- The Study Of Contemporary Chinese Youth Art Confrontation And Fusion

Chinese contemporary art history is made up by young artists from generation to generationtogether. In times of change and volatility, place themselves among the context, young artistswith the unique dedication and passion added new vigor and vitality to Chinese contemporary artcontinuously. Youth subculture theory is a western youth culture which has a good tradition andrich achievements in the research and has been developed continuously in the theory and method.Using western youth subculture theory to analyze the contemporary Chinese youth art, aims atanalyzing it from the perspective of the sociology. By investigating the different period in thecontext of mainstream art youth facing to show different expression emotion attitude, strategiesand coping styles, we can explore the evolution of Chinese contemporary aesthetic culture andartistic interest occurring, as well as the inner mechanism of the evolution.This paper is divided into five parts:The introduction part introduces the research background of youth culture and thetheoretical basis and practical significance of Chinese contemporary youth art research.First chapter introduces the traditional narrative paradigm of western youth subculturetheory and research about after youth subculture in detail. In early times,American Chicagoschool did research on youth culture by applying the methods of the deviant sociology, includinga deviant group identity, deviant behavior of the hegemony of powerful culture and shaping ofdeviant behavior problems, which can be called "rule-deviant" paradigm; Birmingham schoolof thought says that "style" of youth subculture itself contains a kind of resistance functionagainst ceremony, and the mainstream culture style resist young people by incorporating throughideological mode and goods, which can be called "resistance-incorporated" paradigm. Whileafter subculture theory made criticism and correction towards past youth subcultureinterpretation model, and integrated the theory of Bourdieu and others to study the informationsociety and more mixture symbol consumption age and the liquidity of youth subculturebehavior.The second chapter focuses on the use of western youth subculture theory, illustrating thefeasibility and necessity of Chinese contemporary art from the Angle of "youth art", as a basis analysis of the basic attributes of the contemporary Chinese youth art. In Chinese contemporaryart has become a force to be reckoned with in the youths."Youth art" Angle compared to thecurrent aesthetic interest division mode, has penetrated more explanatory power in the analysisof the phenomenon of contemporary art. And compared with the previous critics of a generationof youth positioning analysis of art,"youth subculture theory" also has capability of throughoutthe methodology of integration. Based on the above understanding, this chapter examines thecontemporary Chinese youth art from different angles of internal rules. A conclusion was made:youth culture, youth arts and youth subculture have a kind of isomorphic overall and specificvariation relationship; The attitude of youth art towards dominate, pioneer, college and the publicart varies in different contexts with inheritance, borrow, compromise and rebellion in differentstrategies; Youth artistic development process is actually a difficult process of looking for agent.In the third chapter, Chinese contemporary youth art can be divided into "80s","90s" and“new century", three stages for diachronic study. According to the sociological theory of"character", three periods of youth as a whole are located as transformation of "character", not"role" and "character" multivariate phase. From specific view, youth art in the80s is as a generalmode of "problem solving".“Stars” the early painting members changed faster than the systemto rebel itself, realizing the special period of our fathers and compensating for their childhoodtrauma. And middle youth arts groups and modern art ideological trend are more like in thepassion of the young people to change modern anxiety "imaginative solutions" since the20thcentury. Young artist in the90s survived themselves in the marginalization style like Yuan MingYuan Artists Group such, which showed the continual and large rebel against national regulatorysystem and natural living way from previous planned economic era. And later Hua Jia Cuncreated many famous art commercial myth and official institutions established "Chinesecontemporary arts”, which are presented to us a Chinese version of the commercial andideological incorporated art. After the new century youth art withdrew from the political field tosociety generally, making use of mainstream visual factors or popular culture to express theirown unique emotional experience."80painting" is typical in this field. The appearance of"College students’ art network" changed the way of many young artists’ development andcommunication, many youth artist participate in various group activities based on another partyin a more liquid and mixed way. Epilogue part aims to point out problems and appeal for attention. After the new century,youth art focus on commercialization tendency and survival strategies, which actually reflectsthe smaller impact of mainstream culture on young people. Due to the logic of the marketinterests gradually occupies the mind of the youth; it will make the young age gradually lose thesense of mission and social responsibility. Mainstream culture must take the initiative to adjustitself to tolerant, respect and support creative value from young people, which is not recognizedby people.