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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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: CAFAM讲座预告 | 金允哲的“物质之喻”

2024-09-23

2024年5月，韩国艺术家金允哲在中国的首个个展“两极椭圆：情动的粒子及玄秘的流溢”在北京的798CUBE开幕，展览由策展人张尕策展。作为艺术家在中国的首次大型个展，金允哲为中国观众带来了11件极具代表性的重要装置作品，展现了他作为一名来自东方、且受到儒家文化感召的艺术家，其独特的物质观和科学观。在金允哲的艺术世界中，“Transmatter/跨物质”是一个核心概念，体现了他将艺术、科学、哲学和技术交织在一起的跨学科创作方法。在金允哲的创作中，物质的转化是一个动态的过程，在这个过程中，物质超越了单纯的使用，成为了更活跃的主体。金允哲的作品深入探讨了物质世界的潜力与物质性。其作品中的材料通过与周围环境、宇宙、展览空间和观众的互动而演变。在这个过程中，自然与人工、物质与概念以及各种学科之间的边界变得模糊。通过这些模糊的界限，金允哲提出了新的问题，以启发我们面对未知的世界。科学解决问题的同时，金允哲的艺术开辟出新的思维和感知之路径—这就是“Transmatter/跨物质”的本质，他的作品启发我们重新思考对物质世界的理解，激励我们以一个更流动的、相互关联的视角，在物质世界中审视“物质的世界”。金允哲不仅打破了艺术的边界，还鼓励人们重新想象自己如何与周围的世界进行互动和感知。金允哲， “两极椭圆：情动的粒子及玄秘的流溢”，展览现场，798CUBE，2024金允哲在不同大学院校的演讲，为大众提供了解其艺术世界的机会。这些讲座让大家从哲学思想和科学知识中深入了解跨学科创作的转化是如何进行的。在9月高校开学季，我们有幸邀请艺术家金允哲来到中央美术学院，开展一场主题为“跨物质（Transmatter）/物质之喻”的讲座，并特别邀请艺术家王郁洋作为本次活动的主持嘉宾。金允哲， “两极椭圆：情动的粒子及玄秘的流溢”，展览现场，798CUBE，2024讲座信息主题：跨物质/物质之喻——艺术家金允哲地点：中央美术学院美术馆报告厅时间：9月24日18:30-20:00演讲嘉宾: 金允哲主持人：王郁洋扫码预约报名名额有限先到先得关于金允哲金允哲（Yunchul Kim）是一位艺术家和电声音乐作曲家。通过对“物质”和“物质性”提出根本性问题，艺术家展示了想象力和创造一个超越人类既有经验之真实的可能性，并关注其潜在的趋势。其作品展现了艺术家想象的物质世界，是一个在人类文化形成或被语言定义之前的维度中的故事。人类、非人类、机器、材料和物质被平等地视为活性物质（跨物质transmattering）和事件主体，存在于其作品当中。金允哲曾获得多个国际奖项，包括2016年欧洲核子研究中心（CERN）的碰撞国际大奖、林茨电子艺术大奖（Ars Electronica）和 VIDA 15.0 三等奖等。其作品也曾在世界多地展出，包括第59届威尼斯双年展韩国馆（意大利）、巴塞罗那当代文化中心（CCCB，西班牙）、FACT利物浦（英国）、林茨电子艺术中心（奥地利）、法兰克福艺术协会（德国）和国际新媒体艺术三年展（中国）等。他曾担任韩国高等研究院（KIAS）跨学科研究项目“物质现实”（Mattereality）研究组的首席研究员。此外，他还是艺术与科学项目组“流体天空”（Fluid Skies）以及奥地利维也纳应用艺术大学艺术与科学系的“液体物质”（Liquid Things）艺术研究项目的团队成员。主持嘉宾王郁洋出生于1979年，曾经就读于中央美院附中、中央戏剧学院、中央美术学院，现任教于中央美院实验与科技艺术学院并在北京居住和创作。王郁洋虽然使用新兴媒介进行创作，却从不强调技术的新奇。他似乎更感兴趣于“过时”的技术、“破坏”美学及物质浪费带来的艺术性。他的作品涉及各种媒介，并充分拓展其内在潜力。他以幽默的、虚构奇观的方式来探究和表述人的身体、经验及认知之间的关系，探讨人造现实、媒体、历史感知与身体认同之间的关系。他的作品在中国及欧洲的主要展览和艺术节上均有展出。关于798CUBE798CUBE坐落于北京798艺术区的核心区域，建筑面积 3600平方米，建筑体由中国当代著名建筑师、艺术家朱锫设计，是朱锫建筑所（Studio Zhu Pei）近年来以工业遗产为主题的一系列实验性的创作实践之一，这座艺术区里的工业“盒子群”，充分展现出科技、艺术与工业遗产相结合的基因。以“Into the Unknown”为口号的798CUBE，致力于科技和艺术的融合，并依托798艺术区作为中国当代艺术文化名片的天生优势，打造一个面向大众，链接国际优质艺术资源与公众的平台，在新兴科技与前卫艺术孕育的语境中启发大众，并愿意持续、深入地参与到世界范围内的艺术语境之中。主编 / 何一沙责编 / 杜隐珠
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: CAFAM活动招募｜古韵今景：古代绘画视角下的现代北京

2024-09-21

在“从来风俗亦有诗”展览期间，我们诚邀您亲临展厅，与艺术家缪晓春共赴一场视觉的诗意之旅，共赏《北京手卷》首次公开亮相。随着艺术家轻缓地展开三卷摄影手卷，古老的观看方式将在当下复现，每一位参与者都将感受到那古今交融的时光回响。在这场穿越时空的对话中，您将聆听艺术家讲述创作背后的点滴，细品传统与现代交织出的独特韵味，体会影像中隐含的历史温度与现代脉动。《北京手卷》自述缪晓春手卷不适合于公共展览，却很适合于私人观赏，慢慢打开，细细观看。历代手卷中最出名者莫过于《清明上河图》。在一幅高25厘米、宽529厘米的长卷上将一个城市描述得如此全面详尽而生动，后世无人能出其右者。我们已经无法再用这样的观察方式和描绘方式，用如此的细心和耐心来表现一个城市。或许也因为我们已经有了其他新的媒介和可能，这样的可能包括摄影、录相和计算机，如果用一种特殊的转机来拍摄，便能得到一个极长的画面，再经过后期电脑处理绘制和装裱后，我制作了一个手卷，能让我重又得到观赏手卷的乐趣。这样的手卷自然与传统手卷大相径庭，它没有那么宏观俯瞰，却很真实细致；它没有那么凝炼概括，以一挡十，却有可能做到面面俱到，卷帙浩繁，以百抵一。于是我下定决心，即使表现北京这样一个城市，也要做无数个手卷，以期能依稀比肩那一个曾让我无比感叹的手卷曾达到的全面详尽和生动。北京手卷，缪晓春，30cm×280cm×3卷，摄影，2007-2009【活动信息】活动时间：9月23日（周一） 17:00-19:00活动地点：中央美术学院美术馆3层A展厅体验对象：18岁以上成人人数：30人报名方式：请添加微信13910187193（姚老师），标注“工作坊+真实姓名+电话+职业”发送申请，名额有限，报满为止。报名成功者会收到短信回复，请勿重复提交报名。注：1.工作坊全程免费参与。2.活动最终解释权归中央美术学院美术馆所有。▲ ▲ ▲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展厅主办：中央美术学院美术馆支持：北京画院、首都图书馆、中国美术学院美术馆、广州美术学院美术馆赞助：020ART、北京鑫河艺博文化有限公司、北京飞行鱼文化发展有限公司、北京百展文化科技有限公司主编 / 何一沙责编 / 杜隐珠
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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.