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即使采取极端出世的生活方式,美术家的生存也是对特定时代和一定社会的回应,所以在本质上美术家的生存离不开特定时代背景下的社会环境。这一点对于现代的美术家来说尤其显得突出。区别在于,每一位美术家在他的艺术生存中所要面临的问题不同,所要解决的问题不同而已。老一辈的中国美术家面对的问题,可能更多的是如何协调艺术与政治的关系,而新一代的美术家面对的可能更多的是网络化社会对他的评价和影响。本期[时代人物]里的韦启美更愿意在其艺术探索中不断寻梦,而[现象]栏目探讨今天还年轻的艺术家不得不清醒地看待已经迫近的问题。但是,不同年龄和从事不同美术门类的美术家也必然会面对更具共性的东西,因为他们都是“美术家”。
In spite of adopting an extremely born life style, the artist’s survival is also a response to a specific era and a certain society. Therefore, in essence, the artist’s survival can not be separated from the social environment in the specific era. This is especially true for modern artists. The difference is that each artist faces different problems in his artistic survival and the problems to be solved are different. The problems faced by the older generation of Chinese artists may be more about how to coordinate the relationship between art and politics, while the new generation of artists may face more of the evaluation and influence of a networked society. Wei Kai-mei in this issue of “Time People” prefers to continue to search for dreams in his art exploration, while the “Phenomenon” section examines that today’s still young artists have to soberly look at the problems they are pressing. However, artists of all ages and in different art categories are bound to face something more common because they are all “artists.”