如果说“绘画的危机”在上个世纪90年代仅是耸人听闻的论调的话,那么进入21世纪后,这个论调正在成为事实。尹朝阳正是在这个转折点上进入中国当代艺术视野的。伴随其2001年第一次个展“神话”在北京首都艺术博物馆的举办,他那些具有明显的心理学特征的绘画开始为人们所熟悉。在 If the “crisis of painting” was only a sensational argument in the 1990s, then this argument is becoming a reality after entering the 21st century. It is at this turning point that Yin Chaoyang entered the field of contemporary Chinese art. With his first solo exhibition “The Myth” in 2001 held at the Beijing Capital Art Museum, his paintings with obvious psychological features are beginning to become familiar. in