{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"ca7a386a-a284-41ec-b146-be626cc2ac01","title":"非人：漫谈时间","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787562155560","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"ca7a386a-a284-41ec-b146-be626cc2ac01","id":"ca7a386a-a284-41ec-b146-be626cc2ac01","uuid":"ca7a386a-a284-41ec-b146-be626cc2ac01","title":"非人：漫谈时间","normalized_title":"非人漫谈时间","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787562155560","isbns":["9787562155560","9782252039427"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":325,"navigation_url":"https://workshop.closeclaw.top/ai/book/ca7a386a-a284-41ec-b146-be626cc2ac01","title_url":"https://workshop.closeclaw.top/ai/title/%E9%9D%9E%E4%BA%BA%EF%BC%9A%E6%BC%AB%E8%B0%88%E6%97%B6%E9%97%B4","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/ca7a386a-a284-41ec-b146-be626cc2ac01/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/ca7a386a-a284-41ec-b146-be626cc2ac01/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/ca7a386a-a284-41ec-b146-be626cc2ac01","page_url":"https://workshop.closeclaw.top/api/ai/books/ca7a386a-a284-41ec-b146-be626cc2ac01/page","search_url":"https://workshop.closeclaw.top/api/ai/books/ca7a386a-a284-41ec-b146-be626cc2ac01/search"},"page":{"printed_page":145,"pdf_page":165,"physical_index":165,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"d31eea16e09de652e9f6fba3249d588ae05f839fca5b670d95775df63b2535fa"},"chapter":"非人：漫谈时间","content":"折磨先锋派者的疑惑并不止于塞尚的“色彩感觉”(就像它们是不可置疑的)，而且同样也不止于它们预示的抽象。见证非确定物的任务把用来防范理论家的著作发起的追问浪潮的堤坝以及画家们自身的宣言一个接一个地击垮了。绘画对象的形式主义定义很快就被极简主义风潮绕过了，比如克莱门特·格林伯格于1961年(那时他正与美国“后造型”抽象针锋相对)提出的定义。至少应该有个画框(为了画布得以展开)吧？不。颜色呢？早在1915年马列维奇的白底黑方形就已经回答了这个问题。对象是必需的吗？身体艺术(bodyart)和偶发艺术(hapenning)想要证明不需要对象。那么就像杜尚的《泉》(fondaine)暗示的那样，至少需要一个展示场所吧？而丹尼尔·布汗¹的作品证明：甚至这也是常常遭到怀疑的。\n\n崇高与先锋派\n\n145\n\n1 丹尼尔·布汗(DanielBuren,1938—),法国当代著名艺术家，他曾一度认为作品应该直接与鲜活的环境(比如街道)对接，而不是放在博物馆或者沙龙这样的人造环境里。他于1986年在巴黎皇宫庭院里创作了“布汗的柱子”，高矮不等的黑白条纹圆柱整齐排列在地面上，宛如一个大棋盘。——译者注","previous_page":144,"next_page":146}