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中国当代的美术发展已呈多元化格局。昔日的写实与抽象、古典与现代、学院化的和非学院化的二分法已不适应现代绘画的整体格局。但与此极不协调的是:我国的美术批评却没有从自己所面对的对象上认识到自身工作性质的变化。一方面,一部分批评家大呼美术的视觉革命、观念革命,同时自己所使用的批评模式依然是传统的,古典的,直观经验式的;另一方面,热衷于新潮或前卫的批评家虽然极力鼓吹创作和批评的多元格局,但至于怎样形成这种多元格局又缺乏自觉的意识,于是造成近年来美术批评十分混乱的情况。
The development of contemporary Chinese art has been diversified. The past, realism and abstraction, classical and modern, academic and non-academic dichotomy has not adapted to the overall pattern of modern painting. However, what is incompatible with this is that our art criticism did not realize the change of the nature of our work from the objects we face. On the one hand, some critics shouted visual and revolutionary ideas of art, while the criticisms they used were still traditional, classical and intuitively experiential. On the other hand, critics keen on trendy or avant-garde, Advocating a pluralistic pattern of creation and criticism. However, as to how to form such a pluralistic structure and lack of awareness, it has caused the situation in which art criticism has been very chaotic in recent years.