Exhibitions and Events-News- CAFA Art Museum

Exhibitions and Events－News

Focusing on important exhibition and activity info of CAFA Art Museum, and updates the latest news of international museum industry.

: CAFAM馆藏陈列 | 《轰炸》：滑田友雕塑中的母爱与抗争

2024-09-29

滑田友是中国雕塑和雕塑教育事业的开创者。留学和生活于法国近15年，1948年归国后，以艺术创作和美术教育极大地推动了中国现代雕塑的发展。>>>>《轰炸》滑田友 1946年铸铜 116×90cm 中央美术学院美术馆藏《轰炸》是滑田友在法期间的创作，但构思来源却来自20世纪上半页中国的战争苦难。1932年，上海“一·二八”事变时，滑田友看见日本飞机轰炸南市的惨景，这成为《轰炸》的构思来源。1937年，滑田友在法国得知南京遭轰炸后，创作了《轰炸》立体构图稿和《轰炸后》圆雕稿，至1945年第二次世界大战结束后才最终完成《轰炸》。作品塑造了一位年轻母亲在轰炸中惊慌奔走的形象。一位裹着头巾的母亲惊慌失色的望向天空中，右手紧搂着幼儿，幼儿也依偎在母亲身上，左手则奋力拉着几岁大的孩子，孩子双手抱头并贴紧母亲，雕塑打破了常规均衡式的构图，身体前倾，呈现出一种强烈的动势。三个人物形象紧张的神情和动作传达出深处战火的恐惧感，但母亲并未倒下，而是刚强的矗立，象征着恐惧中的反抗与悲切中的激愤。这种简洁而富有力度的表现方式使得作品具有强大的艺术感染力。著名雕塑家钱绍武认为，“滑田友先生把当时欧洲流行的几何构成因素，转换为充满东方人理解的充满情感因素的几何体，这种探索体现了一种中西融合，在当时雕塑界是很重要的。”>>>>中央美术学院美术馆藏陈列——现代中国美术展览时间：2024年7月23日起展览地点：中央美术学院美术馆2层B展厅展览专业照明赞助：AKZU（深圳市埃克苏照明系统有限公司）展览空间建筑设计顾问：中国建筑科学研究院主编 / 何一沙责编 / 杜隐珠
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: CAFAM Art Appreciation & Practice Workshop | An Art Journey in Autumn.

2024-09-27

4.Xu Bing, "Where There Are Mountains", 53×73 cm, woodblock monochrome, 1988. Collected by CAFA Art Museum.Since the opening of the CAFAM collection exhibition, it has received great attention from the audience. Based on the CAFAM collection exhibition, this activity invites you to watch the fine art exhibition under the leadership of the tutor and present your own understanding of landscapes and scenery on paper.Course content1.Landscape sketch or sketch creation practice. (Paper materials)2.Students can choose any landscape work in the exhibition by themselves. The teacher will analyze its style and characteristics and explain the characteristics and application of materials. Under the guidance of the tutor, students can complete one or several complete paintings.3.The teacher will demonstrate and guide during the painting practice.4.Work sharing and discussion.Learning methods1.The teacher will lead the team and explain at the exhibition site for 30 minutes. Students can choose their favorite landscape paintings and take photos for preservation.2.After visiting the exhibition, go to the workshop for painting practice.Keywords for painting practiceThe application of pencils, colored pencils and gel pens.The handling of virtual and real, near and far views, and copying by implication.Painting materialsPencils or colored pencils or gel pens, watercolor paper or sketch paper or sketching paper (the paper does not need to be too large. As long as you can control the picture by yourself.).Note: Please prepare your own painting materials.Workshop InformationTime: 10:00 - 12:00 on September 28th (Saturday).Location: Conference room, Art Museum of the Central Academy of Fine Arts.Target participants: Adults over 18 years old.Number of participants: 15 - 20 people.Professional tutor:Teacher Xi, majoring in oil painting, Ph.D. in fine arts.Registration methodPlease add WeChat account 13910187193 (Teacher Yao), mark "workshop + real name + phone number + occupation" and send an application. The number of places is limited and registration will end when all places are filled. Successful registrants will receive a text message reply. Please do not submit the registration repeatedly.Notes:1.For this experience, please purchase the museum ticket in advance on your own.2.Participation in the workshop is free. Painting materials need to be prepared by yourself.3.The Art Museum of the Central Academy of Fine Arts reserves the right of final interpretation of this activity.Exhibition of Collections of CAFA Art Museum - Modern Chinese Art.Exhibition time: From July 23, 2024.Exhibition location: Exhibition Hall B on the second floor of CAFA Art Museum.Editor-in-chief / He Yisha.Responsible editor / Du Yinzhu.
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: Exhibition Interpretation | Reviewing Mr. Lin Gang's artistic journey of "Great art is wordless".

2024-09-27

Century of Glory: Famous Artists of the Central Academy of Fine Arts.Great Art is Wordless - The Centenary Art Exhibition of Mr. Lin Gang.Preface“As we know, a great university is not defined by having grand buildings, but by having great masters.” Since the founding of the Central Academy of Fine Arts 106 years ago, it is precisely because it has gathered generations of famous predecessors that there are the glorious fruits of a century-old school history and the continuous spirit of the Central Academy of Fine Arts.Mr. Lin Gang is an outstanding professor of the Central Academy of Fine Arts and an iconic figure in the Chinese oil painting circle, enjoying high reputation in the Chinese art field. He has played a very important role in promoting the development of the school at different historical stages and made important contributions to the development of education and teaching in the school. In 2024, Mr. Lin Gang enters his centenary. We are happy and inspired. At this time, it is an honor for the school and also a mission of passing on the torch to hold a large retrospective exhibition for Mr. Lin Gang, sort out his artistic journey and academic context, and show Mr. Lin Gang's fruitful artistic creation achievements.Mr. Lin Gang is a generation of oil painters who grew up in New China. He has firm cultural ideals, distinct artistic styles, and has always been at the forefront of the changes and development of the times.He is an artist who dares to break through. In artistic creation, he pursues the most sincere and moving expression, and is not constrained by past achievements, thus opening up one new artistic milestone after another. In his youth, his work "Zhao Guilan at the Gathering of Heroes" showed the new spirit of New China in a simple language. During his study in the Soviet Union, he deeply studied and mastered the language tradition of oil painting modeling and color, "pursuing the vivid and smooth brushwork and colors, and pursuing the beauty of color tones and the sentiment of the picture", and achieved remarkable results. A batch of historical theme creations such as "In Prison", "The Meeting of Jinggangshan", "Eventful Years", and "Endless Poems on the Long Journey" have become a generation of classics with solid modeling, characteristic composition and colors. Since the 1980s, with the thinking of "transcending the limitations of the times", Mr. Lin Gang's paintings have gradually moved from realistic figurative to imagery and abstraction, expressing rich life and real insights through basic painting languages such as dots, lines and surfaces.He is a sincere, upright professor who is deeply loved by students. In teaching, Mr. Lin Gang takes care of students and encourages free creation. Like a father, he gives firm and deep care. He has taught in the second and fourth studios of the Oil Painting Department successively. He has long thought about the development and future of oil painting in China and put it into practice. In particular, in 1985, he established the fourth studio of the Oil Painting Department, taking the lead of the times, expanding the field of oil painting education in China, cultivating a large number of talents and having a profound influence.This exhibition is carefully prepared and planned. Based on the basic idea of reviewing Mr. Lin Gang's artistic journey, it outlines the contours of his artistic creation through six sections: "Enthusiasm and Sensation", "Mission and Struggle", "Unity of Emotion and Form", "Charm of Color and Shape", "Sower", and "More Direct". It focuses on showing the internal unity between different periods and different painting styles and capturing the pulse of Mr. Lin Gang's artistic life. "Great art is wordless". Mr. Lin Gang has infected the younger generations with his life-long artistic practice and powerful works one by one. "Don't ask about the harvest, but ask about the cultivation." It is the cultivation and struggle of generations of famous masters like Mr. Lin Gang that have accumulated the rich heritage of the art academy."There are thousand-year-old trees in the mountains, but it is rare to meet a centenarian in the world." At the centenary age, Mr. Lin Gang's life, art and spirit are extremely precious for the century-old art academy and worthy of our careful experience and inheritance. Finally, I sincerely wish Mr. Lin Gang health and longevity!Lin MaoDean of the Central Academy of Fine ArtsYouth is not a time of life; it is a state of mind. It is not a matter of rosy cheeks, red lips and supple knees. It is a matter of the will, a quality of the imagination, a vigor of the emotions. It is the freshness of the deep springs of life.——Samuel Ullman (USA)Note: The texts in this exhibition are all selected from Mr. Lin Gang's self-narration or notes. We hope that through the artist's most authentic language, the audience can shorten the distance with the artist and enter the artist's spiritual world.Section 1Enthusiasm and Sensation - Early Experiencesand "Zhao Guilan at the Gathering of Heroes"In the early 1950s, teachers and students majoring in painting at the art academy were all painting New Year pictures and picture-story books. Teachers Xu Beihong and Wang Shikuo gave creative lessons to me, Feng Zhen, Li Qi, Deng Shu, Liang Yulong, and two students from the art department of Central University in the dilapidated house of the sculpture department at the back of the art academy. We discussed how to learn from old New Year pictures, create new New Year pictures, and how to use our skills to create New Year pictures that are loved by the people and serve the people. Everyone was really full of enthusiasm. Including Mr. Li Keran, Ye Qianyu, and Gu Yuan, although they were somewhat unaccustomed in painting methods, they were all very active.The third New Year picture I painted is "Zhao Guilan at the Gathering of Heroes". I saw a report about Zhao Guilan in the newspaper. It said that Premier Zhou led Zhao Guilan to meet Chairman Mao. I was very touched. First, Zhao Guilan's deeds of being unfortunately injured while saving public property are very touching. Second, the scene of Premier Zhou leading her to meet Chairman Mao is very touching. The chairman and civilians are equal. This is something that only exists in New China. Later, the school asked me to tell my classmates about the creative experience of this painting. In fact, after talking for a long time, it was just the two words "excitement".For the composition, I referred to Leonardo da Vinci's "The Last Supper", with a large white table and perspective. Because I had seen it in the library of the art academy before and I liked it very much and was deeply impressed. In fact, when I painted this picture, I only knew the perspective of sketching and flat coloring with single lines. I hadn't learned anything about color at all. I just had a little feeling. Looking back now, I really don't know how I painted it at that time. It was completely relying on feeling. So until now, I highly praise feeling. I once wrote in my own notebook "Long live feeling". Painting mainly depends on feeling. What's in your heart is what you will naturally draw.—By Lin GangZhao Guilan at the Gathering of Heroes. Lin Gang. Color on silk. 138×176cm. 1951. Collected by the Art Museum of the Central Academy of Fine Arts.The chairman and civilians are equal. This is something that only exists in New China.—By Lin GangIn September 1950, the "National Conference of Model Workers from Workers, Peasants and Soldiers" and the "National Conference of Combat Heroes" were held in Beijing. I borrowed a camera from someone else. Seizing the opportunity of the model workers' meeting and holding the introduction letter for meeting opened by the school, I visited Zhao Guilan. I hurriedly took a few photos in the yard of the All-China Federation of Trade Unions. I also collected several images such as female train drivers and Xinjiang youths from newspapers. Then I started painting in a studio of the old Central Academy of Fine Arts. Because I had the experience of creating picture-story books, it was not difficult to show the story plot.—By Lin GangAfter painting "Zhao Guilan at the Gathering of Heroes" in 1950, the "People's Daily" organized several of us young teachers such as Wu Bidan and Hou Yimin to go to North Korea for sketching to enliven the cultural life of the Chinese People's Volunteer Army. We followed the troops all the way to Seoul. At night, we could hear the sound of bullets sweeping by. It was quite terrifying.—By Lin GangKorean War Battlefield Sketch 2. Lin Gang. 1951. 25×20cm. Sketch on paper. Collected by the artist.Korean War Battlefield Sketch 3. Lin Gang. 1951. 22×17cm. Sketch on paper. Collected by the artist.Korean War Battlefield Sketch 4. Lin Gang. 1951. 22.5×17.5cm. Sketch on paper. Collected by the artist.Section 2Mission and Struggle—Seven Years of Studying in the Soviet Union.Shortly after the founding of New China, the state publicly sent a large number of young people of different majors to study in the Soviet Union. Because "Zhao Guilan at the Gathering of Heroes" had a relatively good response, in 1954, I was publicly sent to study at the Repin Academy of Fine Arts in Leningrad, the Soviet Union. At that time, Soviet movies, music, literature, and art had a great influence on us. So I was very excited to be able to study abroad.Our living expenses were at an upper-middle level among students, but everyone was still very frugal. Xiao Feng and I often ate bread with salted fish and a little butter, and then drank some water. We used the money we saved to buy a large number of small pictures and oil paints. Everyone felt that our whole body was supplied by the country from top to bottom. How many farmers were working there to support our study abroad. We must learn the good things of the Soviet Union and come back to serve the country.In China, I had only painted picture-story books and New Year pictures. I had never learned sketching, and as for oil painting, I had never painted it. So after arriving in the Soviet Union, I studied desperately. I worked extremely hard. It's 99% effort plus 1% talent.The days in Leningrad are very short. Especially in winter, it doesn't get bright until 11 am, and it gets dark at 3 pm. We took advantage of the daylight to practice color quickly. When the light dimmed in the afternoon, we drew sketches under the lamp. The school studio was not closed. The dormitory was right next to the school. We often painted very late. Sometimes we painted until 11 pm. When our eyes saw things double, we had to go back to the dormitory.I think the most important thing I learned in the Soviet Union is color. Many Soviet classmates in the art academy were also secretly trying various artistic changes, exchanging their experimental experiences with each other, and holding exhibitions at home. The initial influence of modernist art on me came from the after-class creations of these Soviet classmates.—By Lin GangRussian Woman. Lin Gang. 1958. 99×71.5cm. Oil on canvas. Collected by the artist.Art depends on instinct, hobby and sweat.—By Lin GangRussian Old Man #1. Lin Gang. 1958. 35×25.3cm. Sketch on paper. Collected by the artist.Russian Old Man #2. Lin Gang. 1958. 38×29cm. Sketch on paper. Collected by the artist.By the Volga River. Lin Gang. In the 1950s. 15.5×30.5cm. Oil on paper. Collected by the Art Museum of the Central Academy of Fine Arts.Beach. Lin Gang. 1957. 17×25cm. Oil on cardboard. Collected by the artist.Diagnosis. Lin Gang. 1959. 140×115cm. Oil on canvas. Collected by the Art Museum of the Central Academy of Fine Arts.
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: Huang Xiaofeng: Recording an epoch-making cultural event - The collection exhibition of works and materials of the first China National Art Exhibition in 1949.

2024-09-26

The collection exhibition of works and materials of the first National Art Exhibition in 1949 is a modern art research exhibition independently planned by the School of Humanities based on its collections and putting collections to practical use. As part of the collection research work that our school plans to focus on planning and implementing in the future, this exhibition was launched in mid-April this year. It mainly uses the treasure in our school's collection - the works and materials remaining from the art (fine arts) exhibition held at the National Literary and Art Workers' Congress in 1949 - to carry out collation and research. At the same time, in the form of an exhibition, it presents the basic appearance of 75 years ago, when on the occasion of welcoming the national victory and liberation and the birth of the People's Republic of China, the two major literary and artistic creation forces in the areas under the control of the Kuomintang and the liberated areas converged in Peiping, accepted the review of creation and the baptism of new literary and artistic thoughts.The works and materials of the first National Art Exhibition in 1949 that have survived to this day are of extraordinary and far-reaching significance for our school, the Central Academy of Fine Arts, the Chinese Artists Association, and the national literary and artistic workers represented by the China Federation of Literary and Art Circles. Just as Professor Cao Qinghui, the curator, said in a report on planning work during the summer vacation, the works and materials of the first National Art Exhibition collected by the School of Humanities of the Central Academy of Fine Arts in a historical opportunity are by no means limited to the first National Art Exhibition itself. Rather than saying that we are collecting an exhibition, it is better to say that we are collecting an epoch-making cultural event. Looking from this perspective, a new people's literary and artistic trend closely related to each of our ideological lives and visual logic is converging, growing, and surging. Therefore, it is the responsibility of our School of Humanities as a collecting unit to sort out and compile this cultural event with solid scientific working methods, study and expound on this cultural event with profound speculation of historical materialism and dialectical materialism, and deeply understand the realistic creative thinking process and experience of authors and works with the research methods of iconography, material science, chronology, and visual culture. At the same time, it is also the responsibility of our School of Humanities as a teaching unit to educate people.In September 1949, after the exhibition of the first National Art Exhibition at the National Peiping Art College ended, it was moved to the Shanghai Daxin Company for a touring exhibition. In September 2024, the collection exhibition of works and materials of the first National Art Exhibition in 1949 opened at the Art Museum of the Central Academy of Fine Arts. Seventy-five years have passed in the blink of an eye, but we must pay high tribute to Dean Jiang Feng who arranged for this batch of treasures to be preserved for the Central Academy of Fine Arts at that time and for the purpose of collecting materials for modern art research, and to Professor Li Shusheng, assistant of Dean Jiang Feng and who has been responsible for taking care of this batch of treasures for a long time. Thanks to the Art Museum and Library of the Central Academy of Fine Arts for providing collections to support the exhibition, thanks to the National Library and artists and their families for providing literature and old photo assistance for the exhibition, and thanks to the teachers and students of the School of Humanities who have worked hard to sort out the exhibition materials.In the summer of 2024, the planning work under the scorching sun is truly hot and exciting; in the autumn of 2024, at the dazzling exhibition site, there will surely be long and lingering thoughts...Huang XiaofengDean of the School of Humanities, CAFA.Some exhibited worksLi BinghongWang Xianming, the Explosion ModelWatercolor on paper28.7×42cmIn 1947Collected by the School of Humanities, CAFA.Chen ShuliangReturnTraditional Chinese painting, meticulous heavy-color on paper54.7×27.6cmIn 1948CAFA.Gu YuanBridge of MenWoodcut, color overprint on woodblock20.5×36cmCAFA Art Museum, in 1948.Chen YanqiaoLu Xun wrote: In any case, the future will surely belong to us.Woodcut manuscript, ink brush31.3×32.6cmCollected by the School of Humanities, CAFA, in 1949.Li HuaProfessor's CareerWoodcut, single color on woodblock16×22cmCAFA Art Museum, in 1948.Guan ShanyueDongshuimen, ChongqingTraditional Chinese painting33.4×47.5cmAround 1942Collected by the School of Humanities, CAFA.Zhang YangxiSeventy-Year-Old LonerInk wash37×58.1cmCollected by the School of Humanities,CAFA, in 1944.Pang XunqinDance of the Miao Ethnic Group29.8×34.5cmAround 1949Collected by the School of Humanities,CAFA.Tu KeCarnivalWatercolor27.5×37.1cmCollected by the School of Humanities, CAFA, in 1948.Zhang LepingThe Vast World (Shanghai under the rule of the Kuomintang).Cartoon, ink on paper.43.3×35.5cm.Collected by the School of Humanities,CAFA, in 1948.Liao Bingxiong.Seeking Knowledge with Burning Blood.Cartoon, colored.46.3×35.8cm.Collected by the School of Humanities,CAFA, around 1949.Research on Collections of the School of Humanities of CAFA.Collection Exhibition of Works and Materials of “The First National Art Exhibition in 1949”.Sponsor: School of Humanities, CAFA.Co-organizer:CAFA Art Museum .Exhibition Time: From September 10, 2024 to October 8, 2024.Exhibition Venue: Exhibition Hall on the fourth floor of the CAFA Art Museum.Editor-in-chief / He Yisha.Responsible editor / Du Yinzhu.
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: CAFAM讲座预告 | 施含牧：中国古代风俗画漫谈

2024-09-26

“从来风俗亦有诗——馆藏作品中的古今人物风貌”展览研究工作坊公开讲座系列讲座主题：中国古代风俗画漫谈讲座时间：2024年9月27日15:00-17:00讲座地点：中央美术学院美术馆学术报告厅主讲人：施含牧（故宫博物院副研究馆员，“众生百态”人物画展览策展人）主持人：黄小峰（中央美术学院人文学院院长，“从来风俗亦有诗”展览学术顾问）扫码预约报名名额有限（二维码仅用于此讲座）讲座内容风俗画是中国古代绘画中常见类型，它隶属于人物画中。风俗画描绘的是某时某地普遍的人类行为，因而具有纪实性。广义的风俗画还应包括描绘各地物产的“风物图”和番邦人物的“职贡图”。讲座从辨析“风俗”含义出发，对古代风俗的定义进行诠释，介绍古代风俗画的大致发展过程，同时结合古代文献，分析画面图像信息，挖掘风俗画主要题材的内涵，以期讲述古代风俗画的特殊含义。主讲人施含牧，湖南株洲人，文学博士，毕业于北京师范大学文学院，现为故宫博物院书画部副研究馆员，从事书画研究、清代词臣书画家研究。故宫博物院人物画特展第三期——“众生百态”展览策展人，编著有随展图录《众生百态》，发表古代风俗画相关论文数篇。主持人黄小峰，江西南昌人，1979年生。2008年于中央美术学院人文学院获博士学位。后留校任教。现为中央美术学院教授、博士生导师、人文学院院长、党总支副书记、校学术委员会副秘书长。主要研究方向为中国古代绘画。主要研究中国古代绘画史、书画鉴藏史。著有《张萱<虢国夫人游春图>》《西园雅集:两宋人物画》《古画新品录:一部眼睛的历史》。主编 / 何一沙责编 / 杜隐珠
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: CAFAM直播预告｜韦佳导览林岗先生百岁艺术展

2024-09-25

CAFAM9月25日（周三）14:00在抖音、微信视频号关注@中央美术学院美术馆官方账号不见不散一起感受林岗先生对艺术不灭的热爱C A F A M直播介绍 -------------------------------------------------------------------------------------9月11日，“大艺不言——林岗百岁艺术展”于中央美术学院美术馆正式开幕。展览以回顾林岗先生80余年的艺术历程为基本思路，展览通过六个板块，全面勾勒林岗艺术创作的轮廓，并着重展示不同时期、不同绘画风格之间的内在统一，捕捉林岗先生艺术生命的脉搏。本次活动特邀林岗先生的家人、艺术家——韦佳老师为公众带来精彩的展览导览，分享他对林岗先生艺术作品的独到体会和深刻见解。用韦老师的话来说，是分享他的“观后感和对作品的分析，非常个人的观点。是给热爱艺术的人，讲艺术和艺术探索的故事。” 活动时间：2024年9月25日（周三）14:00活动地点：中央美术学院美术馆三层B展厅主讲人韦佳◤画家，现居纽约和北京。少年时期师从张伯驹、潘素先生，深入学习中国传统山水画及诗词。1984年，毕业于中央美术学院油画系第三工作室。1987年，于美国布鲁姆斯堡宾西法尼亚大学视觉艺术系获得硕士学位。2007-2014年，于中央美术学院油画系客座教学主持人李垚辰◤中央美院美术馆典藏部主任“大艺不言——林岗百岁艺术展”展览策展人
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: CAFAM讲座预告 | 林睿之博士：全球艺术规则

2024-09-24

讲座主题：《林睿之博士：全球艺术规则》讲座时间：2024年9月25日19:00-21:00讲座地点：中央美术学院美术馆学术报告厅主讲人：林睿之主持人 / 对谈嘉宾：王春辰扫码预约报名名额有限，先到先得在20世纪80年代拉开序幕之前，艺术界长期被西方主导，形成了一个高度集中的格局。彼时，“国际”当代艺术的标杆几乎被北美与西欧的艺术家独占鳌头，而来自其他地区的艺术家则常处于边缘位置，难以触及核心领域的光芒。此次讲座，林睿之博士带来她的书籍《全球艺术规则》，剖析了这一现象在近数十年间的深刻变革及其背后的动因。并基于如何看待全球艺术规则的问题，在中央美术学院与王春辰教授进行学术对谈。在此次讲座中，林教授将基于对全球上百个国家的艺术基础设施进行审视，梳理艺术机构的历史脉络与话语体系，并分析相关的访谈资料。她将描绘全球文化领域的多样化景象，同时揭示艺术家们在全球范围内如何探索新路径并获得认可的进程。此外，林教授通过将皮埃尔·布尔迪厄的“艺术规则”理论拓展至全球视角。此研究内容将吸引那些对全球艺术文化动态、跨境艺术市场趋势及跨学科研究领域新发展保持高度关注的学者与爱好者。主讲人林睿之博士 (Dr. Larissa Buchholz)林睿之是一位屡获殊荣的社会学家，其研究专注于全球背景下的艺术创作和艺术市场动态。她拥有哥伦比亚大学的三项硕士学位和一项博士学位，目前是西北大学传播学院和社会学系（名誉）的副教授，同时也是耶鲁大学批判现实主义网络的教员研究员。在此之前，她是哈佛大学研究员学会的初级研究员，也是该学会首位来自社会学领域的女性研究员。她的工作获得了多项奖项，包括哥伦比亚大学的罗伯特·K·默顿奖（Robert K. Merton Award）、国际社会学协会青年理论家奖（Junior Theorist Prize of the International Sociological Association）和美国社会学协会青年理论家奖（Junior Theorist Award of the American Sociological Association）等。主持人 / 对谈嘉宾王春辰教授博士生导师，美术史学博士、美术批评家及策展人，毕业于中央美术学院，现就职于中央美术学院美术馆，从事现代美术史及当代艺术理论与批评研究。2012年被美国密执根州立大学布罗德美术馆聘为特约策展人，策划中国当代艺术展，美国《艺术杂志》称为"来自中国大陆第一个被美国美术馆聘请的中国策展人"。主编 / 何一沙责编 / 杜隐珠
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: 中央美院美术馆公益导览安排（9月24日-9月29日）| 志愿者持续招募

2024-09-24

为了艺术更广泛的普及和传播，我馆将为公众提供公益的志愿者定时导览服务。本服务无须预约，请观众按时前往相应展厅入口展览前言墙前，“公益讲解指示牌”处等候即可。美术馆导览志愿者持续招募中，欢迎广大艺术爱好者、讲解爱好者加入！报名方式◤（1）点击“阅读原文”或访问链接：https://www.cafamuseum.org/gallery/volunteer，点击“加入志愿者”，填写《中央美术学院美术馆志愿者报名表》，报名时请注明申报岗位；（2）报名时间：长期有效；报名咨询时间：每周二至周日上午09：30—12：30 下午13：30—17：30，报名咨询电话：010-64771575；（3）有意愿者通过网络报名等方式，经中央美术学院美术馆审核合格后，统一参加面试，面试择优录用，合格者参加志愿者岗前培训。经培训、考核合格后，将能正式成为中央美术学院美术馆志愿者；（4）志愿者有申请退出志愿服务的权利。申请者应提前一个月告知公共教育部并及时交还志愿者证件。正在展出◤01中央美术学院美术馆藏陈列——现代中国美术展览时间：2024年7月23日起展览地点：中央美术学院美术馆2层B展厅02百年辉煌·中央美术学院艺术名家大艺不言——林岗先生百岁艺术展展览时间：2024年9月11日–10月13日展览地点：中央美术学院美术馆3层B展厅03文化和旅游部“2024年全国美术馆馆藏精品展出季”入选项目从来风俗亦有诗——馆藏作品中的古今人物风貌展览时间：2024年9月10日—10月8日展览地点：中央美术学院美术馆3层A展厅04中央美术学院人文学院典藏研究“1949年第一届全国美展”作品资料典藏展展览时间：2024年9月10日—2024年10月8日展览地点：中央美术学院美术馆四层展厅052024年全国科普日系列活动固态沉积：有关矿物的存档展览时间：2024年9月10日—10月8日展览地点：中央美术学院美术馆一层展厅06玉·见广角——钱亮玉质媒材艺术研究展展览时间：2024年9月10日—10月7日展览地点：中央美术学院美术馆2层C展厅主编 / 何一沙责编 / 杜隐珠
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: CAFAM直播预告｜我与古人，同赏一片明月，云游“馆藏作品中的古今人物风貌”

2024-09-23

9月24日（周二）10:00在抖音、微信视频号关注@中央美术学院美术馆官方账号不见不散云体验古人在线po生活忆古思今，我与古人，同赏一片明月CAFAM直播介绍
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: CAFAM馆藏陈列 | “人民的新艺术”：探寻“1950-1976”馆藏经典

2024-09-23

建校百年来，始自北平艺专的中央美术学院及所属美术馆一直持续、有序开展经典艺术品收藏工作，目前拥有各类藏品2万余件，涉及古今、兼顾中西。我馆此次正式推出馆藏长期陈列，以馆藏经典作品构成中国美术历史发展的呈现，是活化美术馆藏的学术探索，也是为社会提供丰富的文化历史面貌、美育资源以及艺术教学、研究的核心价值。20世纪是中国美术发展的重要时期，中央美术学院自始至今都参与其中，发挥了积极的推动与引领作用，其师生参与创作大量经典作品，在现代中国的美术史中产生了巨大影响。本次陈列选取馆藏20世纪中国美术作品200余件，以时间为主线，分为1900-1949、1950-1976、1977-2000三个板块，呈现了百年造型艺术的发展脉络。观众可通过展览感受不同时期的艺术追求、艺术探索以及作品呈现的时代面貌。此次推送将介绍展览第二板块“1950-1976”的主要内容。>>>>第二板块1950-19761949年，中华人民共和国成立，美术的发展迎来历史转折。这一时期的美术以服务工农兵大众为宗旨，倡导“人民的新艺术”，教育走向正规化，在学习苏联、东欧等地经验的同时，逐步掌握现代美术教育与创作的方法规律，提升了艺术表现水平，并开始探索“中国风格、中国气派”。艺术家们以饱满的热情拥抱社会，将革命的现实主义与革命的浪漫主义相结合，为翻天覆地的社会主义建设服务，美术作品集中表现了社会发展、生活建设的形象，产生了广泛的社会影响。梳理我馆藏品体系，也可从中窥见这一时期美术创作紧密围绕国家建设和社会发展的主题，具有强烈的时代使命感。新中国成立后，百废待兴，艺术家们深入生活，扎根人民，以真实的笔触记录下劳动人民的奋斗场景、社会主义建设的火热场面。如《毛主席和亚非拉人民在一起》《群英会上的赵桂兰》《地下工作者》《起家》等。而中国画作为我国传统艺术的瑰宝，在这一时期也得到了新的发展。艺术家一方面深入研究传统笔墨技法，另一方面积极探索将传统与现代题材相结合的道路。这一特征在《群英会上的赵桂兰》《广州起义》《亩产10万斤》等作品上得以体现。同时，在特殊时期，艺术创作呈现出高度政治化的特征。版画、漫画、雕塑等艺术形式成为传达政治信息的重要手段。《五卅运动》《特等劳动英雄李永像》《白求恩全身像》《铁展号火车》《晚归》等作品也在一定程度上反映了当时人们的精神状态和社会现实。>>>>第二板块部分展出作品《特等劳动英雄李永像》吴作人 1950年布面油彩 128×160cm 中央美术学院美术馆藏《孤儿》高虹 1957年布面油彩 139×160cm 中央美术学院美术馆藏《地下工作者》侯一民 1957年布面油彩 210x176cm 中央美术学院美术馆藏《起家》詹建俊 1957年布面油彩 140×348cm 中央美术学院美术馆藏《毛主席和亚非拉人民在一起》伍必瑞、靳尚谊 1961年纸本水粉 143×156cm 中央美术学院美术馆藏《群英会上的赵桂兰》林岗 1951年绢本设色 138 x 176cm 中央美术学院美术馆藏《青纱帐》，顾祝君，布面油彩，180×180cm，1963年，中央美术学院美术馆藏《广州起义》李斛 1957年纸本设色 139x302cm中央美术学院美术馆藏《晚归》王琦 1955年木版套色 17x24.3cm 中央美术学院美术馆藏《老羊倌》彦涵 1957年木版单色 50×44cm 中央美术学院美术馆藏《大伙的食堂》黄永玉 1960年木版套色 27×32cm 中央美术学院美术馆藏《五卅运动局部：戴鸭舌帽男子侧面像》王临乙 1950年代汉白玉 15x29.5x34cm 中央美术学院美术馆藏《白求恩全身像》司徒杰 1956-1958年铸铜 29×18×80cm 中央美术学院美术馆藏>>>>中央美术学院美术馆藏陈列——现代中国美术展览时间：2024年7月23日起展览地点：中央美术学院美术馆2层B展厅主编 / 何一沙责编 / 杜隐珠
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Child Public Education Reservation Form

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Group Public Education Event Reservation Form

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Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.