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研讨纪实|非常道——王秉复艺术求索六十载...

2020-01-10 65 people interested

由中央美术学院主办、中央美术学院美术馆承办的“非常道——王秉复艺术求索六十载” 展览于2019年12月13日在中央美术学院美术馆2A展厅展出。12月19日,围绕展览展开的学术研讨活动在中央美术学院电教学术报告厅举行。研讨会分为上下两场,发言者从各自不同的研究领域及立场出发,为听众提供了思考王秉复绘画艺术之“道”的丰富视角,从宏观与微观两个层面,对王秉复的笔墨语言、教学观念进行了多方位的剖析,对具体作品及创作语境进行了生动还原。 常道之“道” 《主流中的潜流——谈“非常道”展览的策划》李垚辰(中央美术学院) 此次演讲是想要剖析“非常道——王秉复艺术探索六十载”展览策划中的思考演变过程与展览的生成过程。这次展览缘自王秉复先生的代表作《世说新语》的捐赠,整个展览经过了近一年的筹备。区别于王秉复之前的展览方式和关注点,此次展览从作品数量、关注的学术重点,以及展陈叙事线索方面做出了不同考量,希望从全新的策划角度切入王秉复先生的艺术。探讨王秉复艺术在主流艺术传统中的传承和价值。《世说新语之风起浪湧》  34×22.5cm  纸本设色  1984年  中央美术学院美术馆藏策划过程中,《骨法发微》教材讲义对于策划团队特别有启发意义,使此次展览的目标更加明确。《骨法发微》是王秉复讲授传统线描的讲义,总结了自己对于中国骨法(线描)的认识,并深入浅出的向学生讲述最基本的线描方法和绘画知识。可贵的是他综合运用了20世纪的考古发现,吸纳了自新石器时代至唐宋的造型艺术资料,与传统宋元以来文人画传统一同来探讨中国的“骨法”传统,切入了中国传统绘画中的核心问题。《世说新语之支公好鹤》  34×22.5cm  纸本设色  1984年  中央美术学院美术馆藏我们认识到,王秉复的绘画并不“怪”,他继承了叶浅予、蒋兆和等名师的绘画思想,一直进行着中国绘画传统继承的研究,只不过,他更多的将视点投向民间,发现了新的营养,借鉴民间传统的方法与样式,他选择了一条不同于文人画传统的道路,他的探索可以称之为“主流中的潜流”,为当代中国画教学做出了巨大贡献。所以,策划团队最终决定以“骨法”为中心和线索,进行展览的结构组织和展示安排。《世说新语之神情开朗》  34×22.5cm  纸本设色  1984年  中央美术学院美术馆藏展览分为四个板块“学法——美院五年”“悟法——骨法发微”“用法——古事新画 教学相长”“多彩人生——王秉复年表”,汇聚了自1955年至今的作品200余件,展示了王秉复艺术探索中的各个侧面,揭示王秉复艺术探索的价值,使观众可以更直观,更全面的理解王秉复的艺术世界。《循道而行——王秉复老先生的笔墨造形与中国画之道》邓锋(中国美术馆)王秉复自号“常道”。陈鼓应在《老子今注今译》中将“常道”解释为永恒不变的道,朱谦之在《老子校释》中将“常”解释为变化中的不变,《周易程氏传》中则说:“随时变异乃常道”,强调不变中的变。王秉复的“常道”应该是恒变而恒动的。不变的“道”永远处于变动不居的辩证法中,这在王秉复的中国画创作中落脚为笔墨造形的根本和规律。王秉复的笔墨造型讲求骨法,加之写生之形的生动与写意笔墨的生发,它们共同构成了王秉复的艺术特征。笔法造形是周以前的传统,而写意笔墨是较晚近的现象。王秉复从个人角度将二者打通、融合,将明清以来写意笔墨的感受吸纳在线中。来自黄宾虹、齐白石、甚至关良、李可染的近现代传统对他的影响极大,王秉复以反向的方式将它们与早期造像传统结合,由此打通了自己的“道”,这与黄宾虹在《笔法图》中一钩一勒间的回环往复生长延绵有异曲同工之妙。《形神“手法”与笔墨“常道”——王秉复人物故事画与形象叙事的常态化表达》于洋(中央美术学院)王秉复的作品使我联想到与“文雅”概念和雅俗之辩有关的现象。多年前白谦慎先生写过一本书,叫《与古为徒和娟娟发屋》,这本书探讨的中心问题是:何为书法的经典?一种本不属于经典的文字书写,在什么情况下能够成为“书法”?以此来看,王秉复通过漫写与戏笔手法体现的笔墨趣味、自由表达,在表象上有意回避了文雅的程式,趋向于一种大俗大雅的境界。我们从王秉复的画中见到许多生动的元素,很大一部分来自这一民间传统。《世说新语之竹林七贤》  34×22.5cm  纸本设色  1984年  中央美术学院美术馆藏借用展览主题“非常道”的概念,在水墨人物画的笔墨叙事里或许存在“常态”与“非常态”两种状态。常态的情况下,现实意象通过笔墨语言的程式转换(形)与文人意趣的审美转换(神),由第一自然变为第二自然,成为创作主体心中的山水与图像。在这一过程中,图像与自然不自觉地被文雅化、或者说是规训化,形成一种强大的审美惯性。从非常态的角度来说,这一过程是可逆的,应该被反思和重构的,在拥有深厚的学院式系统积淀的艺术功底后,绘画者能够通过选择性的保留与取舍,形成带有自己强烈个性语言的非常态的“形神叙事”。这种“形神叙事”能够反过来与现实意象产生一种更为直接的互文关系。王秉复的创作正是以这样一种“非常态”的状态,为当下的美术创作带来了具有建构性的启示。《从〈笔谈王秉复〉说起》曹庆晖(中央美术学院)王秉复最引以为傲、也最受欢迎的是他的长篇水墨连环画,尤其是他的自传体水墨,纪录着王秉复的个人经历,同时也是与王秉复同时代、同呼吸、共命运的普通知识分子的传记。这些人大多生于30年代,青春岁月在红旗下渡过,上大学时遭遇政治运动,改革开放时已不再年轻。他们对时间的感受与别人不同,生怕辜负光阴,退休后面对社会商品经济大潮看不懂,也不搀和。《世说新语之晒书》  34×22.5cm  纸本设色  1984年  中央美术学院美术馆藏1956-1961年王秉复在美院,也是美院中国画系面临内外矛盾,政治压力巨大的时刻。何为中国画造型之基础?如何继承和发展传统?这些问题在复杂的政治、言论空间与人事、宗派的方方面面交汇。中国画系在这一过程中逐渐形成了今天所说的临摹、写生、创作三位一体的教学体系。王秉复遭遇人生的重大变故也是在这几年。谈到中央美院中国画系,总被不容置疑的贴上“徐蒋体系”的标签,事实上王秉复在美院的学习生活里接受了叶浅予、蒋兆和、李苦禅、李可染等一众老师的教导,广收博取。叶浅予的“八写、八练、四临、四通”,李苦禅的“金石笔墨”,蒋兆和的“笔笔相生”,都对王秉复发生着作用。时代的变化使我们现在能够重新回看这些艺术家,这也提醒着我们,需要在一个开放的环境中看待中国经验与中国故事。《常道的笔记体绘画之道》韩劲松(中国美术馆)《世说新语》是中国南北朝时期南朝刘宋临川王刘义庆撰写的一部笔记体小说,记录汉末、三国、两晋人物的言谈、轶事。小说文笔生动,记叙人物性格鲜活,篇幅短小精练,颇受后人推崇。鲁迅说它记言则玄远冷峻,记行则高简瑰奇。常道先生与《世说新语》深有共鸣,以文入画,不仅录其文,也拟其体,以简练笔墨记人叙事,风神潇洒,有魏晋风度,我称之为笔记体绘画。何谓笔记体绘画,我理解就是形式相对自由灵活,会讲故事,叙事志人不铺排,即使重大也举重若轻,以小见大。观常道先生作品,就有举重若轻之感。《世说新语之支公好鹤》  34×22.5cm  纸本设色  1984年  中央美术学院美术馆藏常道先生之画,笔简意赅,笔墨萧散松驰,看似漫不经意却饶有谐趣耐人寻味。上文下图,将古文学之美、古文字之美融进风趣不失古风的视觉解读中。互相映照表达出近乎智者默然神会的领悟体验。这种笔记体绘画与20世纪早期画家李毅士创作的《长恨歌画意》较为相似,但这套黑白画还是属于连环画体裁,有连续故事情节。《长恨歌画意》用明暗写实造型表现中国历史题材,但由于历史细节失实,曾受到鲁迅批评。《世说新语》则潜心研究古人衣冠、文物制度,达到考古而能入古,入古而又化古的程度。常道先生画《世说新语》自述:一是喜欢其文笔;二是了解基本历史知识,尤其是汉末、两晋的历史;三是对那个时期的美术有较深的领会,并且动手临摹过东汉壁画、画像砖、画像石、彩绘砖画、南北朝的壁画、石刻线画、敦煌、麦积山的北魏、西魏、北周壁画等,摸索出那时的造型规律或者叫“手法”,因而能进入历史文化整体语境去想象古人、表现古人,所以能得古人活气。一套《世说新语》绘画,因文学而触发画意,聊记心得而已,记录是唯一重要的,所以自然而然,通过记录而把传统活化,活化的有传统文化的内容,也有传统绘画语言这种形式本身。王秉复的绘画语言《复活的陶俑——王秉复先生的“跨媒介”绘画》张鹏(中央美术学院)2002年,王秉复出版了《古墓里的活人》第一辑,其中收录王秉复所绘陶俑149件。从50年代开始接触陶俑,王秉复一直辗转于中国各大美术馆、博物馆,借古抒怀。用王秉复自己的话说,画这些陶俑是要表现真实的人,让他们重生。通过将王秉复所画的陶俑与真实原作进行对比,可以看出王秉复如何从四个角度唤起古墓里的活人:1.角度择取中的今古对话;2.塑绘转换中的笔情墨趣;3.眼波流转中的传神阿睹;4.古色古香的色彩意象。王秉复在其中做了两种转换:一是从塑到绘、从立体到平面的中国传统艺术语言的跨媒介转换。二是从幽暗黄泉向明朗的人世间的转换。在这双重转换间可以看出中国传统绘塑结合的思维方式与整体艺术观。《古墓里的活人》选页《从“公众”到“人民”——读王秉复〈帅府园老美术馆的展厅内〉》徐梦可(中国美术馆)王秉复的《帅府园老美术馆的展厅内》作于1958年,表达了一个更加开放的、面向“人民”的公共空间。陈师曾的《读画图》与之类似,被视为中国传统绘画和“公众”进入公共空间的一次表达,画中记录了1917年北京文化界在中山公园举办展览筹款赈灾的场景。杜朴、文以诚在《中国艺术与文化》中提到《读画图》时表示,这幅作品显示了机构组织填补家庭与政府间的空缺的作用。有趣的是,王秉复的这件作品创作于大跃进时期,在这期间,文化部发表了《关于大力繁荣艺术创作的通知》,表明要广泛开展展览活动。在王秉复与陈师曾的作品中,展览的组织者都是社团,它们在社会机构中不只充当着补充性的角色,而是承担着更广、更深的社会职能。《帅府园老美术馆的展厅内》  1958年从《读画图》到《帅府园老美术馆的展厅内》,从1917年到1958年,观画者的身份发生了很大改变。《读画图》中用于筹款赈灾的展览,吸引的多是精英阶层,而王秉复的画中,公众身份出现了改变,体现了50年代初美术制度建立之始的展览形象,这与现代性民族国家政策的制定紧密关联。《中国神话:王秉复〈钟馗〉与〈九歌〉中的“戏仿”》吴雪杉(中央美术学院)王秉复有大量带有摹仿色彩的创作,临写改绘某件前人作品。这类看似临摹的画作既带有学习目的,又是一种“去其熟而留其生动”的创造过程。他的钟馗系列作品就是基于大量临摹后的再创造,在图式、笔墨、内涵等多个层面与前人展开对话,又以一种若即若离的方式批判现实。《九歌》系列作品也可以看到类似技巧。《东君》用钟馗替代中国古画中的东君,《山鬼》把现代漫画式的人物形象嫁接到古代山鬼图式,在看似摹仿传统的同时调侃传统。“仿”是中国画古已有之的创作方式,王秉复把“仿”演化为“戏仿”,以他独特的方式实现传统写意人物画现代化的尝试。《九歌》之东君  48x59cm 纸本设色 2018年《法度与实指——王先生和〈刘姐的故事〉》张伟(中央美术学院)刘姐全名叫刘彦萍,2013年来到北京打工,被介绍到王秉复的画室做家务工作。工作之余刘姐表示希望跟王秉复学习绘画,当时的王秉复正在创作自传式作品《多彩人生》,就让刘姐讲述自己的生活经历,王秉复边听边构图,再由刘姐勾勒描摹的方法作画。最后刘姐完成了共60幅的《彦萍自画传》,画了那些让她记忆深刻的事件或情景,所有看到过的人都惊呼:堪比丰子恺!令人困惑的是,作品中刘姐对自己亲人情感的注入,使画面的生动性有时更胜王秉复。王秉复教刘姐学画的事件,似乎触及了艺术表达的两个核心问题:“实指”与“法度”。刘姐用自己切身、动人的经历构成了画面的内容,这表示“实指”;王秉复则运用自己的经验和功夫娴熟地为故事绘制构图,这代表“法度”。这两者恰巧是所谓当代与传统分别看重的东西。实(真实)、指(痛点)、法(技法)、度(控制)四个方面,在不同的艺术家处各有侧重,而王秉复是极少能将这四方面融会贯通的艺术家,王秉复的作品之所以具有当代性,是由于他的语言不仅与古人相通,而且与现实吻合,其中包含着艺术家毕生的修养、理解、掌控及态度。《一九五六年之美院》 28x38.5cm 纸本设色 2018年研讨会现场嘉宾与艺术家王秉复合影整理|胡炘融编辑|CAFAM官网编辑部图|袁慕晗 ...More

是否还需速写? “淬砺求实,以真为师——潘世勋的速写与油画”展览研讨会纪实...

2019-12-23 184 people interested

2019年12月5日下午,以“潘世勋的速写与创作教学”为主题的研讨会在在中央美术学院油画系会议室举行。该活动是中央美术学院美术馆正在进行的潘世勋个展“淬砺求实,以真为师——潘世勋的速写与油画”系列活动之一,参会者包括潘世勋,油画系、国画学院、版画系、基础部等学院各部门教师及油画系在读同学,油画系副主任、一工作室主任胡建成教授担任研讨会主持。不同于多数由美术史学者、艺术批评家参与的理论性学术会议,此次会议更接近一次师生之间关于教学方法的探讨,以及艺术家之间围绕创作实践经验的交流。 ...More

Introducing Books into the Field of Fine Arts: The 2019 International Seminar of Artist Books...

2019-10-22 438 people interested

Artist Books, through the artists' fine thinking of "book space", transfer and mix freely the reading of the text, the appreciation of the visual and the touch of materials. THey have become a new art form and the next phase of the history of books. Artists design, illustrate, print all by themselves, and perform the elements like text, image, paper, material and ink to the height of an artwork. ...More

Jump out of fixed frame and construct an open space of art museum  An Overview of the Second Day of the Art Museum Forum...

2018-11-06 800 people interested

On November 3, the second day of “International Art Education Conference Art Museum Forum: Opportunities and Challenges of Art Museums in the Digital Age” was transferred to the conference hall of the Ovation Seven-Cultivation Hotel in Langfang. The discussion on that day started with “The Role of Art Museums in Making the Contemporary Art History” and “The Differences Between Public and University Art Museums in Art Education”.Session II: The Role of Art Museums in Making the Contemporary Art HistoryTime: 10:30-12:30, Saturday, November 3, 2018Venue: The Conference Hall of Ovation Seven-Cultivation Hotel in LangfangHost: Gao Gao, Assistant to Director, CAFA Art MuseumChairs of Forum: Zhang Zikang, Director of CAFA Art Museum                              Geoffrey Ward, Acting Director of Fitzwilliam Museum, Deputy Vice-Chancellor of University of CambridgeGuests: John W. Smith, Adele Tan, Jiyoon Lee, Ji Shaofeng, Hang Jian, Li Xiaoshan, Wang Chunchen (list in the order of speech)1John W. Smith, Director of Museum of Rhode Island School of DesignJohn W. Smith, Director of Museum of Rhode Island School of Design, made a speech on “A Museum for Artists-Its Past and Future”. He combined with the background of Rhode Island School of Design and shared the experience of how the museum develops around teaching. Rhode Island was once the textile center and important jewelry industry with a long history in design. The 140-year-old Rhode Island School of Design still uses the ancient technique of copying as one of the means of art education, and the Museum of Rhode Island School of Design is the main site for students to copy famous paintings. The museum is closely related to the study and practice of students, as they are deeply involved in public education, exhibition curating and collection management.2Adele Tan, Senior Curator of National Gallery SingaporeAdele Tan, Senior Curator of National Gallery Singapore, spoke on “Making Space: the Digital World and the Art Museum”. Curator Chen is in charge of the museum’s collection and exhibition since the 1970s, as well as entrusted projects of contemporary works. She first talked about the development and reform of the National Gallery Singapore, including the influence of the two performance arts “32 Years: The Interrogation of a Mirror” and “Let’s Walk Together” on the museum and contemporary art in Singapore. Another major part of Curator Chen’s speech was the museum’s attempts based on the characteristics of the digital age, such as developing online exhibitions on mobile apps, exhibitions based on twitter, design exhibitions of pure electronic version that exists on the web, and digital interactive “social desktop” where exhibits can be viewed online. The National Gallery Singapore has tried to make use of digital technology to create many virtual exhibitions on the digital platform and made them become a beneficial supplement to the physical displays.3Jiyoon Lee, Former Managing Director at National Museum of Modern and Contemporary Art (MMCA), Korea; Director of SUUM Contemporary Art ProjectJiyoon Lee, Former Managing Director at MMCA, Korea and Director of SUUM Contemporary Art Project, gave a speech on “The Role of Curatorship in the Age of New Technology Art”. Based on her own experience in the construction and curation of the museum, Director Lee primarily introduced how to use new technology to intervene in this process. The MMCA, Korea has been trying to develop art based on new technologies. It receives the technical support from high-tech enterprises such as Hyundai Motor and Hyundai Engine – they incorporate technology into artistic creation and art exhibition to create more possibilities for the museum. At the same time, Director Lee also stressed to help the curators to obtain opportunities for multi-dimensional learning and practice, because curators are not only researchers but also project managers, creators and producers.4JI Shaofeng, Director of Hubei Museum of ArtJI Shaofeng, Director of Hubei Museum of Art, talked about “Collecting is Thinking: the Role of Art Museums in Contemporary Art History”.  Director Ji believes that collecting should be a forward-looking study and collection of works in line with and beyond the times, so as to preserve the most valuable thoughts through collecting. When these thoughts are implemented in art museums, they will play an active role in the development, construction and research of contemporary art history. In the study of modern art history, we should avoid the interference of power and the bondage of capital, construct the collection series of contemporary art history from the perspective of art history and promote the construction of contemporary art history with the collection.5 HANG Jian, Director-General of CAA Museum, China Academy of ArtHANG Jian, Director-General of CAA Museum, China Academy of Art, delivered a speech on “The History of Design and the Design Museum in China – A Process of Designing Democratic Value Discovery”. Director Hang first introduced the three parts constituting the art museum group of China Academy of Art: the Museum of Contemporary Art, China Design Museum and China Academy of Arts' Folk Art Museum. Among them, he highlighted the planning concept and the eye-catching exhibition of the China Design Museum that just opened on April 8 this year. Director Hang pointed out that the mission of the China Design Museum is to consider how to respond to the changes in society and science & technology. In today’s rapidly changing science and technology, compared with art museums, China Design Museum pays more attention to the relationship between technology and human life in the future development, as well as the impact of technology on human future.6Li Xiaoshan, Director of Art Museum of Nanjing University of the ArtLi Xiaoshan, Director of Art Museum of Nanjing University of the Art, spoke on the topic of “From the Art Museum of Nanjing University of the Art to See the Present Situation and Future of Efficient Art Museums in China”. After a brief introduction of the art museum, he put forward three problems: the boundary of the art museum, the standards and features of the art museum, and opportunities and challenges of art museums in the digital age, which are three topics that currently faced by many art museums and deserves pondering. Director Li believes that the discussion of the forum should not focus on the explanation of each museum but to go deep into the consideration of practical problems such as theoretical problem, conceptual problem, and standard features of managing art museums, and so on.7WANG Chunchen, Deputy Director of CAFA Art MuseumWANG Chunchen, Deputy Director of CAFA Art Museum, made a speech on the topic of “Art Museum and the Making of Art History”. Director Wang stated that art museums appeared with the birth of art history research and played a critical role in the making of art history. Art Museums should undertake the recording and studying of art history, rather than just turning museum space into places for public activities, even sites for recreation and capital consumption. At the end of his speech, Director Wang hopes that peers of art museums can clarify the responsibilities of the art museum and make today’s art museums regain their mission of constructing art history. When the speeches of the second session were finished, two chairs of forum discussed with speakers and on-site media on issues such as art museum and contemporary art, art museum’s role of making art history, the specialty of design and architecture museums, etc. For art museums and contemporary art, Geoffrey Ward pointed out that there is a paradox between art museums and contemporary art as some art museums become boxes for hanging paintings and this kind of simple arrangement is a common problem of modern art museums. Regarding the art museum and art history, Director Smith thinks that the more important work of curators is not to write the history of art but to build a narrative belonging to the institution itself. Successful curators can tell a grand story in low-cost and express the whole trend through a certain aspect. As for the particularity of design museums, Director Hang states that the mission of art exhibition is different from that of contemporary design exhibition. The former helps to observe objects in different chains of design history, technological and social development, while the latter points to the possibility of future life. In response to the media’s questions about the acceptance of architectural exhibitions, Director Lee said that the MMCA Korea has already paid attention to the importance of collecting architectural models and started planning the exhibition of architects. Last year, the Seoul Biennale of Architecture was held in Seoul, and more architectural exhibitions will be held in the art museum in the future. Director Hang said that when the China Design Museum just opened, it took one third of the exhibition space to make the first Asian architecture exhibition for Siza, and it tried to think about the development of Chinese architecture itself by sorting out the development history of important international architects along with the different possibilities of their works around the world.Session III: The Differences Between Public and University Art Museums in Art EducationTime: 14:00-18:00, Saturday, November 3, 2018Venue: The Conference Hall of Ovation Seven-Cultivation Hotel in LangfangHost: Wang Chunchen, Deputy Director of CAFA Art MuseumGuests: Uladzimir Prakaptso, Geoffrey Ward, Ernst Vegelin van Claerbergen, Caitlin Doherty, Zhou Xujun, Patricia Rodewald, Guillermo Solana, Cao Hong, Meng Xianwei, Han Haiyan (list in the order of speech)1Uladzimir Prakaptso, Chairman of Belarusian Art Society, Director of National Art Museum of the Republic of BelarusUladzimir Prakaptso, Chairman of Belarusian Art Society, Director of National Art Museum of the Republic of Belarus, started the forum with the topic of “Cultural Cooperation is an Integral Component of the Belarusian-Chinese Relations”. He briefly introduced the “The Belt and Road” cooperation between Belarus and China. Prakaptso believes Chinese art is very attractive to the National Art Museum of the Republic of Belarus and hopes to bring more works of Chinese artists into Belarus. He also mentioned that 2019 is the 80th anniversary of the establishment of the art museum, which he hopes to witness with the participating guests together.2Geoffrey Ward, Acting Director of Fitzwilliam Museum, Deputy Vice-Chancellor of University of CambridgeGeoffrey Ward, Acting Director of Fitzwilliam Museum, Deputy Vice-Chancellor of University of Cambridge, spoke on “The Differences between Public and University Art Museums”. Director Ward first described the differences between Western and Chinese museums. He mentioned that, in the context of his work, in addition to a strong artistic background and successful management experience, museum directors are required to have the ability to raise funds, extensive contacts and business planning capability, as well as enough confidence to deal with the relationship between the 800-year-old university and the young art museum. He also stated in detail the difficulties faced in Britain, such as the increasing involvement of the government in the management but the reluctance to provide financial support, and the fact that charity is often an essential resource of funding for museums. Ward concluded that the function of a university museum is to stimulate students’ interest in art while serving as a link connecting different social groups.3Ernst Vegelin van Claerbergen, Director of the Courtauld GalleryErnst Vegelin van Claerbergen, Director of the Courtauld Gallery, made a speech on “The Public Value of the University Art Museum”. He believes that the university art museum should be a cutting-edge existence, and instead of letting people learn what they already know, it should expand the public’s knowledge in this field and promote the democratization of knowledge. University art museums and museums are supposed to be confident in dealing with factors from different aspects. At the same time, he also raised doubts about using the number of visitors as the standard to evaluate an art museum. He believes that organizing a well-received exhibition by such a criterion might deprive the audience of opportunities to learn about other art forms.4Caitlin Doherty, Executive Director of Museum of Contemporary Art Jacksonville, University of North FloridaCaitlin Doherty, Executive Director of Museum of Contemporary Art Jacksonville, University of North Florida, gave a speech on “MOCA Jacksonville: A Bridge Between Campus and Community”. Director Doherty believes that art and culture are a driving force, not a mere superstructure, that should undertake more responsibility for the community. By introducing different exhibition planning projects, she elaborated the museum’s attempt to change students’ lives through education projects and stressed that in this respect, the art museum plays an increasingly significant role and will help more community members to accept art education.5ZHOU Xujun, Director of Minsheng Art Museum BeijngZHOU Xujun, Director of Minsheng Art Museum Beijng, made a speech on “Public Art Museum and Art Education for the Public: the Case of Minsheng Art Museum”. Director Zhou believes that in the information age when visual images are easily accessible, art museums’ role of public education is changing and are endowed with the function of “knowledge production” and “social intercourse space”. As a model of private Chinese contemporary art museum, the three-year-old Minsheng Art Museum Beijing attaches great importance to public education, adhere to the idea of “equality and openness” and emphasize the connection with the urban public. From five keywords of “exhibition”, “children”, “cross-field”, “theory” and “public”, the museum designs and builds brand public education activities, making the art museum a cultural exchange platform for multiple services and constantly inject new cultural energy for the city.6Patricia Rodewald, Senior Advisor for Global Programs (China) of American Alliance of MuseumsPatricia Rodewald, Senior Advisor for Global Programs (China) of American Alliance of Museums, talked about “Artificial Intelligence and Interpretation: Engaging Audiences in New Ways”. Rodewald said that she and her team serve non-professionals and hope to encourage this kind of group to appreciate and explore artworks at close range. For that reason, they actively exploit different ways of interacting with the audience from traditional museums, such as developing some AI technologies to help the viewer conduct a direct dialogue with the collection, as it will be a very meaningful experience for the audience.7Guillermo Solana, Artistic Director of Museo Thyssen-BornemiszaGuillermo Solana, Artistic Director of Museo Thyssen-Bornemisza, gave a speech about “Artists’ Workshops as an Educational Tool: The Case of the Thyssen Museum, Madrid, Spain”. In his talk, he said that early European museums were important places for educating artists, but now, the relationship between art museums and contemporary artists becomes alienated. He has been considering the relationship between artists and art museums, and how to make the public re-recognize this relationship. Based on this thought, the art museum holds an in-depth exhibition of contemporary artists every year. Apart from guiding visitors to appreciate works, artists also invite them to participate in the exhibition so that visitors can understand the creation process of contemporary artists and the production process of works in the museum.8CAO Hong, Deputy Director of Arthur M. Sackler Museum of Art and Archeology at Peking UniversityCAO Hong, Deputy Director of Arthur M. Sackler Museum of Art and Archeology at Peking University, delivered a speech entitled “The Role of University Art Museum in the Higher Education of Arts: A Case of Arthur M. Sackler Museum at Peking University”. Director Cao introduced the museum’s three types of exhibitions: exhibitions showing the newest archaeological discoveries and scientific research results, art exhibitions emphasizing a dialogue between ancient and modern times, innovative exhibitions planned and made by students. These kinds of exhibitions aim to develop a relationship with the students using the collection and offer them maximum privileges to engage in the collection sorting and studying.9MENG Xianwei, Founder of "Qingdao Artists' Garden" Project, Director-general of Qingdao Museum of Contemporary ArtMENG Xianwei, Founder of "Qingdao Artists' Garden" Project, Director-general of Qingdao Museum of Contemporary Art, spoke on the topic of “Construction and Ecology Establishment of Qingdao Museum of Contemporary Art”. In his speech, Meng stated the design concept and plan of the art museum – an art museum that is closely related to art and life. As a cultural facility of the city, he expects the art museum can make contributions to nature and community, and thus integrate into the natural environment.10HAN Haiyan, Deputy Director of Langfang Gallery of CAFA Art MuseumHAN Haiyan, Deputy Director of Langfang Gallery of CAFA Art Museum, gave a speech on “Come-in Visitors, Go-out Art Museums - Unlimited Growing Public Education”. Director Han introduced the specific circumstance of the project of the “International Cultural Exchange Center of the Silk Road” in Langfang, followed by a series of art education projects launched to promote the connection between art and the public. She also analyzed the challenges the museum may face in its future operation.After the keynote speeches finished, two chairs of forum exchanged opinions with speakers and on-site guests on issues such as using the number of visitors as the standard to evaluate an art museum. James Bradburne said that with different aims and missions, art museums do need to have some conventional measuring factors as the standard of assessing an art museum but the number of visitors does not mean anything, and it probably makes more sense to give a more detailed analysis, like to analyze how many visitors are repeat visitors or first-time visitors and what is the proportion of young people or children. Director Doherty believes that exhibition space should be a place for experimentation so that the art museum should go back to explore more demands and possibilities of visitors beyond the statistical framework. Director Zhang Zikang stated that the quality and quantity of the audience should be taken into consideration to promote good exhibitions and valuable arts.At this point, the two-day “International Art Education Conference Art Museum Forum: Opportunities and Challenges for Art Museums in the Digital Age” ended completely. However, art museum practitioners will continue to question and think about issues of current value and future development of art museums as well as how should today’s art museums respond to the changes of the times. The answer is open and dynamic, which requires more diversified art museum practices to inspire new creativity and imagination space. ...More

What is the Future Direction of Art Museums in the Digital Age?  International Art Education Conference Art Museum Forum...

2018-11-04 790 people interested

On the afternoon of November 2, 2018, the International Art Education Conference Art Museum Forum is held in the auditorium of CAFA Art Museum. As a sub-forum of this Education Conference, CAFA Art Museum takes “Opportunities and Challenges of Art museums in the Digital Age” … ...More

A Summary of the Forum on “Revive the Splendid Landscape of China – Research Exhibition on the Movement of New Chinese Painting in the 1950s-60s”...

2018-10-09 900 people interested

On September 8, a special forum was held in the gallery of the research exhibition of “The Land of Country Remade – New Chinese Painting Movement in the 1950s-60s”. This forum focuses on academic exchange and discussion within the same industry and is open to only a few professional media. It is the first time for CAFA Art Museum to direct this kind of symposium, by which curator Wang Chunchen hopes to make academic discussion “more relaxed, free or more real”, and also to dig deeper and find the blind spots in previous studies. ...More
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