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批评家要敢于站在话语争锋的前沿
艺术批评 话语争锋 批评家
2010/1/5
批评活动，对艺术家也好，对艺术作品也好，对艺术现象也好，不能光说好话，批评活动应该有褒有贬。批评就是选择，对历史负责。从众多的艺术家和艺术作品当中挑选出优秀看来，得到某种公认后交给艺术史，再评价再阐释。
现代文化和现当代艺术
求野 现当代艺术 现代文化 新感性
2010/1/5
以“85新潮”为发端，中国的现当代艺术在社会反思、文化思潮的大背景下暴发出来，期间几起几落、此起彼伏。从圆明园到宋庄、从宋庄到798，艺术家们的精神没有变、艺术家的追求没有变、艺术家们的作品没有变，但当代艺术生存的环境却完全变了！从十多年前的圆明园艺术家被打压驱散，到新世纪的宋庄成为政府的文化创意新区、798成为国家公布保护的特殊区域，等等，这一切意味着什么？——这是颇费思索而又需要思索的。或许，...
新艺术与“职业观众”的遭遇战
遭遇战 职业观众 新艺术
2010/1/5
甲：多元时代没有全能的批评家，无论他多么博学多才，也有他无法逾越的“视界”。每一个批评家只能在他熟悉的有限范围内工作。如果他以为他手中握着一把可以度量所有艺术的“万能尺”，那他就难免受到历史的嘲弄。企图以一个恒定的批评标准去框正所有的艺术的时代再不会重现。
当代艺术史家能还原历史的真相吗？很难。还原历史只能是史家的个人愿望。如果他一开始没有这个愿望，几乎可以说他没有资格撰写历史；如果他最终确信这种愿望在他的笔下成立了，他就是一个沉迷在历史之外自不量力的狂人。所有的艺术史著作都是历史碎片的汇编，构成更大的碎片。不过再大的碎片也不等于完整的历史，充其量是历史的索引。人们无法知道哪些空缺的部分左右着历史的走向。
"Pictures made of wool": The Gender of Labor at the Bauhaus Weaving Workshop (1919-23)
Pictures made of wool The Gender of Labor the Bauhaus Weaving Workshop
2009/11/27
In 1926, one year after the Bauhaus had moved to Dessau, the weaving workshop master Gunta Stölzl dismissed the earlier, Weimar period textiles, such as Hedwig Jungnik’s wall hanging from 1922, a...
The Inside is the Outside: The Relational as the (Feminine) Space of the Radical
The Inside is the Outside The Relational the (Feminine) Space of the Radical
2009/11/27
It may seem precursory to begin my essay with an image that has been haunting me since September 11, but in a concise way it prefigures many issues I will write about. It is an image of a work by the ...
Inventing Wifredo Lam: The Parisian Avant-Garde's Primitivist Fixation
Inventing Wifredo Lam The Parisian Avant-Garde's Primitivist Fixation
2009/11/27
Wifredo Lam arrived in France in the late 1930s, a time of increasing political and social turmoil. In this period of national insecurity, race served as a visible determinant of the other. The French...
Plurality in Place:Activating Public Spheres and Public Spaces in Seattle
Plurality in Place Public Spheres Public Spaces Seattle
2009/11/27
Design journal editors have also challenged design professionals to ask themselves whether they want such public attention to be measured as public opinion (as nothing more than a popularity contest:...
Canine Citizenship and the Intimate Public Sphere
Canine Citizenship the Intimate Public Sphere
2009/11/27
This essay is a speculative inquiry into the possibilities and problems of canine citizenship. Informed by a cross section of contemporary images of and relations to dogs in the United States, it asks...
Appetite for Destruction:Public Iconography and the Artificial Ruins of SITE, Inc.
Destruction Public Iconography the Artificial Ruins of SITE, Inc
2009/11/27
Beginning in the early seventies, the artists and architects of SITE, Inc. staged a series of interventions into the everyday American practice of shopping that confronted some of the most crucial iss...
We all have an appetite for seeing, an appétit de l'oeuil as Lacan explains it: it is through our eyes that we ingest the Other, the world.1 And in this sense, what better way to introduce a film on a...
A Thread of Knots: Jacques Derrida’s Homage to Emmanuel Levinas’ Ethical Reminder
A Thread of Knots Jacques Derrida’s Homage Emmanuel Levinas’ Ethical Reminder
2009/11/27
The metaphor of the knotted thread is not a mere metaphor in Derrida’s homage to the work of Emmanuel Levinas. His own essay, “At this very moment in this work here I am,” is itself structured as a th...
中国当代艺术史如何体现自身的价值诉求？
价值诉求 自身 当代艺术史
2009/11/24
何为当代艺术？一般而言，“当代”一词具有时间上的指向性，即可以将“当代”理解为当下的、目前的，以此与“过去的”、“传统的”相对。按此理解，所有当下创作的作品都可以称作当代艺术。然而，从美学和文化学的意义上切入，“当代艺术”则有双重的意义维度。譬如，在西方艺术史的情景中，反现代艺术的美学特征是当代艺术出现的先决条件：其一是反对现代主义的精英主义观念和既定的艺术表现方法，追求不断的创新和反叛，崇尚原创...
中国现当代艺术史写作的价值判断问题
价值判断 写作 现当代艺术史
2009/11/24
当代艺术史的修正与重写也提出了一个古老的问题，即对历史的检验。古代史最无法改变的事情是古代史完全讲述过去的事情，所谓死无对证，臆造和杜撰也无法确认。当代史却可以被直接检验，因为当事人都还在，但当代艺术史写作的困难恰在于此：即便是艺术家们本人提供的资料也不是完全可信的，尤其是艺术运动，当事人之间会因角度的不同而产生对事实有误差的看法和回忆，史学家需要更为谨慎地、批判地处理这些材料，所以艺术家对当代艺...