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李云霞(以下简称“李”):可以谈谈您最初从事艺术批评的情况吗?顾丞峰(以下简称“顾”):这个问题比较泛,不够具体。说起中国的艺术批评,实际上“’85时期”就有了。“文革”或者“文革”之后的批评都很幼稚。被觉得从上世纪80年代也就是现代艺术时期,真正的批评才开始出现。当时主要借助的媒介,是《美术》及报刊杂志。批评队伍在国内也分了几批人,比较早的是我们老师辈的像水天中、郎绍君等,他们是改革开放后第一批美术理论硕士,在艺术研究院就读,毕业以后主要从事艺术批评。我们比他们晚了两
Li Yunxia: Can you talk about the situation where you initially engaged in art criticism? Gu Shoufeng (hereinafter referred to as “Gu ”): This issue is rather general and not concrete enough. Speaking of China’s art criticism, in fact, “85 period” there. “Cultural Revolution ” or “Cultural Revolution ” after the criticism is very naive. It was felt that real criticism began to emerge from the 1980s, that is, the period of modern art. The main media at that time was “Fine Arts” and newspapers and periodicals. Criticism team in the country is also divided into several groups of people, earlier is our teacher generation like Shui Tian Zhong, Lang Shaojun, who is the first post-reform master’s degree in fine arts theory, studied at the Institute of Arts, after graduation, mainly engaged in art criticism. We are two later than them