粗俗艺术运动
1994年——
粗俗艺术是一次运动 —— 慢慢开始具有冲击力—— 并不那么关心艺术界是否同样地认可它。 至于粗俗艺术是什么，我们大部份人来看又确实认识它。 任何看过卡通的人、狂热的看杂志的人、享受John Waters电影的人、使用有公司品牌的产品的人、有幽默感的人都在粗俗艺术中找到了乐子。
粗俗艺术运动已经被粗略的划到1994年, 在那一年粗俗艺术家Robert Williams成立了 Juxtapoz 杂志。Juxtapoz 杂志推介了许多粗俗艺术家并且成为了美国是第二旺销的艺术杂志(正是这个时候,威廉宣称拥有”粗俗艺术”这几个个字的版权. 作为运动的先锋和领袖，他的位置得以确立)。
然而粗俗艺术的根源是来自十年前南加州的 hotrods("Kustom Kars") 和“浪潮”文化。在 60 年代，粗俗艺术的人 (不同样地知道,然后) 分成了地下 Comix（是的，在文章中是这样拼写的）特别是Zap和 R. Crumb的作品，Victor Moscoso、S. Clay Wilson 和上述的Williams。
这些年以来，粗俗艺术毫不避讳的挪用了影响力巨大的经典卡通,60年代的电视影集，迷幻的 ( 还有任何其他的类型) 摇滚音乐，果肉艺术，隐晦的色情图象 ，连环图画书，科幻 , "B"( 或以下级别的) 恐怖电影，日本的 anime 和black velvet Elvis,以及许多其他的 "亚文化" 之中。
粗俗艺术是一次合理的运动吗?
好吧，艺术界像是开始注意这些事情。 时间将会告诉人们。 它是值得的,尽管 艺术界不会鼓舞那些刚出现的运动。 印象主义者忍受了多年艺术批评家讽刺的日子——这些批评家中的多数人因为悔恨没有买早期印象主义艺术家的作品气的要死要活。
类似的事情也出现在达达主义，表现主义，超现实主义，野兽主义，印第安乡村学派，现实主义的事,拉菲尔前派的早期...aw, gee whiz。 我们可以轻而易举的列出艺术界这样对待以上提到的运动的次数表,不是吗?
如果时间的测试因为合理性 (作为一次艺术运动) 也就意谓着粗俗艺术说/说,在视觉的术语中,对那数以百万计的分享同一文化,象征语言- 虽然 "比较低的 " 或 " 处于中间"的 级别, 媒介的语言的人来说 ——是的，粗俗艺术是存在的。人类学家将会在未来研究粗俗艺术, 尝试着去判定在20世纪晚期和21世纪早期它们对美国社会的影响。
粗俗艺术的特性是什么?
粗俗艺术诞生与地下或 "街区" 文化。
一般来说粗俗艺术家最直接的办法就是对陈规陋习的讽刺。 他们知道艺术的 "规则", 表现出有意识的反叛。
粗俗艺术有幽默味。有时幽默是愉快的,有时它是玩世不恭的，而有时它是讽刺的，但是它总是有效的。
粗俗艺术的有着很重的流行文化符号, 特别是那些以“Retro”闻名 . 名字以 "Baby Boomers"结尾的 立刻会认可它们, 除非Boomers出生在一个与世隔绝的环境中。
粗俗艺术的,它正在定义它本身,带来了大量的别名: 地下，迷幻的, 新流行的,解构的和 "Kustom" 这都是些不少的例子。 另外，John Seabrook 杜撰的短语 "Nobrow" ，已变成了术语 "Newbrow" 。
粗俗艺术现在遭受一个身份的危机, 因为搞这个的艺术家是广泛而多样的。 有单纯的设计者 , kitschy decal ，他们那些可能会和创作纯技术性粗俗画的或科幻雕塑的人同样都被认为是粗俗艺术家一。 庆幸的是，在不久的将来会自行分化。 同时，为了你的后代你可能想要现在就开始收藏粗俗艺术作品。
The Lowbrow Movement
1994 to Present
Lowbrow is a movement - slowly gaining momentum - that doesn't necessarily care if The Art World recognizes it as such. What matters to Lowbrow is that most of us average people do recognize it. Anyone who has ever watched cartoons, read Mad magazine, enjoyed a John Waters film, consumed a product with a corporate logo or possessed a sense of humor shouldn't have a hard time getting comfy with Lowbrow.
Lowbrow-the-Movement has here been assigned a "circa" of 1994, as that is the year that Lowbrow artist extraordinaire Robert Williams founded Juxtapoz magazine. Juxtapoz showcases Lowbrow artists and is currently the second best-selling art magazine in the U.S. (This seems like a good time to mention, too, that Williams claims copyright on the word "Lowbrow". As both pioneer and current grandee of the movement, he is certainly entitled.)
The roots of Lowbrow, however, go back decades to Southern California hotrods ("Kustom Kars") and surf culture. During the 60's, Lowbrow (not known as such, then) branched out into underground Comix (yes, that is how it is spelled, in this context) - particularly Zap and the work of R. Crumb, Victor Moscoso, S. Clay Wilson and the aforementioned Williams.
Over the years, Lowbrow has unapologetically picked up influences from classic cartoons, 60's TV sitcoms, psychedelic (and any other type of) rock music, pulp art, soft porn, comic books, sci-fi, "B" (or lower) horror movies, Japanese anime and black velvet Elvis, among many other "subcultural" offerings.
Is Lowbrow a legitimate movement?
Well, The Art World seems to get to decide these things. Time will tell. It's worth noting, however, that The Art World didn't cotton to many movements when they first emerged. The Impressionists endured years of lampooning by art critics - many of whom probably went to their graves kicking themselves black and blue for not buying early Impressionist works.
Similar stories exist about Dada, Expressionism, Surrealism, Fauvism, the Indian River School, Realism, the Pre-Raphaelite Brotherhood...aw, gee whiz. It'd be easier to list the times The Art World got in on the ground floor of a movement, wouldn't it?
If the test of time for legitimacy (as an artistic movement) means that Lowbrow speaks/spoke, in visual terms, to the millions of us who share a common cultural, symbolic language - albeit a "lower" or "middle" class, media-driven language - then, yes, Lowbrow is here to stay. Anthropologists will probably study Lowbrow in the future, to attempt to figure out late 20th and early 21st U.S. societal influences.
What are the characteristics of Lowbrow?
Lowbrow was born of underground or "street" culture.
The single most common tactic that Lowbrow artists employ is to poke fun at convention. They know the "rules" of art, and consciously choose not to abide by them.
Lowbrow art has a sense of humor. Sometimes the humor is gleeful, sometimes it's impish and sometimes it's born of sarcastic comment, but it is always present.
Lowbrow draws heavily on icons of popular culture, particularly those now commonly known as "Retro". Tail-end "Baby Boomers" will recognize them straight away, unless said Boomers were raised in an environment that disallowed outside influences.
Lowbrow, while it is defining itself, goes by a number of aliases: underground, visionary, Neo-Pop, anti-establishment and "Kustom" are but several examples. Additionally, John Seabrook has coined the phrase "Nobrow", and one has also seen the term "Newbrow".
Lowbrow currently suffers something of an identity crisis, due to having a wide variety of artists lumped into it. For example, the designer of a simple, kitschy decal may be accorded the same Lowbrow designation as the artist who composes a technically masterful Lowbrow painting or sci-fi sculpture. Hopefully, this will sort itself out in years to come. Meanwhile, you might want to begin collecting Lowbrow now, for the sakes of your grandchildren.
