摘要: 20 世纪的最后 15 年,四川美院油画创
作经历了自“伤痕”“乡土”以来最为重要的美学
转向,为新世纪的川美油画创作提供了新的观察视
野与表达空间,并在艺术社会学的意义上为中国社
会的整体性 改革提供了丰富的视觉文化景观。本
文结合“川美: ‘新绘画’的一代”展览的参展
艺术家群体,梳理川美油画创作的三次转向及其历
史与现实成因。
Abstract: Oil painting creation of Sichuan Fine Arts Institute (SCFAI) has
undergone the most important aesthetic turns since “Scar” and “Rural” in the last 15 years
of the twentieth century, providing new observant perspectives and expression space
for oil painting creation of SCFAI in the new century and offering rich visual cultural
landscapes for the integrity of Chinese society in the sense of art sociology. This article
dissects three turns of oil painting creation of SCFAI and corresponding historical and
realistic causes with the participating artist group of the exhibition of The Generation of
“New Painting” in SCFAI.
[V1] | 2024-09-03 21:31:20 | PSSXiv:202409.00452V1 | 下载全文 |
1. 展览,为了作品的“增殖” | 2024-09-27 |
2. 描绘今天世界的“野草” — 浅议第八届横滨三年展的策展方法 | 2024-09-27 |
3. 流动的主体:展览建设与意义生产 | 2024-09-27 |
4. 温度与共鸣: 美术馆展览的主体性建构与社会互通 | 2024-09-27 |
5. 共情场域与二次传播 —— 策展实践中的新思考 | 2024-09-27 |