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自20世纪90年代以来,全国大张“主义”、“观念”之旗帜的各类型如架上、装置、行为、影像的展览在各大城市频繁举办,其间鲜见贵州艺术(油画)的全景身影,仅有的几个作者和零星几件作品的参展露面,一定程度上,远不足以构成一个关于贵州艺术的整体清晰的“文化记忆”,更遑论获得有身份背景的价值体认。“主义”、“观念”的旗帜之光照拂不到贵州油画,抑或是贵州油画集体遗忘了江湖?
Since the 1990s, exhibitions of various types of installations such as shelving, installation, behavior and video have been held frequently in major cities in China, with few panoramic pictures of Guizhou art (oil painting) Only a few authors and sporadic appearances of some works, to a certain extent, are far from enough to constitute an overall “cultural memory” of the art of Guizhou, not to mention the value of having an identity background. The “banner” of “doctrine” and “concept” can not brushed Guizhou oil painting, or is Guizhou oil collective forgotten?