论文部分内容阅读
一个艺术门类赖以生存的基础无非两项:优秀的艺术家和广泛的社会基础。恰恰在这两项上,当代版画界出现了隐忧。除了寄身于美术学院或画院的艺术家,目前真正的职业版画家寥寥可数;而版画过于精英化、上层化,又使它对时代的敏感度逐步降低,受众减少。曾经以普及与传播为专长的版画,在今天的社会中,相对于国画、油画等艺术门类,大众对它的认知太少了。如果连最基本的社会接受度都丧失了,何谈版画市场?又如何能够期待版画可以创造出提升社会价值的作品呢?受《美术观察》编辑部之约,我特别邀请了一部分目前活跃在版画教学与创作一线的教师、参与推介中国版画走向世界的美协工作人员、曾经创作版画参加1989年中国现代艺术展的艺术家、对版画市场长期关注并积极投入的画廊经营者,以及毕业于国内美术学院版画系、现在工作生活于海外的艺术家,来参与到这次选题讨论中。他们从不同角度对中国版画的现状提出了看法和意见。其中如果有一些偏激之言,其本意也是真诚的,因为大家都希望中国当代版画创作能够在这个时代重新建立起与社会的密切关系,让版画家真正超越技法本身去想问题,从而进入到整个社会文化背景中进行思考,不断创作出能够代表我们这个时代的优秀的版画作品。
There are more than two foundations on which an art genre depends: excellent artists and a wide range of social foundations. Precisely in these two items, the contemporary print community has emerged. Except for the artists who send themselves to the art academies or art academies, there are only a handful of genuine professional print artists at present; and the prints are too elitist and upper stratified, making them less sensitive to the times and reducing their audiences. Printmaking, once the specialty of popularization and dissemination, has little recognition of it in today’s society as opposed to the art categories of traditional Chinese painting and oil painting. If the most basic social acceptance is lost, what about the print market? And how can we expect that printmaking can create works that enhance social values? By the editorial department of Fine Arts Watch, I specifically invited a group of people who are currently active Print teaching and creation front-line teachers involved in the promotion of Chinese print to the world of the Association staff, who have been engraving to participate in the 1989 China Modern Art Exhibition artists, print market has long been concerned about and actively involved in the gallery operators, as well as graduated from the domestic Art Print Department, now working in overseas artists, to participate in the topic of discussion. They put forward their opinions and opinions on the status quo of Chinese printmaking from different angles. Among them, if there is some radical words, the original intention is also sincere because everybody hopes that the contemporary Chinese printmaking can re-establish the close relationship with the society in this era so that the printmaker can truly go beyond the technique itself to think about the problem so as to enter the whole Social and cultural background to think, and continue to create able to represent our excellent printmaking works of this era.