论文部分内容阅读
从八十年代初至今的十余年间,是中国各行各业的“新时期”,但对陕西美术界来说,新时期并不意味着新状态。换言之新时期的陕西美术状态并不与“新时期”的称谓相匹配。陕西美术界当下的状态是人多、产品多、团体多;但却缺乏精英式的人物与经典式的作品,以及少有全国范围内有影响的流派建树与艺术主张。也即缺乏在新时期脱颖而出的接触画家,缺乏在十余年间任何一次美术思潮中充当弄潮儿式的人物,缺乏在任何一次在全国引起轰动或关注的展示中凸显于美术界的艺术行为,缺乏对当下中国美术演变史中任何一点新视觉样式的贡献与创造,缺乏任何一个与新时期中国美术当代史有所呼应与创造的团体和流派以及口号与纲领的产生。一言以蔽之,新时期的陕西美术界状态是:平庸、保守、缺乏活力与创造精神。
During the more than ten years since the early 1980s, it was a “new era” for all walks of life in China. However, for the Shaanxi fine arts world, the new period does not mean a new state. In other words, the state of art in Shaanxi in the new period does not match the title of “new period.” The current state of the art world in Shaanxi is crowded with many products and groups. However, there is a lack of elite characters and classic works, as well as few and far-reaching schools of influence and artistic ideas in the country. That is, the lack of contact painters who stood out in the new era, the lack of figure-grabbing figures in any art trend in more than a decade, and the lack of artistic performance highlighted in the art world at any one show that caused a sensation or concern throughout the country The contribution and creation of any new visual style to the present moment of the evolution of Chinese art lacks any groups and schools that echo and create new ideas with the contemporary Chinese art history, as well as the slogan and program. In a nutshell, the state of Shaanxi’s fine arts scene in the new era is mediocre, conservative, lack of energy and creativity.