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在马平的艺术生涯中,一直交织着三重身份,是绘画,二是教育,三是行政。很多时候,后两者的影响盖过了前者,以至于他的艺术反而被历史所遮蔽。当然,就绘画而言,马平肯定不是最前卫的实验者,但是,他对于前卫、实验的理解、认同包括实践意味着他并非是中国当代艺术史上的缺席者。甚至可以说,他的绘画理念可以视为中国当代绘画观念演变的一个基本浓缩。本文无意对马一平的绘画做一历史性的系统梳理,而是就50年来他的绘画中所隐含的视觉分配机制的变化尝试做简单的分析和清整。
In Ma Ping’s artistic career, has been intertwined with triple identities, is painting, and second, education, and third, administration. In many cases, the influence of the latter two overrides the former, so that his art is instead obscured by history. Of course, as far as painting is concerned, Ma Ping is certainly not the most avant-garde experimenter. However, his understanding of avant-garde and experiments and his acceptance and practice mean that he is not absent from the history of contemporary Chinese art. It can even be said that his painting concept can be regarded as a basic enrichment of the evolution of the concept of Chinese contemporary painting. This article does not intend to make a systematic systematic review of Ma Yiping’s paintings. Instead, he tries to analyze and clarify the changes in the visual distribution mechanism implicit in his paintings over the past 50 years.