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当代艺术在中国发展的30余年里,大多处于民间自发的状态,即使在今天,也井未完全威为社会认同的主流文化。当然,当代艺术正从民间走向精英,当代艺术家正走向适应体制订件的职业状态。在这个背景下,不少艺术家在当前思考和实践中表现出来的复古气质,其实是继续着民间与精英、传统与当代互相错位、误读和重组;一方面,中国画“穷途末路说”和“传统底线说”之争一直存在;而另一方面,从最早齐白石作品代表新中国艺术成就参加威尼斯双年展,
In the more than 30 years since the development of contemporary art in China, most of them are in a spontaneous and spontaneous state. Even today, they are not fully recognized as mainstream culture in society. Of course, contemporary art is moving from the private sector to the elite. Contemporary artists are moving towards occupational conditions that are adaptive to the system. In this context, the retro temperament that many artists present in their current thinking and practice is in fact continuing the misplacement, misreading and reorganization between the folk and the elites, between tradition and the present. On the one hand, the Chinese painting “the end of the road” and “The traditional bottom line ” dispute has always existed; the other hand, from the earliest Qi Baishi works on behalf of the achievements of new Chinese art Venice Biennale,