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当考察影响中国当代艺术发展的诸要素时,我们会发现,评价学院及学院艺术在这一进程中所发挥的作用是一件颇为困难而且复杂的事情。一方面,学院艺术在这种以“前卫”或“先锋”为标准的当代艺术语境下,逐渐成为限制、保守和封闭的代名词。许多当代艺术家不但在其作品中表达反学院的态度,甚至以此作为一种艺术语言来推进自己的艺术创作。与此同时,另一方面,一些对中国当代艺术介入极深的艺术家——包括2000年以来,活跃于艺术界的一批上世纪70年代出生的中青年艺术家,其本身便具有学院教育的背景,甚至学院身份。他们的“先锋”与“前卫”仿佛并未受到所谓“学院体制”的制约,反而以此为养分,并从中获益。
When examining the elements that affect the development of contemporary Chinese art, we find that assessing the role played by college and college art in this process is a difficult and complicated one. On the one hand, under the contemporary art context of “avant-garde” or “vanguard” as standard, college art has gradually become synonymous with restraint, conservatism and confinement. Many contemporary artists not only express their anti-college attitudes in their works, but also promote their artistic creation as an artistic language. At the same time, on the other hand, some young and middle-aged artists born in the 1970s, who have been deeply involved in contemporary Chinese art since 2000, including those active in the art world, have their own background in college education , Or even college status. Their “vanguard” and “avant-garde” seem not to be constrained by the so-called “college system”, but instead use it as a nutrient and benefit from it.