美术批评在今天,相对于八十年代来说,已显得冷冷清清。如果想试图说明其中的原委,恐怕不是一两句话就能说清楚的。在这里,我只是试着就美术批评的现状做一下粗略的分析而已。首先,我们回顾一下当代美术批评的发展脉络,就会发觉,当代美术批评仅仅从方法论入手,不断翻着新花样,从而远离对美术作品本身的批评,由此导致了美术批评的贫困。美术批评从方法论入手,一味地套用西方的批评模式,是当代美术批评的主要特色之一。纵观当代美术批评的发展脉络,我们可以看到,七十年代开始的形式主义批评,是出自于对西方形式批评论的模仿,以所谓的艺术本体论为理由;而八十年代中期以后兴盛一时的“现代主义”艺术批评,则是套用的西方现代批评的模式;九十年代以来,后现代主义批评泛滥一时,又是另一番对西方批评话语的模仿。后现代主义批评方式以后不知道又会出现什么新的花样,西方的所谓新历史主义或什么“后后现代主义”也许还会再次被摆弄上当代中国的艺术舞台。在上述这一串 Art criticism today seems to be deserted as opposed to the 1980s. If you want to try to explain the whole story, I am afraid it will not be clear in a few words. Here, I just try to make a rough analysis of the status quo of art criticism. First of all, when we look back at the development of contemporary art criticism, we can see that contemporary art criticism only starts with methodology and constantly turns new tricks to stay away from the criticism of the art work itself, thus leading to the poverty of fine arts criticism. Art criticism from the methodology to start, blindly apply Western criticism is one of the main features of contemporary art criticism. Looking at the development context of contemporary art criticism, we can see that the formalist criticisms started in the 1970s originated from the imitation of western formal criticism and the so-called artistic ontology. Since the mid-1980s, however, The temporary “modernism” art criticism is the applied model of western modern criticism. Since the nineties, the spread of postmodernist criticism is another imitation of western criticism discourse. After the postmodernist criticism did not know what new patterns will emerge again, the so-called New Historicism in the West or what “post-postmodernism” may once again be confused with the contemporary Chinese art scene. In the above string