Exhibitions and Events-News- CAFA Art Museum

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: 2026暑期实习生招募公告 | 中央美术学院美术馆期待你的加入！

2026-06-24

中央美术学院美术馆2026暑期实习生招募中央美术学院美术馆致力于为有志投身美术馆领域学习、研究与实践的学生提供实习平台。通过参与具体项目的策划执行，实习生能够深入了解美术馆运营机制，为专业学习和职业发展积累实践经验，同时也为培养新一代高素质美术馆从业者创造条件。我馆现开放五大类十二个岗位的暑期实习机会：01展览研究与执行类策展执行助理① 美术史、艺术类相关专业本科及以上学历在读；② 有艺术类展览落地执行相关实习经历，沟通应变能力强；③ 具备优秀的文字编辑处理能力；④ 熟练掌握日常办公软件。布撤展助理① 美术史、设计、造型学科相关相关专业本科及以上学历在读；② 具备较好的公文写作能力；③ 熟练使用常见办公软件及简单绘图软件,熟悉媒体播放软件操作；④ 有展览搭建、布展撤展相关实习经历者优先。展览统筹管理助理① 艺术设计、艺术管理、行政管理、汉语言文学等专业本科及以上学历在读；② 熟练掌握日常办公软件，能够高效完成日常行政办公事务；③ 具备展览项目思维，熟悉展览策划与落地流程，可协助完成资料研究、项目进度跟进、会议统筹等相关工作；④ 细致负责，执行力强，具备良好的沟通协调能力。02藏品管理类藏品管理助理① 艺术史、博物馆学、考古学、档案学、信息管理、文化遗产保护等相关专业本科及以上学历在读；② 工作严谨细致,能够适应重复性、流程化工作；③ 熟练使用Office办公软件，精通Excel；④ 有数据库或藏品管理软件使用经验，掌握基础艺术史知识、能够识别常见艺术门类及专业术语者优先。03媒体制作与推广拓展类媒体编辑助理① 艺术管理、新闻学、中文等专业本科及以上学历或在读；② 具备扎实的文字功底以及撰写与编辑能力，可独立完成艺术类报道；③ 有微信公众号、小红书平台编辑经验者优先。拍摄及视频制作助理① 新闻学、数字媒体等专业本科及以上学历在读；② 具备良好的团队沟通能力；③ 熟练使用拍摄及视频制作基础工具；④ 有抖音、视频号平台编辑经验者优先。商务合作与文创开发助理① 艺术管理、产品设计等专业大学本科及以上学历在读；② 审美基础良好，沟通及执行能力强；③ 熟练使用AI平面设计软件、3D建模软件、office办公软件等；④ 具备摄影摄像和编辑能力、有产品设计基础或活动及艺术合作经验者优先。捐赠与赞助活动助理① 大学本科及以上学历在读，数字媒体专业优先；② 具备良好审美基础与扎实的文字功底，可独立写稿；③ 熟练使用Keynote、Office等办公软件，掌握平面设计基础技能者优先；④ 具备摄影摄像及视频剪辑能力，熟悉Adobe Photoshop、In Design、AI等软件，可独立完成视频制作，有微信公众号、小红书平台编辑经验者优先。04公共教育与服务类前台公众服务助理① 美术史、艺术管理、艺术教育、造型、传媒相关专业本科及以上学历在读；② 服务意识强，有亲和力，具备良好沟通技巧及处理突发状况的应变能力；③ 英文能力突出者优先；④ 可确保周二至周日期间，有五天于9:30-17:30在岗（具体以实际排班安排为准）。艺术工作坊助理① 美术史、艺术管理、艺术教育、造型等专业本科及以上学历在读；② 具备扎实的文字功底，能够独立撰写文案；③ 具备活动组织能力与现场协调能力，执行力强，能够应对多线程工作；④ 有活动摄影摄像、剪辑、美术教学经验者优先。05设计类空间设计助理① 设计类相关专业硕士及以上学历在读；② 理解空间尺度与人体工程学，能协助完成展陈、室内空间的设计与结构优化，具备基础材料与工艺认知；③ 熟练使用AutoCAD，掌握SketchUp或其他制图、三维软件者优先。视觉设计助理① 设计类相关专业硕士及以上学历在读；② 具备扎实的中英文字体、版式设计及色彩搭配能力，可独立完成简单海报、物料排版等基础设计；③ 熟练使用Adobe Photoshop、Illustrator、In Design。① 暑期实习期为2026年7月初至8月底，需完整参与实习周期不少于一个月；② 每周参与工作不少于五天，能够接受周末临时工作安排；③ 实行导师制度，由美术馆安排实习导师，制订实习计划，指导参与项目实践，给予实习评价；④ 实习期间无薪资，不提供食宿；⑤ 根据实习期间表现及时长记录进行综合评估，开具实习证明。需扫描下方二维码下载《中央美术学院美术馆实习生申请表》，填写后发送至 cafamcafam@163.com，可另附个人简历、推荐信等；申请设计类岗位，需提供个人原创作品集（PDF 或在线链接），严禁抄袭或拼贴他人作品；② 邮件主题需注明“姓名+所申请岗位名称”，我们将择优联系参加面试；③ 报名截止时间为2026年6月23日（周二）中午12:00。扫描二维码下载《中央美术学院美术馆实习生申请表》CAFAM期待您的加入！主编 / 何一沙责编 / 杜隐珠
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: The Generation Of Uncertainty – Zhang Xiaoxue Solo Exhibition Unveiled at Waldorf Astoria Art Space

2026-06-24

When art breaks through boundaries, perspectives expand alongside it. From June 16 to October 31, 2026, avant-garde artworks from "Wide Angle° – Youth Experimental Project Space" are on view at the art space on the first floor of Waldorf Astoria Beijing. The inaugural exhibition is The Generation Of Uncertainty – Zhang Xiaoxue Solo Exhibition, curated by Professor Zhao Yan from the Central Academy of Fine Arts, launching an artistic dialogue revolving around perception, the body and technology.Yu Yang, Member of the Standing Committee of the Party Committee and Vice President of the Central Academy of Fine Arts, Delivers AddressIn his opening address, Yu Yang, Member of the Standing Committee of the Party Committee and Vice President of the Central Academy of Fine Arts, stated that the "Wide Angle°" initiative serves as a vital platform of the Academy to support young artistic practitioners. Centered on experimentation, the project encourages young faculty to break disciplinary barriers and engage head-on with contemporary thematic issues of our times. More than an incubator nurturing young creators, it acts as a bridge linking the academic art education of the Academy with public aesthetic education for the general public, consistently showcasing the dynamic artistic ecosystem and creative vitality of CAFA to society at large. Zhang Xiaoxue is an outstanding young faculty member of our Academy and a contemporary artist with profound critical thinking. Her creations transcend singular viewpoints. Her works carry monumental visual presence, while conveying delicate perceptions of life through diverse materials, crafting a distinctive tension between light, fluid mediums and profound inner substance. Art knows no inherent boundaries. This cross-domain collaboration, which integrates art into everyday hospitality spaces, marks a wonderful experimental endeavor.Han Wenchao, Secretary of the Directly Affiliated Party Branch of CAFA Art Museum, Delivers a SpeechHan Wenchao, Secretary of the Directly Affiliated Party Branch of the Art Museum of the Central Academy of Fine Arts, remarked that this exhibition marks the first time the "Wide Angle°" project has stepped out of the museum galleries and settled in a public social venue. First and foremost, the project was established to build a platform where young artists and curators can express themselves freely. Secondly, centered on cutting-edge exploration and interdisciplinary practice, this venue serves as an experimental field for curation and creation free from rigid, fixed aesthetic criteria. Thirdly, the project title not only echoes the irregular spatial layout of its original gallery space, but also symbolizes broadening horizons within a compact area. It showcases the latest artistic achievements of the Academy to the outside world and reflects the ever-expanding intellectual boundaries of young faculty members. He stated that academic art should never be confined within campus walls. Introducing the "Wide Angle" project to public spaces not only connects young creators with a broader audience base, but also uses art as a bond to break down the divide between institutional aesthetic education and ordinary people’s daily lives.中央美术学院教师工作部部长兼人事处处长杨杰致辞中央美术学院教师工作部部长兼人事处处长杨杰谈到，作为联合发起方之一，人事处始终携手美术馆、教师发展中心，持续助力 “广角°青年实验项目空间” 稳步发展。该项目已正式运行至第四期，同时也纳入了我校青年教师种子计划，是我们服务青年教师成长、夯实学院人才梯队建设的重要抓手。项目以策展实践为载体，兼顾学科研究与社会美育，一系列优质展览，既展现了美院的学术积淀，也释放出青年创作者的无限潜能。本次展览，不只是对“广角”展览的再现，更是艺术家基于这一不同于学院和美术馆的社会空间进行的再创作和再实践。参展艺术家、中央美术学院教师张晓雪张晓雪，青年艺术家，中央美术学院副教授，中国美协会员，北京美术家协会版画艺委会委员，作品曾多次被中国美术馆，浙江美术馆，中央美术学院美术馆等重要艺术机构收藏。张晓雪的创作擅长以女性特有的施力方式及身体介入式的观看方式渗透到每件作品中，力图以身体的在场和触动来探讨身体的诸多属性，并形成新感知和思考。作品探讨在数智时代下持续被重塑的 “人” ，不断聚焦在人这个 “反应体” 上，来探讨周遭语境与时代的变化及反思。嘉宾合影本次展览以张晓雪近年来集中创作的系列作品为样本，试图探讨的是艺术创作中艺术家身体的经验和感觉如何被有效地调动和组织起来，以及在这种经验与感觉的视觉化过程中所涉及到的复杂性。《不确定的生成》正是对这种知觉、意识与技术的混杂语境碰撞的一种转译：位于酒店标志性旋转楼梯处的装置艺术作品《低烧NO.9》以有机异形纪念碑式的方式在空间中展开，作品由繁密的织片和机械装置构成，局部却呈现出一种非常低幅度的蠕动状态，在其营造出的沉浸式空间中，将对身体的表达和陈述切入全面的感知体验中；展厅内的《存在NO.1》则是艺术家运用传统雁皮纸、水色等中国传统材料形成当代化表达。这件由无数片极具可塑性的雁皮纸堆叠塑造而成的作品，亦像是将无数神经纤维触角与时间切片叠加出无限的生命瞬间；作品《0》则以0.02mm手撕钢纤维构建的混沌漩涡形态，呈现截然不同的视觉表达——这既是“0”作为起点与虚空的符号化呈现，也是通过钢纤维的无序延展与神经末梢般的通感，将物理熵、数学“0”与精神震颤凝练成一个静止的、循环往复的混沌系统。本次展览中不同作品所处位置空间的关联性提示，既是对知觉意象在主客体和技术手段的影响之下最终生成图像的一种模拟，同时也是一次在艺术史意义上对于艺术创作历史进程的回溯式的追忆和象征——从装置到架上、从当下到过去、从客体世界到内在心境。不确定的生成——张晓雪个展展览时间：2026年6月19日-10月31日展览地点：北京华尔道夫酒店一层艺术空间主编 / 何一沙责编 / 杜隐珠
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: The 2026 CAFA Graduation Season Comes to a Successful Close Today | Looking Forward to 2027!

2026-06-22

The 2026 Graduation Season of the Central Academy of Fine Arts concluded successfully on June 22. Due to exhibition installation and dismantling arrangements, our museum will be temporarily closed starting June 23, 2026. Please follow our subsequent announcements for the reopening date.The participating schools and departments during this period include: the School of Architecture, Department of Sculpture, School of Design, School of Chinese Painting, School of Calligraphy, Department of Printmaking, School of Humanities, and School of Continuing Education. The graduation works presented by the above institutions cover diverse artistic forms, including urban landscapes, the revitalization of industrial and agricultural wastelands, ink painting and calligraphy, art design empowered by AI, as well as visual communication enhanced by cutting-edge technologies such as digital media and interactive design.School of Architecture╲Whether viewed as a public space or an artistic discipline, architecture has always stood apart from science and technology, which are widely regarded as free of ideological shackles. Every building is an intricate aggregation interwoven with physical conditions, power dynamics, cultural connotations, aesthetic values and numerous other elements. We no longer accept the supposed historical inevitability of any architectural style or cultural evolution; such notions are merely historical narratives constructed through specific perspectives and logical frameworks. Likewise, beneath architecture’s functional and aesthetic appearances lies a solid underpinning of power.Against the context of contemporary society, translating the tensions among various architectural elements into artistic expression has become the core creative focus of this year’s undergraduate architecture students.The graduation works of this cohort predominantly revolve around regeneration solutions for spaces left behind during China’s decades-long urbanization drive since the reform and opening-up era. These include dilapidated traditional agricultural villages, decaying agricultural infrastructure such as granaries, abandoned light and heavy industrial zones — including coal mines and steel mills that have completed their historical missions, renovation proposals for unfinished urban buildings near Baiziwan, and renewal plans for ageing residential communities such as Wangjing Xiyuan and Wangjing Community. A representative example is the graduation project Regeneration Scheme for Xuzhou Longdong Coal Mine developed by the Architectural Renovation and Regeneration Studio. This project serves as a model case of integrated education, research and on-site practical implementation at the Central Academy of Fine Arts.Department of Printmaking╲At the heart of printmaking creation is the use of print-specific language with distinctive "print quality" to convey artists’ perceptions and authentic experiences of contemporary society. The so-called "print quality" largely refers to a unique charm inherent to print art, forged by merging the intrinsic aesthetic properties of various physical printing media with artists’ personalized expressive styles. Prime examples include the "cutting texture" and "wood grain" found in woodcuts. A reverence for and relentless pursuit of pure artistic language has long been a tradition across all fine arts departments at the Central Academy of Fine Arts, a trait vividly reflected in the works of this year’s undergraduate printmaking graduates. What makes these pieces even more exceptional is their portrayal of the pure, fresh beauty of life, paired with a calm, tender and sincere outlook toward the world and the self. Free from grand idealistic narrative myths, they also steer clear of the extreme inward self-expression typical of modern art. This poised, peaceful and gentle temperament glimmers like crystal-clear gemstones amid today’s rapidly shifting society.School of Chinese PaintingSchool of Calligraphy╲Graduation works from the School of Chinese Painting and the School of Calligraphy lay particular emphasis on inheriting and relentlessly refining traditional artistic language, which can be regarded as the fundamental ethos shared by all fine arts departments at the Central Academy of Fine Arts. Art serves as a medium for perceiving and representing the world. Rooted in the time-honored cultural lineage of the Chinese nation, traditional Chinese painting and calligraphy embody a uniquely Chinese way of sensing the world and translating such perceptions into visual forms. Therefore, the rigorous, lifelong cultivation of painting and calligraphic language transcends mere formal techniques, evolving into an essential vehicle for artistic expression that embodies contemporary Chinese identity.Department of Sculpture╲Most graduation works of the Department of Sculpture are dedicated to carrying forward the lineage of traditional sculptural language in the dimensions of representation, expression, metaphor and symbolism. Nevertheless, this year’s creations have made remarkable breakthroughs particularly in conceptual exploration and material expansion at the intersection of sculpture and installation art. Take Vanity by Li Kejia as an example: skyscrapers carved and shaped from found object computer keyboards stand as the Babel Tower of humanity in the new century and a mirage of mankind in a new era. Surrounded and enclosed by four-sided glass mirrors, the skyscraper forms simultaneously reconstruct a vectorized landscape of towering buildings.School of Design╲Contemporary design art increasingly leans toward expressing creators’ real-time social experiences and inner emotions, which stands in stark contrast to the focus of traditional art and design. Traditional design places greater emphasis on technical limitations of material media, practical utility and functionality, cost comparability, traditional elements, prevailing aesthetic trends, and formal beauty. This shift is clearly evident in the graduation works of undergraduate students from the School of Design, Central Academy of Fine Arts. As technology, function and structure increasingly give way to form, light and shadow, color, space, and even interactivity and virtuality, design art has embraced the concept of expansive design. Meanwhile, the dividing lines between design and installation, performance, digital and other art forms have grown increasingly blurred. The undergraduate works of this year reflect the multifaceted complexity of design as a contemporary discipline, as well as the tremendous efforts these young artists have poured into sincerely articulating their personal perceptions and lived experiences. To a certain extent, such sincerity and purity constitute the most precious essence of art.We look forward to the arrival of the 2027 CAFA Graduation SeasonEditor-in-Chief: He YishaResponsible Editor: Du YinzhuContributor: Hong MeiOn-site Photographs: Sun Xiaomeng
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: Launch & Book Donation Ceremony of On Digital-Intelligent Art Held at CAFA

2026-06-22

On June 16, 2026, the launch and book donation ceremony of On Digital-Intelligent Art was held in the lecture hall of CAFA Art Museum. The event was hosted by the Central Academy of Fine Arts , undertaken by the Faculty Affairs Division (Human Resources Office) and CAFA Art Museum, and co-organized by Sichuan Fine Arts Publishing House.Entering the 21st century, digital art has developed for more than two decades. It has evolved from early computer-based creation into a diverse array of creative genres. Around 2022, artificial intelligence became deeply integrated into artistic creation. As the creative ecosystem of digital intelligent art flourished, there arose an urgent demand for systematic professional research featuring complete frameworks, profound theoretical insights, practical value and cutting-edge explorations. Riding this general trend of the times, the academic monograph On Digital- Intelligent Art officially hit the market in June 2026. Compiled by Yi Shan with support from a professional team and published by Sichuan Fine Arts Publishing House, this book marks a key theoretical achievement jointly delivered by CAFA and the Digital Intelligent Art Expo.Distinguished guests attending the ceremony included Lin Mao, President of CAFA; Yang Jie, Director of the Faculty Affairs Division and Head of the Human Resources Office; Jin Jun, Director of CAFA Art Museum; Tang Haitao, President of Sichuan Fine Arts Publishing House; Yi Shan, Editor-in-Chief of On Digital Intelligent Art; and Luo Qun, Editor of Sichuan Fine Arts Publishing House..........................................................................................................................................................Speech by Jin Jun, Director of CAFA Art MuseumJin Jun, Director of CAFA Art Museum, stated that amid rapid technological advancement, digital art, tech art and intelligent art have gradually taken shape. The launch and donation of the new book On Digital-Intelligent Art stands as a milestone achievement marking a pivotal stage in this field. He mentioned that information technology is profoundly reshaping people’s daily lives and working routines. The extensive integration of digitization and intelligence has given rise to new forms of digital media art, while continuously renewing humanity’s understanding, aesthetic experience and creative thinking of art. Centering on the concepts, theories and creative methodologies of digital intelligent art, On Digital-Intelligent Art lays a vital foundation for academic exchange within the industry, and provokes profound reflections on fundamental questions: Are humans the masters of technology, or are we shaped by it? Does algorithm constrain human imagination?As a critical platform for art exhibition, communication and education, art museums are actively facilitating exchanges of emerging art theories and diverse perspectives. Contemporary art spaces are no longer confined to traditional media and physical venues; instead, they have evolved into new cultural arenas jointly constructed by data, algorithms, artificial intelligence, virtual reality, interactive experiences and online communication. For art museums, core concerns extend far beyond the questions of what works to collect and exhibit. They also grapple with how to interpret new artistic forms, establish innovative evaluation systems, and sustain the expressive power of art. He expressed his hope that the release of this book will forge closer links among artistic practice, technological innovation, cultural research and future art education. He looks forward to digital intelligent art growing into a widespread social phenomenon, a fully developed industrial system and a sizable market sector. Driven by technological progress, more people will gain access to and resonate with art and culture, thereby advancing the progressive evolution of human society.Speech by Tang Haitao, President of Sichuan Fine Arts Publishing HouseTang Haitao, President of Sichuan Fine Arts Publishing House, remarked that as artificial intelligence reshapes creative modes and digital intelligent art flourishes, the field has long suffered fragmented theories and lagging academic research. Against this backdrop, the publication of this book fills the gap in systematic domestic theoretical research on digital intelligent art. Boasting profound academic insights, practical value and forward-looking vision, it arrives at exactly the right moment. The monograph puts forward three core academic definitions. First, it clarifies that AI has transcended the role of a traditional auxiliary tool and become a transformative force that enables in-depth creation and reconstructs production logic, with human creativity, aesthetics and ideology always serving as the core guide. Second, it draws clear boundaries for creation, pointing out that human-machine collaboration represents an entirely new creative paradigm rather than mere media assistance. Third, it redefines digital art as an independent artistic form with a complete ontological system of its own. Addressing widespread confusion within the industry and consolidating its theoretical foundation, this book stands as a landmark academic work. As its publisher, the house will fully promote the overseas copyright licensing of this volume, bringing China’s research paradigm for digital intelligent art theory to the global stage. It showcases domestic research outcomes and creative reflections on digital intelligent art, facilitating in-depth exchange and mutual learning between Chinese and foreign civilizations of technology and art.Speech by Yi Shan, Editor-in-Chief of On Digital-Intelligent ArtYi Shan, Editor-in-Chief of On Digital-Intelligent Art, stated that the official release of this book can be attributed to three key factors. First, the forward-looking vision and interdisciplinary talent cultivation philosophy of the Central Academy of Fine Arts set a high cognitive standard for the book. It features a quantitative interpretation of the talent development framework: "50% professional expertise + 30% interdisciplinary literacy + 20% AI foundational knowledge". Second, the outline was built upon the team’s twelve years of practical experience and previously published theoretical papers. Contributors worked pro bono with diverse yet harmonious perspectives, pooling their efforts to complete the manuscript through concentrated research and writing.Third, Sichuan Fine Arts Publishing House delivered an extraordinary publishing schedule. A five-person team spent three months finishing the 560,000-character manuscript ahead of schedule. The book marks a milestone achievement from zero to one, and further revisions will be carried out to refine its quality in the future. He pointed out that the book centers on elaborating two core relationships. The first is the integrated coexistence of traditional art and digital intelligent art: tradition nourishes digital intelligence, while digital intelligence drives the evolution of tradition, enabling mutual empowerment between the two. The second argument clarifies that digital intelligent art is never mere technical spectacle, but a synergy of artistic concepts and technology. It must uphold humanistic standing and profound conceptual thinking, rejecting superficial flashy presentation in pursuit of genuine ideas, human warmth and spiritual depth.Yang Jie, Director of the Faculty Affairs Division and Human Resources Office of the Central Academy of Fine Arts, presided over the ceremonyLin Mao, President of the Central Academy of Fine Arts, accepted the donated books..........................................................................................................................................................The book consists of five major sections: Epistemology, Methodology, Practice Theory, Futurology and Case Studies, covering thirteen thematic discussions with a complete and rigorous logical framework. Its publication marks the official entry of research on digital intelligent art into a new stage of systematic and professional development.The monograph features four core highlights:First, it traces the evolution of civilizations and establishes an original ontological system for art. The Epistemology section elaborates on evolution theory, comparative theory, ontology and relational theory, sorting out the iterative context of art spanning prehistoric, agrarian, industrial and digital-intelligent civilizations. Unlike traditional physical art forms, digital intelligent art relies heavily on virtual spaces, interactive experiences, generative creation, multimodal digital-intelligent technologies and more to forge new contexts, paradigms, artistic languages and systems. Traditional art and digital intelligent art each bear unique characteristics; they coexist and thrive alongside one another, innovating on the basis of inheritance and jointly carrying forward the lineage of human art.Second, it distills innovative thinking and unlocks fresh approaches to artistic creation. Through sorting out blue ocean theory, path theory and classification theory, the Methodology section constructs a complete set of creative research frameworks. It serves as a key to unlock creative thinking for practitioners, broadens research horizons and intellectual guidelines for academia, and establishes logical analytical frameworks to judge and guide the development of the industry.Third, it integrates theory with practice and grasps the inherent laws of creation. The Practice Theory section incorporates tool theory, process theory and platform theory to delve into the underlying logic of artistic production. It summarizes regular patterns of technological iteration, creative workflows and platform empowerment, enabling theories to be put into practice, elevating practical creation and optimizing the full creative pipeline to improve artwork quality.Fourth, it looks forward to the future and explores new landscapes of human-machine collaboration. It conducts forward-looking theoretical deliberation based on symbiosis theory, ecosystem theory and industrial theory, with case studies providing supporting evidence for its academic arguments.Today, digital-intelligent technologies have reshaped creative innovation models and become essential collaborative partners for human artists. The book further extrapolates two major developmental trajectories: brain-like intelligence and embodied intelligence, and academically explores the emerging human-machine collaborative model of "dual brains and dual entities".Digital intelligent art stands as a brand-new starting point for artistic development in the 21st century. Rooted in the new era, dedicated to emerging art forms and oriented toward the future, On Digital Intelligent Art embodies collective intellectual wisdom. It is an influential academic masterpiece for the age of digital-intelligent civilization, bearing landmark significance in the evolution of digital intelligent art and representing a new expression of artistic thought and culture of our time.Editor-in-Chief: He Yisha Responsible Editor: Du YinzhuText Compilation: Zhang NiOn-site Photos: He Yifei
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: Today Is The Summer Solstice

2026-06-21

Today is the Summer Solstice.
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: Spend Your Dragon Boat Festival at CAFA Graduation Exhibition | 3 Days to Go

2026-06-19

The 2026 CAFA Graduation Season is drawing to a close. Come embrace a rendezvous with art this Dragon Boat Festival! Artworks from eight schools and departments are on display: the School of Chinese Painting, School of Calligraphy, Department of Printmaking, Department of Sculpture, School of Humanities, School of Design, School of Architecture and School of Continuing Education. Here you will find nearly every art form imaginable, including ink painting, woodcut, lithography, fashion, jewelry, digital media, spatial installations and architectural landscapes. These young creators have poured all their observations, perplexities, passions and fantasies about the world into their works for you to behold. Rigorous academic training has not dimmed their vitality; instead, it lends solid grounding to every creation. With solid professional expertise, they tell vivid stories of our times.Our museum will remain open throughout the Dragon Boat Festival holiday. You are warmly invited to immerse yourself in this grand artistic celebration. The exhibition runs until June 22.〔 Exhibition Scene 〕Editor-in-Chief: He YishaEditor: Du Yinzhu
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: Only 6 Days Left! CAFA Undergraduate Graduation Exhibition – All Four Majors of the School of Chinese Painting in One Visit

2026-06-17

The final phase of the CAFA Graduation Season will conclude on June 22, and works from the School of Chinese Painting stand out prominently among this year’s graduation creations. On the second floor of the art museum hang undergraduate pieces from four majors: Freehand Figure Painting, Fine Line Figure Painting, Landscape Painting, and Flower-and-Bird Painting. Each discipline boasts its distinct artistic style, collectively showcasing the new generation artists’ explorations and breakthroughs rooted in traditional cultural heritage, as well as their reflections on how to observe the world and express inner feelings through Chinese painting amid this rapidly evolving new era.Freehand figure works reveal the artists’ temperament through spiritual resonance and vitality; fine line figure pieces display exquisite craftsmanship via elaborate color rendering; landscape paintings embody grand vision through spatial composition; flower-and-bird works reflect meticulous observation through faithful depiction of natural subjects. Most notably, these young creators do not merely adhere to the ancient tenet of copying and emulating old masters. Instead, through constant dialogue with classical artworks, they have forged their own unique brushwork framework — a painterly language that inherits ancient cultural lineage yet carries sharp, distinctive artistic individuality.Major in Freehand Figure Painting╲Author: Yuan ZhangyuTitle: RealmMaterial: Ink and color on paperSize: 200×205cmYear: 2026
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: Grand Finale | Live Stream for The Closing Phase of CAFA Graduation Season – Book Your Spot Now!

2026-06-16

The Second Phase of the Undergraduate Graduation Exhibition of the Central Academy of Fine Arts is now on display, featuring graduate works from the School of Chinese Painting, School of Calligraphy, Department of Printmaking, Department of Sculpture, School of Humanities, School of Design, School of Architecture and School of Continuing Education. Ranging from ink wash paintings to digital media, and from traditional calligraphy to spatial construction, every piece embodies the creators’ observations of the times, reflections on traditions and visions for the future. CAFAM Art+ continues to launch a series of live streams, breaking geographical barriers to bring you deep access to the creative scenes and ideological core of the CAFA Graduation Exhibition.Join our livestream at 18:00 on Wednesday, June 17, as our camera pans across brilliant artworks full of awakening colors.Editor-in-Chief: He YishaEditor: Du YinzhuOn-site Photos: Sun Xiaomeng
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: Central Academy of Fine Arts Graduation Exhibition | Redefine Your Established Perceptions of Printmaking

2026-06-15

The second phase of the Undergraduate Graduation Exhibition of the Central Academy of Fine Arts opened as scheduled on June 8, showcasing works by 28 undergraduate students from the Printmaking Department in the exhibition halls on the second floor of the Art Museum. Using media including woodcut, watermark lithography, lithography, etching, silkscreen, mixed materials, video and installation art, all their creations converge on one core approach: through the act of "printing", they make authentic choices amid the ambiguous space between the physical boundaries of printmaking and their inner emotions.When printmaking is mentioned, many people still hold the stereotypical view that it is merely a form of duplication. Now, step into this year’s graduation exhibition of printmaking works at CAFA with us, and your preconceptions may well be overturned in an instant…Artist: Chen BifangTitle: Series of Flower Letters of the Four SeasonsMedium: Oil-based WoodcutSize: 60cm × 180cmTutors: Wu Jiang, Tan TanArtist Statement: Winter fades and spring arrives, as years come and go in cycles. Rooted in the temporal sequence of the Twenty-Four Solar Terms, this series takes blooming flowers as its carrier. Through carving marks left by gravers, the fleeting beauty of seasonal transitions is eternally captured.Artist: Dong FuzhiTitle: Dialogue Without an AnswerMedium: Video, Watercolor, Screen PrintSize: Video: 11 minutes; Screen Print Poster: 50cm × 70cmTutors: Wu Hong, Zheng QinyuArtist Statement: I heard a cat meowing outside the window as daily life went on as usual. I asked my family if they had heard the sound, yet none of them had. They only recalled cats they had seen before, and ordinary routines kept unfolding. The meow grew louder and louder, while everyone around remained immersed in their daily affairs. They talked about the cat, yet none could catch its cry. One day, the property management confirmed that there was indeed a "cat" in this area. People finally heard the meowing. But what fate awaited this "cat" in the end...Artist: Xu FengjiaTitle: Series Motion in SilenceMedium: LithographSize: Various SizesTutors: Kong Liang, Kang Jianfei, Jiang Fan, Jiang MiaoArtist Statement: This work employs the artistic language of printmaking to depict the subtle flows inherent in all things—like the endless stretch of running water, faint traces left by the wind, or the gentle flicker of flames. Amid tranquility, these delicate shifts appear exceptionally lucid and distinct.Artist: Ding Yu'erTitle: Do Not Go Gentle into That Good NightMedium: Copperplate Print, Mixed MediaDimensions:120cm×40cm, 80cm×40cm, 15cm×15cmTutors: Kong Liang, Kang Jianfei, Jiang Fan, Jiang MiaoDo Not Go Gentle into That Good Night consists of five copperplate prints presented in the form of light box installations. The work adopts a multi-layered structure: the bottom layer is the light source of the light box, with handcrafted and dyed paper layers sandwiched in the middle. When illuminated, the dyed paper forms a nebula-like colour field; the outermost layer is covered with the main copperplate prints made on washi paper. The intricate lines etched on the copperplate overlap with light-transmitting materials, creating a visual effect of floating, flickering and stretching across the image. The title is derived from the poem by Dylan Thomas. Rather than focusing on resistance itself, I lay more emphasis on the emotion of being reluctant to bid farewell. When countless things are destined to fade away, people will always look back out of deep attachment.Artist: Kang XinTitle: Nooks and CornersMedium: Water-based WoodcutDimensions:58cm×80cm, 22cm×25cm, 10cm×25cm,45cm×32cm, 45cm×15cm, 45cm×40cmTutors: Huang Yang, Yang HongweiArtist Statement: Set against the backdrop of urban solitary living, Nooks and Corners focuses on tiny spaces concealed within daily routines: the edge of a bed, beside curtains, in front of cabinets, and by windows. Amid the fast-paced rhythm of city life, the soul finds no place to rest. Could art serve as a haven for respite? This was the initial question driving my creation. Comprising nine prints depicting nine secluded corners, the work avoids narrative storytelling and emotional expression, choosing only quiet observation. The fluid quality of water-based woodcut allows pigments to bleed and permeate naturally. Such partially uncontrollable imprints liberate creation from the pursuit of perfection—precision gives way to sincerity. Spiritual dwelling lies not in distant lands, but in the quiet corners where our gaze settles in moments of solitude.Artist: Weng JunxiTitle: Records of the MermaidMedium: Electronic screen, wax, wooden frame, copperplate print, found objectsDimensions: 200cm×200cm×200cmTutors: Wu Hong, Zheng QinyuArtist Statement: Inspired by a rereading of Hans Christian Andersen’s fairy tale The Little Mermaid and the modern history of whaling, this work takes the mermaid as a metaphor to explore how individuals are shaped and dispossessed within larger power structures. The installation consists of three parts: wax-carved animation, residual wax plates from the animation, and an archival museum cabinet. Narrated in the first person, the animation uses the deformation of wax to visualize the agony of identity transformation, the loss of the right to self-definition under discipline, and eventual self-redemption. The museum cabinet constructs a pseudo-objective knowledge system, placing the mermaid in a position of being categorized and researched. The dual perspectives of personal testimony and circumstantial evidence jointly piece together a history of aphasia and alienation, laying bare the hidden exercise of power embedded in so-called objective records.Artist: Wang XiaoshanTitle: Retracing the Current: Rats Fleeing the Burnt GranaryMedium: Screen Print, Pastel PaperDimensions: 90cm × 70cmTutors: Kong Liang, Li Jun, Jiang Fan, Kang Jianfei, Jiang MiaoArtist Statement: This woodcut scroll selects poems about misunderstanding and conflicts from The Book of Songs. These poems have been translated repeatedly across diverse cultural languages. Core imagery is extracted from the finally generated texts to reconstruct the pictorial composition.Artist: Bian WuchenTitle: GazeMedium: Oil-based WoodcutDimensions: 120cm × 90cmTutors: Huang Yang, Yang HongweiArtist Statement: The work depicts a mysterious mountain forest space. Amid ferns stands an owl in quiet concentration, with sweeping streamlined white patterns stretching across the woodland, enveloping the scene in serene desolation.Artist: Chen GehuiTitle: Island of Hidden HeartsMedium: Multi-block Color Oil WoodcutDimensions: 182cm × 176cmTutors: Kong Liang, Kang Jianfei, Jiang Fan, Jiang MiaoArtist Statement:From childhood onward, people habitually conceal their true selves to fit into social surroundings. Pastimes and confiding in others can never fully relieve pent-up emotions, for everyone harbours an inner self with nowhere to rest. I collected other people’s emotions and personalities through questionnaires, then created a series of independent, isolated figures to construct an inner world—the Island of Hidden Hearts—a haven to hold these desires and inner sentiments.Serving as an emotional shelter in dreams, this place frees people from pretence, offering a space where feelings can settle and inner troubles slowly fade away. Though I shaped countless inner personas, only a few could be selected to build this world, for neither reality nor dreams can accommodate every individual’s inner being. This work does not advocate escaping from reality; it merely provides a resting place for emotions, allowing people to return to real life with greater peace of mind.Artist: Yi KexinTitle: Bubble Kingdom in Dreams – Emotion ChapterMedium: Mixed MediaDimensions: 270cm × 270cm × 250cmTutors: Wu Hong, Zheng QinyuArtist Statement:Centered on the theme of emotion, this work seeks to externalize abstract, ineffable feelings into visual imagery throughout the creative process.Fabricated from thermoformed acrylic sheets covered with PVC material, the installation releases emotions in diverse forms through the combination of light axes and spatial arrangement, taking on distorted, suspended, folded and other varied shapes.It is hoped that the sculptural forms and emotional hues of the piece can resonate with audiences trapped in negative emotions.Artist: Li JieTitle: Slices of Urban MarketplaceMedium: Oil-based Woodcut, Rice PaperDimensions: 26cm × 34cmTutors: Wu Jiang, Tan TanArtist Statement: Amid rapid urbanization, traditional folk life scenes that embody distinctive local culture and warm neighbourhood bonds are gradually disappearing. Created through woodcut techniques, this body of work focuses on a typical public living space—the marketplace. Through meticulous carving, it documents, depicts and reflects upon the most authentic and plain everyday life around us.Reservation ChannelThe online reservation and ticket purchasing channel for the 2026 CAFA Graduation Season is now open. Visitors may reserve and purchase tickets via the WeChat Mini Program, official WeChat public account or official website of the Central Academy of Fine Arts Art Museum (please refer to the official website for detailed ticketing instructions). Reservations can be made up to 7 days in advance. Daily visitor quotas are limited and available on a first-come, first-served basis. The museum opens normally on Mondays throughout the graduation season. All reservations must be made under real-name registration with valid identification documents, and each person is allowed only one reservation per day. Visitors shall arrive at the museum at their reserved time upon successful reservation. During the graduation season, please present your ID card or other valid documents for verification at the dedicated ticketing entrance at the north gate of the Central Academy of Fine Arts to enter the museum.
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: CAFAM Public Recruitment | Interwoven Traces · Family Calendar Workshop

2026-06-12

It is the 2026 Graduation Season of the Central Academy of Fine Arts. The Public Education Department of CAFAM, together with the Art Museum Management Studio of the School of Arts Management and Education, has launched a new collaborative initiative between museum and academy, presenting the public education series "Awakening In Colors · Art for All Ages".Centered on the on-site art atmosphere of the graduation season, this event builds a sincere "public living room" for participants of all ages, exploring new possibilities for public art education to bridge generational gaps. The museum is reimagined as a reciprocal generational creative space. With art as the medium and creation as the catalyst, participants across age groups connect and interact through hands-on making, becoming equal and vibrant creative partners to one another.Interwoven Traces · Family Calendar Workshop\This workshop is inspired by Interdependence, a graduation artwork from the Central Academy of Fine Arts. It carries forward the core spirit of intergenerational harmony and emotional expression. Centered on the theme of "traces", participants will capture the tender love, companionship and moments of growth shared among family members onto simple linen calendars.There are no fixed templates to follow. You may create freely with acrylic markers and oil pastels. Working in family pairs, you will design your unique fabric calendars around warm themes: love, listening, growth, care and tacit understanding. No professional painting skills are required. Every line, patch of colour and simple sketch conveys heartfelt feelings, forming exclusive memories of your time together. The finished calendar can be hung or displayed for years to come, letting you revisit these precious moments month after month.The experience focuses on relaxed creation and heartfelt communication. Children may join with parents, and elders can also team up together. Collaborative painting bridges the distance between one another, turning intangible companionship into a tangible fabric keepsake to cherish.工作坊流程Workshop Schedule❶ 原作导览・读懂相生印迹❷ 心意提炼・构思画面印迹❸ 棉麻手绘・落笔绘制家庭日历❹ 细节润色・完善专属布艺日历❺ 印迹分享 · 交流环节Artwork Tour | Understand Interwoven TracesCapture Feelings | Design Visual ImpressionsLinen Hand-Painting | Create Your Family CalendarRefine Details | Complete Your Exclusive Fabric CalendarShare the Traces | Exchange & Discussion工作坊报名Workshop Registration工作坊时间：6月13日（周六）10:00-12:00工作坊地点：中央美术学院美术馆4层公教空间招募对象：建议以家庭或结伴形式参加，一组两人（5周岁及以上儿童需要一名监护人陪同参与）招募人数：8 组（16 人）Workshop Time: 10:00 – 12:00, Saturday, June 13Venue: Public Education Space, 4th Floor, CAFAM (Central Academy of Fine Arts Art Museum)Participants: Families or pairs are recommended. Each group consists of 2 people. Children aged 5 and above must be accompanied by a guardian.Quota: 8 groups (16 participants in total)Sign-up Instructions名额有限，报满为止小程序提前预约，不接受现场报名注：1. 工作坊全程免费参与，请自行购买美术馆门票；2. 请报名成功的公众于活动当天准时在美术馆4层公教空间集合并签到；3.活动最终解释权归中央美术学院美术馆所有。Limited spots available. Registration closes once full.Advance reservation via mini-program only. On-site registration is not accepted.Notes:The workshop is free of charge. Please purchase your museum admission ticket separately.Registered participants please gather and check in at the Public Education Space on the 4th floor on the event day.CAFAM reserves the right of final interpretation of this activity.相关毕业作品Related Graduation Artworks作者：胡一苇作品名称：《相生 Re:Connected》作品材料：综合材料作品尺寸：可变设计说明：本作品以老幼共生社区中的代际关系为研究对象，围绕“陪伴、回应、共创与传承”等日常互动情境展开设计实践。项目结合积极心理学中的幸福理论与“成熟的爱”相关观点，尝试将抽象的情感联结转化为可感知、可参与的视觉语言。通过儿童绘画采集、图形提炼、符号转译及互动媒介应用，作品构建出一套面向社区场景的视觉系统，使代际互动从偶发相遇转向持续发生，在共同阅读、共同游戏、共同表达与共同纪念中，重新建立人与人之间的理解、信任与情感连接。工作坊导师胡一苇中央美术学院实验艺术与科技艺术学院2022级本科生，创作与研究围绕视觉叙事、社会设计与情感联结展开。实践内容涵盖书籍设计、影像、网页设计、海报及综合视觉系统等多个方向，关注设计如何在日常生活、公共议题与人际关系之间建立连接。作品注重从真实经验与情感需求中提取线索，通过视觉转译与跨媒介表达，探索设计在沟通、陪伴与社会互动中的作用与可能。任子伊中央美术学院艺术管理与教育学院 2024 级研究生，美术博物馆管理工作室学生，“美术馆银发—青年群体协作教育模式理论建构研究”课题组成员。主攻艺术管理学研究方向，具备丰富展览策划与美育活动统筹经验，先后策划多项艺术展览，参与统筹多场校内外公共美育项目。联合主办: 中央美术学院美术馆公共教育部中央美术学院艺术管理与教育学院美术博物馆管理工作室焕彩共生·艺无龄界系列公教活动总策划:肖宝珍、张瀚予工作人员:姚轶群、梁雯、任子伊、惠春艳主编 / 何一沙责编 / 杜隐珠
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Child Public Education Reservation Form

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Adult Public Education Event 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.