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曾经万人挤独木桥要参加全国美展那是因为这是唯一的标准,现在的艺术家一年参加的展览可能比过去一个艺术家十年参加的展览都要多,如今缺的不是展览平台,而是好的的艺术家。虽然体制依旧拥有强大的力量,但不可否认这种力量正在减弱,甚至可以被一些人忽略。1999年12月24日,随着第九届全国美术作品展获奖作品展在中国美术馆落幕,我们迎来了新世纪,在21世纪的第一个10年里,艺术领域发生了巨大变化,当然最直接能够感受到的即是市场化,这样的背景催生了两种艺术家,一种是仍旧依靠官方体制发展的艺术家,一种则是依靠市场生存的艺术家。随着艺术生态的不断完善,那些依赖画廊和市场交易的艺术家完全不受制于“主旋律”这样的评判标准,官方体制不再独享权威。
It was because this is the only standard for crowds of people who want to join the National Art Exhibition. Nowadays, the number of exhibitions an artist can attend in a year may be more than one exhibition attended by an artist in the past ten years. Now it is not an exhibition platform but a good one Artist. Although the system still possesses great power, it is undeniable that this power is weakening and can even be overlooked by some. On December 24, 1999, as the 9th National Art Works Exhibition winners exhibition ended in the China Art Museum, we have ushered in a new century. In the first 10 years of the 21st century, great changes have taken place in the art field, Of course, the most directly perceived is marketization. Such a background has created two kinds of artists. One is an artist who still relies on the development of the official system and the other is an artist who relies on market survival. With the continuous improvement of the art ecosystem, artists who rely on galleries and market transactions are completely free from such criteria as the “main theme,” and the official system no longer has exclusive authority.