进入后现代社会以来,市场经济的迅猛发展使金钱资本作为一种强劲的势力无孔不入,对文化、艺术也产生了不可忽视的影响。美术作品作为一种特殊的商品在20世纪90 年代以来成为继股票、房地产、期货之后一种新的投资热点。伴随着美术的市场化,美术批评也进入了市场。90年代初,三十多位美术批评家曾共同立约向索取艺术评论文章的艺术家收取润笔费,以维护自己的智力劳务权益。自此美术批评开始与市场接轨。当时此举刚一出台,立刻在美术界引起了激烈的争论。时至今日,美术批评的市场化问题已无人争论,它似乎已成为美术圈内的一种行规。那些自诩为权威的美术批评家们为艺术家摇旗呐喊,坦然地收取艺术家的润笔费,以至批评堕落成吹捧,无数“大师”在权威批评家的吹捧之下横空出世,交易双方皆大欢喜,装帧精美的专业杂志到处刊登着低俗、劣质的作品。美术批评变成了艺术家的奴隶和金钱的附庸,批评家们被“金钱资本”阉割了,阉割之后的学术分量还有多重, 不能不令人怀疑。 Since entering the postmodern society, the rapid development of market economy has made money capital a powerful force and has had an undeniable impact on culture and art. As a special kind of commodity, art works became a new investment hot spot after stocks, real estate and futures since the 1990s. With the marketization of art, art criticism has also entered the market. In the early 1990s, more than thirty fine art critics had co-contracted to collect fees from artists who solicited artistic commentary articles in order to safeguard their intellectual rights. Art criticism since then began to conform with the market. At that time, the move was just introduced and immediately caused a heated debate among the fine arts circles. Today, the issue of marketization of art criticism has been unmanaged. It seems to have become a practice within art circles. Those self-proclaimed art critics shook their voices to artists, frankly charged the artist’s fee for doing things, and even criticized the degenerate into flattering. The innumerable “masters” were born out of tougher criticism by authoritative critics. Both parties were delighted and beautifully framed Professional magazines published vulgar, inferior works. Art criticism became a vassal of the artist’s slave and money. Critics were emasculated by the “money capital.” After the castration, there were still many academic components that could not be doubted.