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近年来,贵州有十余位艺术家先后在北京和一些城市举办各具特色的个人作品展,引起人们的关注,向美术界提出了一些值得进一步思考的问题:所谓“贵州现象”的文化背景如何,形成它的根基、运作方式如何,如何评判其艺术价值、文化价值,产生“轰动效应”的原因何在,困境何在,进一步发展的出路何在,等等。本期编发的这组文章,“立体”地对所谓“贵州现象”进行了一些分析,可能不仅对贵州美术、也对整个中国美术的发展都会起到积极的作用。
In recent years, more than ten artists in Guizhou held successively individual and unique solo exhibitions in Beijing and some cities, arousing people’s attention and putting forward some questions worth further thinking to the art world: How is the cultural background of the so-called “Guizhou phenomenon?” How to judge its artistic value and cultural value, what causes the “sensational effect”, what is the dilemma and what is the way out for further development. The current issue of this group of articles, “three-dimensional” on the so-called “phenomenon of Guizhou” carried out some analysis may not only for the fine arts in Guizhou, but also for the development of the entire Chinese art will play a positive role.