一个美术大展能否成为高层次的、有影响的展览,主要取决于展览能否推出有影响力的作品和艺术家,而不是看这个展览规模有多大,出了多少本画册,或开幕式有多热闹。这一点,国内外皆然,也是艺术规律使然。此届全国美展,可谓运作成本最大的展览,结果却令人失望。不知是各地送展作品水平问题,还是评委们看走了眼,有些投机、押宝、平庸之作仍一如既往地堂而皇之地获奖。老一套的题材,雷同的主题,整齐划一的传统写实风格,毫无想象力的形式,精心细作的匠气,令人乏味。 几个月前,我曾在《美术观察》上参与了“全国美展积弊谈”的笔谈,对已往全国美展的运作机制、评选标准和评委的构成等问题提出了批评,希望此届展览这些问题能得到解决,全国美展也由此能跟 Whether an art exhibition can become a high-level, influential exhibition depends mainly on whether the exhibition can launch influential works and artists, rather than how much the exhibition is large, how many albums it has, or whether it has an opening ceremony More lively. This point, both at home and abroad, but also the laws of art. This year’s National Art Exhibition is arguably the most expensive exhibition at the show. The result was disappointing. I do not know around the delivery of work is the issue of the issue, or the judges looked away, some speculation, betting, mediocrity for the usual still magnanimously award-winning. The theme of the old set, the same theme, neatly unified traditional realism style, imaginative form, elaborate meticulous, boring. A few months ago, I was involved in the “National Art Exhibition” in the “Art Observations” and criticized the operation mechanism, selection criteria and the composition of the judges in the previous national art exhibitions. I hope these exhibitions Can be solved, the National Art Exhibition thus can follow