Finished/Unfinished—Analysis Of "Unfinished Works" In Contemporary Painting

The completion and unfinished issues of art work have always been a problem that bothers artists and audiences,especially for contemporary art."Unfinished Works",as a mockery of Leroy's to impressionism,has become synonymous with most of the contemporary painting works.This article uses the “unfinished work” in the “Unfinished: Thought left Visible”exhibition of the opening of the The Metropolitan Museum of Brewer as the main clue.By macroscopic view to comparing classic,modern and contemporary “unfinished works”,The history of the “unfinished” Intentional in the history of painting has made a clear review of the stages and analyzed the completion and unfinished of it: from classical to modern,and then to the Scrawled,open “unfinished” as a kind of "The unfinished state is better than the completion" performance method? the pursuit of the "unfinished state" of a certain time phenomenon? One kind of “Defamiliarization”Painting language? Or is it a concept of reserved ideas?Finally,from the point of view of accepting aesthetics,the concept of "calling structure" and "expectation horizon" in the reception aesthetics was introduced to discuss the completion and unfinished of "unfinished works" in contemporary painting art,and to analyze the value of reception aesthetics on contemporary painting art.This article is divided into five chapters: The first chapter discusses the completion and unfinished of the painting art from classicism to modernism by enumerating a series of "unfinished works",and takes the impressionist as a turning point.The second chapter analyzes the contemporary painting art."unfinished works" to explore "unfinished" as a manifestation of "not to suffer,but to suffer" in the contemporary art of painting,and to demonstrate that this "unfinished" is part of the artist's the pursuit of a state of art;the third chapter discusses the "unfinished" as a painting language in the different uses of contemporary artists.Chapter IV discusses "unfinished" as a concept and is reserved for the artist's thinking.The fifth chapter,from the perspective of the aesthetics of acceptance,introduces the concept of "summoning structure"("blank","vacancy" and "negation")and "expectation horizon" in the aesthetics of reception,and discusses the aesthetics of reception and the contemporary "unfinished works".The meeting point is to demonstrate that the contemporary "unfinished work" is to leave the "blank" and uncertainty in order to summon the participation of the audience,thus broadening the meaning of the accomplishment and accomplishing the completion of another more rich and richer interpretation.On this basis,the value of accepting aesthetics for contemporary art is analyzed: On the one hand,for the acceptance of contemporary painting art,it is possible to direct the audience to look at the “unfinished works” in contemporary painting art from another perspective—whether this remains "Unfinished" with "Calling Structure" in "Blank" is another way to get audience to participate in interpretation? On the other hand,through the exploration of the aesthetics of acceptance,the artist's artistic creation can be revealed,the non-essential things can be sacrificed to approach the essence of the image,and the audience can enter the art,enrich the spiritual aspects of the artwork,and reflect its immortal vitality.On the other hand,through the exploration of the aesthetics of acceptance,the artist's artistic creation can be revealed,the non-essential things can be sacrificed to approach the essence of the image,and the audience can enter the art,enrich the spiritual aspects of the artwork,and reflect its immortal vitality.