortheNazimodernismagainstreason,istheresultofthetimetoexpressionisminGermanyasarepresentativeofthemodernistartistsobviouspoliticalovertones.ThispoliticalcolorafterthefirstWorldWarandcontinuetobestrengthened,andthewarappearedinGermanExpressionism,Dadaismandappearsparticularlyobjectiverealism,moredirectedattheuglinessofthedarksideoftheGermanbourgeoisie,whichmakestheGermanNazigovernmentmodernismisabsolutelynotallowedtoexistingermany.In1933Hitler'sNazifascistregimeforcedandpublishedbythenewgovernmentregulationsfortheartist-saidintheformulationoftheregulationsofHitler,marshalGreen,thepropagandaministerGbel.InNovember1933,establishedthe "German"visualartsorganization.TheGermangovernmentagainaccordingtotheregulations,allrelevantprovisionsinGermany,artistsandartprofessionalsareoccupation,membershipregistrationwithinaprescribedtimelimit.AllthemembershavetobeloyaltotheGermangovernment,topromotethehealthydevelopmentofGermancultureandarts"".Asof1938,theartwillhaveabout3200morethan15000sculptorandpainter,becameEurope'slargestartgroup.Directlycontrolledbythegovernmentoftheartcenterofleadership,decidedtoformallyapprovetheregistrationofthemembership,andformulatetherules,reviewofqualifiedgrantmembership,unqualifiedpersonsarenotallowedartactivities;whatismore,therearesomeartistsareconsidered"dissidentsanddecadent,exileandarrested.Backman,inthefirstbatchtobecriticizedandattackedthepersecutionofartistsGroz,Dix,Mark,thattheG,Noldeetal-theymostlyGermanexpressionistArtist:Picassoisnotingerman.Matisse,MeiJinjie,Luandotherartisalsoincluded.WorthyofpraiseistheGermanmodernistartistnevergaveupart.Inearly1920,theyheldtheGermanDadaistartexhibition,thecreationofJohnHelveld'scollage"Green:Administration"oftheThirdReichdirectlytargetingtheNazileaderGreen.InordertocombatGermanmodernistart,AtthesametimeadvocatingNaziartpolicy,1930.RunbyGreenpersonallyhelda"Germanarthouse"large-scaleartexhibitionattheopeningceremony,HitlerdeliveredtotheGermanmodernistartofstranglingmadly.ButthisdidnotscareofftheintegrityoftheGermanartist.In1937,theyheldthe"ArtExhibition"incontemporaryGermanyintheGermancityof Munich,theGermanartistbravealsowonthesupportoftheGermanpeople,thereareabout2000000peoplevisitedandheldatthesametimesupportedbyofficialGermany"greatGermanartexhibition",only600thousandpeopletovisit.ButmostofthemaretheNaziPartyorganizationoftheaudience.AtthetimeofactiveGermanexpressionistartistMaxBeckman(MaxBecimann),earlyinthewar.Hehasbecomefamous.Inthemiddleof1930s.HeisthenewGerman"objectivism(NewObiectivity)oftheactivists.InthereignofHitlertheNaziregime.Hewasnotafraidofpower,violence,evilforcesetc..Witharealartistconscienceandsocialphenomenonofcriticismandattackthereactionarygermany.HeoftenuseshistoricalGermanclassicalmythology,folktalesasathemeandrawmaterial,throughthesymbolicmetaphor,imagecompressionwillbecontainedinascreenspace.Tocontacttheemotionsoftheaudiencealmosttothepointofsuffocation.Buthispaintingswithage,ethnicandpoliticalcriticismvalue.IsconsideredtobeoneofthegreatestartistsinGermanyintwentiethCentury.OttoDicks(OttoDix)isaGerman"newobjectivism"genrepainter.HeisnotBackman'sstraightforwardboldattackandhot,hisstyleisalmostclassical.Buthetakeshisinsightintothenuancedsocialattitudestositonthesidelines,andstrictindemandsseriously.Depicttheminthepicture,heisloyaltotheWesternEuropewithtraditionaltechniqueslikeGermany,Holland,citingthemodelofclassicalmasters.ThefamousGermanexpressionistpainterGeorgeGroz(GeorgeGrosz),ErnstLudwigKchina(Ernst-LudwigKirchner),FranzMark (FranzMark)EmilNolde(EmilNolde).2,JosephBoyce:agreatartistInthemodern-contemporaryarthistory,therearemanyoutstanding,therealartofgreatpeople,theynotonlyhavethegreatgeniusofartcreation.Butmoreimportantisthattheyhavethespiritofhumanism.Picasso,QiBaishi,ZhangDaqianisso,thisistheUnitedNationssaystheyaregreat,greatculturalreasons.GermanartistJosephBoyceisrecognizedwithPicassoracingtogetherbridletobridlemaster.JosephBoyce(JosephBeuys19211986)wasbornon1921,inthestudyofbiology,naturalscience,entomology,animalscience,lovenature,duringtheSecondWorldWarwascombed,becameaGermanairforcepilot.In1943,hewasdrivingashuttlemission,washitbygunfireinCrimeaoverthepeninsula,crashlandingbrokeintoseriousinjuries.ThankstothelocalindigenouspeopleofBohemia-rescue,besnatchedfromthejawsofdeath.HestudiedsculptureatAcademyofFineArtsinDusseldorfinpostwargermany.Heattendedavarietyofschools.Includingperformanceart,installationartcreation.In1961,BoicebecameaprofessoratAcademyofFineArtsinDusseldorf,hebelievesthateducationisthebestplacetorealizehisartisticideas,heisextremelynaiveseriously,hisdemocraticthoughtandtheideaofsocialsculptureintoeducation,heputtheclassroomintoanopentoallpeople,and allowsstudentstocreatetheirowncomprehensivehall.Hesaidthateducationshouldbecomprehensiveonhumanshape.In1967,alsoistheculturalrevolutioninChina,BoiceannouncedtheestablishmentofaGermanuniversityparty,latertransformedintotheGermanDemocraticParty,stillactive.TheFrenchstudentmovement,BoiceledtheGermanstudentstorevolt,theoccupationoftheschooloffice,andlaterhewasarrestedbythepolice,theschoolreleasedhisteachingforsixyears,BoicehasbecomepopularinWesternEuropeandsoonmasters.From1962to1967,BoiceheldanumberofFluxusartexhibition.1964.HeChunIndustrialUniversityinsubstage,adddetergentandrefusetoletapiano,pianoandshrillsadsound,astudentcametounderstandwhatmeaning,beatingBoice,nosebleedingwashit,buthedidnotfightback,butfromthebosomtocomeupwithastatueofChrist,withthelefthandholdinghisheadontherighthandforsilence,theaudiencesuddenlyawe.Thisimagebecamehisstandardlike--reflecthisartisticspiritofarthasatherapeuticeffect.Boiceisanactive,andevensomefanaticalidealists,hesaid:Ihavenointeresttoconcealthediseaseanddefects,IputmyDemocraticdutyandeducationasmorepeoplewakeup.HeisconcernedaboutthesignificanceofAnthropologyofart,andartfortheinfluenceofsociety,theroleofeducation.HestronglyopposedtheUSbusinesscultureandart,morethanoncepubliclycriticized.Heisanenvironmentalactivist,in1980heparticipatedintheEuropeanparliamentelectionmeeting,organizedastreetandforest,1982,intheseventhCassellliteratureshow,hetookoutanexhibitiontitled"behaviorof700oaktrees",calledforartistsandaudienceswithtrees,andhandsfortheoaktrees,althoughduetohisdeath.Hefailedtoseethe700tree plantingsituation,butheawakenedthepeopletoprotectthenaturalconscience:plantingplanwasfinallycompletedin1987,toparticipateintreeplantingisnotonlytheartists,andtheEuropeanheadsofstate,theUnitedNationsofficials,children,oldmen,soldiersanddoctors.Now,whenpeoplewatchthispieceoflushoakforest,noonedoesnotmissBoicethemosthumangreatartist.3,NewExpressionismThenewGermanExpressionismappearedasearlyas1960s,totheendof70s,thegradualdevelopmentandgrowth,theformationofanewschool.MostoftheNewExpressionismartistsbornbetweentheSecondWorldWarandwar.Thisgenerationhasbeenabandonedintheearly20thcenturywiththoseavant-gardeartistsoftherevolutionaryspirit,andbecomemorerealistic.Theydon'tcarewhatamazingartandloftyideal,theylearnfromthecreationofthematerialandtheoriginfromthecontemporarysocialreality:businessconsulting,advertising,fashion,filmandtelevisionimage,Advertisement。Illustrations,photographs,magazines,what.PHILPSGesidun(PhilipGuaston)isthenewexpressionistpainter.Hepaintedthelightbulb,cigarettes,cigars,shoes,garments,shirtsandtrousersportrait,nonoseandeyesthefacemask,nailnailsticketc.theseimplypersonalmeaningoffigurativepainting.TheGermanNewExpressionism(NouvelleExpressionism),whichisbasedonGeorgeBaselitz(GeoRGBaselitz)andSigmaPolk(SigmarPolke)twoasthetworepresentativeofthenewart movement.GeorgeBaselitz(1938-)wasborninEastGermany,acceptedarteducationinEastGermany,EastGermanyisalreadyapartoftheformerSovietUnionsocialiststyleofart,therealityofsocialismintheformerSovietUnioninfluencethroughoutEasternEurope,BarcelonaLizdissatisfactionandoppositiontoEastGermanywasarttrend,withpoliticalimmaturityasthereasonfortheexpelledfromEastBerlinartschoolattheageof19,cametothewest,immediatelyintotheabstractexpressionistart.Heiscommittedtothepursuitoftruth,buthispersonaltragedyis,unfortunately,helivedatamonasteryinnorthernGermanyofthecastle.HereistheoriginalMunsterPrince'smansion,butafterthebaptismofthewarandpost-wartroopsdestroyed,alreadyinshredsandpatches.Here,BarcelonaLizdevelopedhisownartisticstyleinhisworksisaninvertedimage.Thisinversionisnotjustfortheaudiences,theartistinthecreationofthepaintingisupsidedown,withBarcelonaLiz'sownwords,thiscreativeapproachisto"leadtoconfusionandshock,showingachallenge."Itisthroughthisway,heputtheaudience'sattentionwasattractedtothescreenitself,andnotfocusonthethemeofLiz,Barcelona'simagesaredrawnwithstrongcolorsandboldstrokes,looksveryrough,pathos.Sigma-pork(1942)isanotherartist,heisfamiliarwithalmostallofthevisualmedia,canchooseanycreation,healsosaidthathecancomprehensivecreationbyanyoneorseveralways,heevenusedatoxicpaintpainting,isacompositioncontainingarsenicpigment.Hetakesextremespicyattitude,relentlesssatireofAmericancommercialartandacademicambition,hejokedwithhisattitudeofartisticimagetoexpresstheirideas. TheyoungGermanNeoexpressionistartistsincludingpanke.JoergImmendorff,AnselmKiefer,etal.Fortheseyoungpeople,Boiceistheirspiritualleader,Boicegavethemahugeimpact.ImmendorffwasastudentofBoice,heparticipatedinmanyartactivitiesofBoice,isalsotryingtocausesocialandpoliticalimpactofart.Butfeelthepotentialcapacityofsinglesolitarycannotact,thefinalchoiceofpaintingtoexpresstheirconcernsaboutthestatusanddissatisfactionforgermany.Keiferwasbornintheruinsofthepostwargeneration.Hewantedtorevitalizethetraditionalpaintingartingermany.WithhisowncreationtoreflecttheviewofGermanhistoryandthoughtfor.Oneofhis7tonlarge-scaleartinstallations"brokenvessel"isanexample:Keifermadethebookwithaleadsheetshape,Andtoprintsomehistoricalphotosarearrangedontheshelves,shelveslitteredwithshardsofglassinfrontof.TheinspirationfromtheoriginalworksofJudaism:peopleofthe10kindofmysteriousGodhasplacedinthecontainer.Includinglove,knowledge,life,death,etc..Buttherestless,wanttoknowthesecretsofGod,intheprocessofcollectingbroke6vessels,therefore,virtueandevilisalsoscatteredout.TheworksofKeifer,thereare9mysteriousnamewrittenontheshelf.Missingisakindofknowledge,sothatscatteredonthegroundglassisasymbolofthescatteredintheworldofknowledge,theartististhroughthisartform,toexpresstheirhumanweaknessesandthecurrentsituationforhumancriticismandreflection.ThefamousartcriticLuciSmithhassuchfeelingsforthenew GermanExpressionism:"theexistenceanddevelopmentofthenewGermanExpressionismseemstoformacompleteorbitfromcompleteresistancetoaccepttheworld.Thepredecessorsmadegreatsuccess.ThenewgenerationofGermanartisttravelmoredifficult.NewExpressionismforthemhasinevitablybecomeaschoolofart."
