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目前体制下全国版画展出现的一些问题,我在《未竟之渡》(《美术观察》2003年第3期)和《批评缺失的全国版画展》(《西北美术》2003年第2期)两篇文章中从不同角度进行了阐述。16届版展评委代大权教授在《全国版画展的辩证关系及构成》(《美术观察》2003年第7期)及《重托与希望》(《美术报》2002年12月14日)两篇文章中以评委的身份表述了他的观点。其中涉及到诸如展览学术性、承办地获奖、对批评的界定与认识、展览机制等问题,我觉得尚有可推敲之处。故不揣冒昧,在此提出与代老师商榷。 第一,全国版画展性质如何定位?全国版画展作为全国最具规模的版画专业性
Under the current system, there are some problems that appeared in the National Printmaking Exhibition. In the article “The Unfinished Transition” (“Art Observation” 2003Year 3) and “The Criticism of the Missing National Print Exhibition” (“Northwest Fine Arts” 2003Year 2) Article from different angles were described. On behalf of the 16th Edition, Professor Dai Daquan published a speech entitled “Dialectical Relations and Compositions of the National Printmaking Exhibition” (“Art Observation” No.7, 2003) and “Trust and Hope” (“Art Newspaper”, December 14, 2002) In the article as a judge expressed his point of view. There are issues such as the academic nature of the exhibition, the award winning venue, the definition and understanding of criticism, the exhibition mechanism and so on. I think there are some scrutiny. Therefore, it does not presume to presume that it is proposed to discuss with the teacher on behalf of this. First, what is the nature of the national printmaking exhibition? National Printmaking Exhibition as the nation’s largest professional printmaking