Exhibitions and Events-News

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

CAFAM论坛综述 | 共鸣与激荡:艺术批评“新声代”的出场 ——首届“青年批评家论坛”

2024-05-27

5月19日,首届“青年批评家论坛”在中央美术学院美术馆举行,主题为“当下艺术现状之我见”。论坛分为四个部分:“现象观察”、“策展研究”、“艺术批评现状之思”和“艺术批评史学研究”,邀请了来自当代艺术批评、策展、艺术史及艺术市场领域的青年学者和批评家分享他们的最新学术研究成果及独立观点。中央美院美术馆副馆长高高致辞论坛首先由副馆长高高代表美术馆致辞,她提到,今年新成立的中央美术学院美术馆当代艺术批评与策展研究中心,旨在通过策展、出版和研讨等活动,发挥高校美术馆在实验性和创新性方面的优势,持续推动当代艺术的思考、研究与实践。作为该中心首个研讨活动,首届“青年批评家论坛”希望通过学术交流,激发独立观点的碰撞与交流。中央美院美术馆副馆长王春辰致辞中国美术批评家年会荣誉主席贾方舟致辞随后,中国美术批评家年会荣誉主席贾方舟发表了题为《批评的现场和批评的在场——祝贺青年批评家的出场》的祝词。他回顾了批评家的发展历程,强调了不同时代批评家的重要性,并希望未来的批评现场能有更多青年人的参与。贾方舟提出,批评家应具备三种素质:首先是美术史的知识背景,其次是构建自己的理论框架,最后是对当代艺术现实的敏感。他也真诚祝愿,新一代的青年人能继往开来,成为更优秀、更活跃的青年批评家。// 第一场:现象观察在第一场讨论中,嘉宾们围绕“现象观察”展开了多角度的探讨。讨论由于洋主持,发言人包括赵炎、李亭宇、徐薇和王基宇,他们从媒体、图像、市场、大众文化等方面发表了看法,代表了当代艺术批评的不同面向。赵炎以“去物质化”与当代新媒体艺术为主题,从20世纪60年代观念艺术的消解物质性特征开始,探讨了新媒体艺术中身体的去物质化趋势。他分析了艺术理论中的观念艺术“去物质化”问题,提出了媒介视角和身体视角两条线索,并探讨了数字技术带来的虚拟化具身与主体性之间的关系。赵炎认为,新媒体艺术发展过程中“去物质化”的多层次问题,包括观念、技术和身体三个视角,凸显了艺术的主体性和去主体性的问题。李亭宇讨论了技术图像时代的批评困局,指出在当今技术图像的时代,传统艺术批评的效力正在减弱。他认为批评困局并非仅来自最近的技术媒介的遭遇,而是有其深远的历史根源。李亭宇通过讨论摄影对艺术批评与艺术史的塑造,揭示了批评对象的脱位历史,并提出了当前艺术批评所面临的挑战和应对策略。徐薇探讨了当代艺术价格与价值的关系,提出价格对艺术“好坏”判断的影响。她指出,当艺术品作为商品交易时,其价格并不完全代表其艺术价值。徐薇认为,艺术价值应从历史、政治、技术和惊奇等多个方面进行评价,而不仅仅依赖于市场价格。她呼吁重新审视艺术品的内在价值,发掘其中的真正宝藏。王基宇则讨论了公共流量时代人民艺术的五种可能性。他认为,具有公共价值的艺术应能与人民群众直接发生有效关系,而不只是满足于艺术史爱好者的关注。王基宇列举了几种与人民发生有效关系的路径,包括写实、一语双关、脑筋急转弯、大型典礼气氛、可爱的动植物与小朋友以及格斗等形式。他强调,艺术家和艺术机制需要适应新的时代,找到与公众建立有效关系的新方式。
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CAFAM讲座预告 | 东情西韵:陈幼坚东方美学之旅

2024-05-27

以下文章来源于中数艺DACART ,作者陈幼坚工作室。讲座名称:东情西韵——陈幼坚东方美学之旅Lecture Title:"Oriental Passion Western Harmony:Alan Chan’s World of Asian Aesthetics"讲座时间:2024年5月28日18:00-20:00Time:18:00-20:00,28thMay,2024讲座地点:中央美术学院美术馆学术报告厅Location:Auditorium, CAFA Art Museum讲者:陈幼坚(设计师、品牌顾问、艺术家、陈幼坚设计公司创始人)Speaker:Alan Chan(Designer, Brand Consultant, Artist, Founder of Alan Chan Design Company)主持:高高 (中央美术学院美术馆副馆长)Host:Gao Gao(Deputy Director of CAFAM)                                                                                                                                                     ▲陈幼坚陈幼坚(1950 年生于香港)集品牌顾问、设计师、艺术家、收藏家于一身,在过去 54 年广告及设计生涯中,他参与过的品牌设计项目逾 1,000 个,带领公司荣获本地及国际设计奖项逾 630 个,曾为张国荣、梅艳芳、张学友、刘德华等众多香港知名艺人设计过唱片封面及演唱会海报。                                                                                                                                                  ▲北京申奥海报1996年,被设计界视为“圣经”的《Graphis》杂志将陈幼坚设计公司选为世界十大最佳设计公司之一。2017年获得了DFA世界杰出华人设计师奖项。他的作品在设计界有着独一无二的地位,从北京申办奥运的招贴画、中国国家大剧院标识以及可口可乐的中文LOGO以及香港机场、万科、蓝月亮、COCO PARK等经典设计都是他的佳作。                                                                                                                           ▲可口可乐中文logo                                                                                                                           ▲香港国际机场logo                                                                                                                     ▲国家大剧院logo▲张国荣《STAND UP》唱片封套▲NOW TIMEPIECE                                                                        ▲LV茶箱设计▲LV茶箱设计自2000年起,陈幼坚不断在创作领域上作出新的尝试,从商业设计走向艺术领域。其作品先后于香港、上海、北京、东京、京都、新加坡、芝加哥及米兰展出。曾两次入选上海双年展(2002, 2006)和香港当代艺术双年奖(2010, 2012),作品获苏黎世设计博物馆、中国美术馆、上海美术馆、香港艺术馆、M+、香港文化博物馆等及世界各地私人藏家收藏。2023 年 8 月在Phillips 亚洲总部举办「陈幼坚艺术收藏及创作之旅」大型个人展览。2022年,由意大利出版社RIZZOLI出版《Alan Chan: Collecting Inspiration for Design》记录陈幼坚在探索设计及创作时所获的灵感及启发。为他54年设计生涯以来,首次深入分享个人对收藏、灵感以及创作之间的见解。陈幼坚阐述收藏的意义:「我的史诗之旅彷佛刚刚开始,从设计师、收藏家、策展人到艺术家已经走过了五十四个年头。我感觉我的人生就是一本书,是一趟关于创作和收藏的旅程,穿梭在东方和西方之间,坚持耕耘及领悟的点点滴滴。」       ▲《Alan Chan Collecting Inspiration For Design》本次以“东情西韵——陈幼坚东方美学之旅”为主题的讲座由中央美术学院美术馆主办,DAC中数艺协办,也是T.A.B论坛2024首次亮相。注:本次讲座将在中央美术学院美术馆学术报告厅举办名额有限,线下参与讲座请扫二维码咨询或5月28日于中央美术学院北门现场扫码进入
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心向往之|美术馆礼品店 (CAFAM STORE) 如约揭幕

2024-05-27

“心向往之 如约启航” 这是青春绽放的时节 更是艺术的盛宴 4月30日,2024中央美院毕业季正式揭幕 CAFAM STORE也在美术馆如约开启 为充分发挥中央美院专业优势,用美术赋能新增长点,激发文化创新创造活力,推进新质生产力发展,CAFAM STORE以发挥艺术文创赋能美育为理念,以2024中央美院毕业季为契机,通过对毕业季与自有品牌文创资源与产品梳理、文创产品征集与筛选、国际合作与品牌联动等方式,搭建中央美术学院美术馆文创产品交流与展示平台,力求呈现更多元化、多维度的艺术文创产品,让艺术通过文创走进大众生活,发挥美育普及与推广的作用。 CAFAM STORE文创产品体系包括CAFA毕业季主题文创系列、CAFAM品牌文创系列、CAFA艺术家系列、CAFAM+合作博物馆系列、CAFAM艺术图书系列、CAFAM综合荐品系列六大版块,呈现了种类丰富的艺术文创,为观众提供最大限度的文创选择。 系列 1 CAFA毕业季主题文创 CAFA毕业季主题文创系列由徐彤老师团队、卓凡老师团队设计。以2024中央美院毕业季象征着青春绽放的学位帽和指向前方指向未来的路标视觉形象作为延伸,呈现了大众喜爱的包括棒球帽、笔记本、帆布包、冰箱贴、水杯等系列主题文创。 CAFAM品牌文创系列,聚焦CAFAM的多维元素进行时尚化设计,以此开发了一系列趣味实用、简约时尚的文具类文创。 系列 3 CAFAM艺术家 CAFAM艺术家系列集合央美师生的创意文创,旨在为学院师生与公众搭建展示与交流的平台,带来独具央美专属元素的系列产品,包含限量版画、首饰、冰箱贴、手机支架等。 系列 4 CAFAM+合作博物馆 CAFAM+合作博物馆系列秉持开放、多元、合作的运营理念,央美美术馆与国际国内博物馆、美术馆文创品牌进行合作联动,打造更为多元和国际化的文创体系。系列 5 艺术图书 CAFAM艺术图书系列以美术馆举办的展览和馆藏研究为主要内容,为公众呈现美术馆的经典艺术图书。 系列 6 CAFAM综合荐品 CAFAM综合荐品系列为公众精选体现艺术感、设计感的系列文创,让公众感受艺术文创与生活的美好互联。 希望公众在美术馆观展的同时,把艺术通过文创带回家,营造属于每位观众的艺术生活方式。除文创产品之外,CAFAM STORE于近日还增设了毕业季限定盖章点,欢迎大家前来盖章打卡,珍藏2024中央美院毕业季的美好印记。 方寸乾坤,大美之艺 CAFAM STORE期待与您一起 解密生活美学
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绘本创作工作室 | 2024中央美院本科生毕业作品展

2024-05-24

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征集倒计时 | 中央美术学院美术馆“广角°青年实验项目空间”第三期方案征集

2024-05-22

中央美术学院美术馆“广角°青年实验项目空间”第三期方案征集截止日期为2024年6月1日请有意申报者尽快提交方案
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CAFAM讲座预告丨法国艺术家对话央美教授,探究穿梭古今超越维度的艺术史

2024-05-21

物,景,情往返于主客之间讲座时间:2024年5月21日(星期二) 18:30-20:00 讲座地点:中央美术学院美术馆学术报告厅报名方式: 请扫描上方二维码报名参加讲座 注:受场地限制,讲座对校外公众开放300个名额,先到者优先,请携带身份证原件在中央美术学院北门扫码登记入校;本场讲座将安排交传翻译。 学术主持:邵亦杨(中央美术学院人文学院副院长)主讲人:伊莎贝尔·科纳罗(法国艺术家) 特邀嘉宾:张然(今日美术馆馆长)圆桌嘉宾刘商英(中央美术学院油画系教授,艺术家)邬建安(中央美术学院实验艺术与科技艺术学院教授、艺术家)耿雪(中央美术学院雕塑系教师、艺术家) 主办机构:今日美术馆、中央美术学院人文学院协办机构:中央美术学院美术馆 活动流程18:00-18:30 活动签到18:30-18:35 邵亦杨教授开场主持18:35-18:40 今日美术馆馆长张然致辞18:40-19:10 艺术家伊莎贝尔·科纳罗创作分享19:10-20:00 嘉宾圆桌讲座简介伊莎贝尔·科纳罗(Isabelle Cornaro)将古典主义风景的二维平面转为三维立体的装置。从父母辈的珠宝开始,她尝试着探索“物”与“景”的概念。她的创作经常超越我们赋予艺术品的传统术语。伊莎贝尔·科纳罗,Paysages II,2010例如那些大型装置,艺术家认为它是空间中的一种绘画。而那些装饰性的珠宝、项链、发丝则在艺术家手中构成极其抽象的极简风景。科纳罗对于“景观”的诠释以及对殖民历史的构建最终都回到我们与物体之间的关系。物体是我们自身的延伸,带有感情、记忆、情绪。本次谈话将从科纳罗的创作中对于现成物的运用出发,发掘日常物与当代艺术之间的联系,以及这些联系是如何承载人类情感与历史变迁的。伊莎贝尔·科纳罗,Savane autour de Bangui et le fleuve Utubangui 10,摄影,35×50cm,2007,该系列作品将于今日美术馆展出本次活动将汇集当代艺术领域来自不同文化,不同研究及实践背景的艺术创作者、研究者和教育者,从伊莎贝尔·科纳罗的创作出发,围绕艺术与观念的交汇、艺术与艺术史的对话延展至跨文化交流与艺术创作、展览等话题。艺术家身份之外,科纳罗同时也是一位策展人及艺术教育工作者。通过分享和交流,探索当代艺术的多维面向,启发思考,共同探索艺术的无限可能性。嘉宾简介邵亦杨,中央美术学院教授,博士生导师,人文学院副院长, 西方美术史研究负责人,中国美协艺术理论委员会委员,世界艺术史协会委员,中国油画学会理事,江苏凤凰美术出版社视觉文化系列执行主编,2003年获悉尼大学哲学博士,曾任墨尔本大学客座教授,在世界艺术史大会,美国美术史年会,做会议主持或发言。2019年获国际中国当代艺术批评奖。主要著作有:《后现代之后》(2008 上海人民美术出版社)《穿越后现代》(2012,北京大学出版社),《西方美术史》(2014,北京大学出版社),《20世纪现当代艺术史》(2018/2021),上海人民美术出版社),《全球视野下的当代艺术》(2019,北京大学出版社) 《西方艺术:一部视觉的历史》(2022 北京大学出版社),主持翻译《文艺复兴新艺术史》(2024,江苏凤凰美术出版社)。伊莎贝尔·科纳罗(Isabelle Cornaro)于1974年出生于法国,在巴黎和日内瓦生活和工作。她的作品涉及多种媒介,如装置、雕塑、影像和绘画等。在过去的16年里,她一直在探索物体及其自身图像之间的关系,原件和复制品之间的关系。她的研究围绕着物体(特别是装饰性的物件),价值和艺术之间的关系展开。通过对物质象征、知觉经验和复制品等问题的讨论,她也在探索如何将形式和语言转化,例如将一幅古老的大师画作转化为三维装置,将一部电影转化为图谱,或将极简主义的词汇转化为富有更多情感的语言。科纳罗曾在众多艺术机构举办过个人展览,包括法国塞里尼昂当代艺术博物馆(2019),布鲁塞尔爱马仕基金会(2016),英国南伦敦美术馆(2015),法国巴黎东京宫(2015),英国布里斯托尔Spike Island(2015),瑞士伯尔尼美术馆(2013),法国格勒诺布尔Le Magasin当代艺术中心(2012),法国波尔多地区当代艺术基金会(2012), 德国杜塞尔多夫艺术博物馆(2009)等。刘商英,蒙古族,1974年生于中国云南省昆明市;现为中央美术学院教授,任教于油画系第三工作室,工作生活于北京。 自2011年至今,刘商英先后多次深入西藏阿里、内蒙古额济纳旗、新疆罗布泊、阿尔金山、天山等地进行野外现场绘画项目,持续以创作发生地为单元,先后创作了《玛旁雍错》系列、《胡杨与沙》系列、《荒原计划》系列、《沙子泉》系列、《祁曼塔格》系列、《彩虹》系列、《天山》系列及《花谷道》系列,并将在现场完成的绘画放置在项目现场真实的自然场域中展示,以此来探讨绘画与项目发生地之间的关系。重要个展包括“在世界之间行走”(西海美术馆,2022)、“谁的绘画”(星空间,2021)、 “生命场”(内蒙古阿拉善盟额济纳旗红城遗址,2017)、“青山半入城”(常熟美术馆,2016)、“空故纳万境”(中国美术馆,2015)、“浮云”(北京中间美术馆,2013)。作品曾在海内外重要艺术机构展出,其中包括:广东美术馆(广州,2023)、北京民生现代美术馆(北京,2022)、松美术馆(北京,2020)、多利亚潘菲利美术馆(意大利,2019)、保加利亚国家美术馆(保加利亚,2019)、梅格基金会美术馆(法国,2018)、中华艺术宫(上海,2018)、维多利奥美术馆(意大利,2015)、印尼国家美术馆(印尼,2014)、纽约艺术学院(美国,2013)、中国美术馆(北京,2012)、关山月美术馆(深圳,2011)、中央美术学院美术馆(北京,2010)等。此外,刘商英曾参加第3届中国新疆国际艺术双年展(中国,2023)、首届北京艺术双年展(中国,2022)、2022武汉双年展(中国,2022)、第14届达喀尔非洲当代艺术双年展(塞内加尔,2022)、2021成都双年展(中国,2021)、第4届圣地亚哥双年展(智利,2015)等国内外双年展。 邬建安,1980年生于北京,现为中央美术学院教授,博士生导师。邬建安的艺术思辨和视觉创造,核心在于借助那些看似远离今日生活的情境,表达⼈类⽂明历史中永恒的部分,唤醒人内心感受中隐秘幽微却宏大磅礴的潜意识,进而引发对时代和⼈的反思与观照。如著名美术史学者、芝加哥⼤学教授巫鸿所⾔,“他的想象力总在几个维度上同时进行,他的作品也总在几个维度上同时刺激和扩展人们的艺术想象。他游走于文字和图像之间,在抽象与具象之上又加上⼀个叙事维度……他驰骋于古今之间,把当下的⼈们在瞬息间带往诡谲奇邈的洪荒时代。他跨越媒材和⻛格:绘画、雕塑、剪纸、装置提供给他多样的语汇,但同时激起跨界、综合、打乱、超越的欲望。”2017年,邬建安的作品代表中国参加第57届威尼斯双年展。近年来,作品先后参加《思维的线索:馆藏中的⾏动抽象》(美国伯克利美术馆及太平洋影像艺术中心,2022)、《超融体:2021成都双年展》(中国成都天府美术馆,2021)、《玻璃应力:未来之窗》(俄罗斯国⽴艾尔⽶塔什冬宫博物馆,2021)、《开物:当代中国的⽇常与想象》(法国⾥尔伯爵夫⼈博物馆,2021)、《生生不息——叙事的⻩河》(银川当代美术馆,2020)、《纸上谈缤》(意⼤利那不勒斯国家考古博物馆,2019)、《第七届越后妻有⼤地艺术三年展》(日本新泻越后妻有,2018)、《蛇形》(日本东京森美术馆,2019;新加坡艺术科学博物馆,2017)等重要展事,并在北京、上海、⾹港、纽约等地举办多次个⼈艺术展。他的代表作品进入大都会艺术博物馆、波士顿美术博物馆、洛杉矶郡立艺术博物馆、伯克利美术馆及太平洋影像艺术中心、巴⻄奥斯卡·尼迈耶博物馆、澳⼤利亚白兔艺术收藏、北京民生现代美术馆、上海星美术馆、日本福冈亚洲艺术博物馆、中央美术学院美术馆、康奈尔⼤学赫伯特 F. 约翰逊艺术博物馆等美术馆的馆藏。现代传播集团、汇丰尚玉中心、陈⼀丹基金会,以及爱马仕、迪奥、宝格丽等机构亦收藏有邬建安的作品。2019年,邬建安入选CCTV纪录频道出品的《中国想象⼒》,这也是他的首部个⼈纪录⽚。他获得的主要艺术奖项包括“2022年度卓越艺术人才奖助”(Asian Cultrual Council 纽约亚洲⽂化协会),(“2018年度40 Under 40亚洲卓越艺术家”(Perspective《视野》)、“2020 Best of the Best年度艺术家”(《罗博报告》)、“2017年度青年力量”(《南方⼈物周刊》)等。耿雪,1983年生于吉林。2007年于中央美术学院雕塑系本科毕业,并获学士学位。2014年于中央美术学院版画系研究生毕业,获硕士学位,导师徐冰教授。现任教于中央美术学院雕塑系。作品涉及陶瓷、雕塑、绘画、影像等不同媒介。受邀参加的重要展览包括2019年第58届威尼斯双年展中国馆、2018年第21 届澳大利亚悉尼双年展、2017年第57届威尼斯双年展平行展、2014韩国釜山双年展等。陶瓷、雕塑、绘画、及影像作品被诸多国内外公共机构收藏,包括中国中央美术学院美术馆、河南博物院、武汉美术馆、筑中美术馆、香港 M+美术馆/乌利.希克收藏,英国威尔士国家博物馆、美国威斯康星大学 查森美术馆、韩国光州美术馆、日本濑户美术馆、澳大利亚白兔美术馆、荷兰皇家陶瓷博物馆、 加拿大西蒙弗雷泽大学图书馆、澳大利亚维多利亚国家博物馆、澳大利亚动力博物馆等。影像作品曾入选的电影节展映有“中国动画百年,万籁鸣文献展——中国独立动画电影论坛特别展映”,成都大学美术与影视学院美术馆;11.IZDANJE 25FPS 电影节,克罗地亚;“Here out there”展,芬兰赫尔辛基艺术节;荷兰HAFF 国际动画电影节,荷兰乌特勒支大学博物馆;斯洛伐克ANČA国际动画电影节等。主编  / 何一沙责编 / 杜隐珠
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CAFAM讲座预告丨法国艺术家对话央美教授,探究穿梭古今超越维度的艺术史

2024-05-21

物,景,情往返于主客之间讲座时间:2024年5月21日(星期二) 18:30-20:00 讲座地点:中央美术学院美术馆学术报告厅报名方式: 请扫描上方二维码报名参加讲座 注:受场地限制,讲座对校外公众开放300个名额,先到者优先,请携带身份证原件在中央美术学院北门扫码登记入校;本场讲座将安排交传翻译。 学术主持:邵亦杨(中央美术学院人文学院副院长)主讲人:伊莎贝尔·科纳罗(法国艺术家) 特邀嘉宾:张然(今日美术馆馆长)圆桌嘉宾刘商英(中央美术学院油画系教授,艺术家)邬建安(中央美术学院实验艺术与科技艺术学院教授、艺术家)耿雪(中央美术学院雕塑系教师、艺术家) 主办机构:今日美术馆、中央美术学院人文学院协办机构:中央美术学院美术馆 活动流程18:00-18:30 活动签到18:30-18:35 邵亦杨教授开场主持18:35-18:40 今日美术馆馆长张然致辞18:40-19:10 艺术家伊莎贝尔·科纳罗创作分享19:10-20:00 嘉宾圆桌讲座简介伊莎贝尔·科纳罗(Isabelle Cornaro)将古典主义风景的二维平面转为三维立体的装置。从父母辈的珠宝开始,她尝试着探索“物”与“景”的概念。她的创作经常超越我们赋予艺术品的传统术语。伊莎贝尔·科纳罗,Paysages II,2010例如那些大型装置,艺术家认为它是空间中的一种绘画。而那些装饰性的珠宝、项链、发丝则在艺术家手中构成极其抽象的极简风景。科纳罗对于“景观”的诠释以及对殖民历史的构建最终都回到我们与物体之间的关系。物体是我们自身的延伸,带有感情、记忆、情绪。本次谈话将从科纳罗的创作中对于现成物的运用出发,发掘日常物与当代艺术之间的联系,以及这些联系是如何承载人类情感与历史变迁的。伊莎贝尔·科纳罗,Savane autour de Bangui et le fleuve Utubangui 10,摄影,35×50cm,2007,该系列作品将于今日美术馆展出本次活动将汇集当代艺术领域来自不同文化,不同研究及实践背景的艺术创作者、研究者和教育者,从伊莎贝尔·科纳罗的创作出发,围绕艺术与观念的交汇、艺术与艺术史的对话延展至跨文化交流与艺术创作、展览等话题。艺术家身份之外,科纳罗同时也是一位策展人及艺术教育工作者。通过分享和交流,探索当代艺术的多维面向,启发思考,共同探索艺术的无限可能性。嘉宾简介邵亦杨,中央美术学院教授,博士生导师,人文学院副院长, 西方美术史研究负责人,中国美协艺术理论委员会委员,世界艺术史协会委员,中国油画学会理事,江苏凤凰美术出版社视觉文化系列执行主编,2003年获悉尼大学哲学博士,曾任墨尔本大学客座教授,在世界艺术史大会,美国美术史年会,做会议主持或发言。2019年获国际中国当代艺术批评奖。主要著作有:《后现代之后》(2008 上海人民美术出版社)《穿越后现代》(2012,北京大学出版社),《西方美术史》(2014,北京大学出版社),《20世纪现当代艺术史》(2018/2021),上海人民美术出版社),《全球视野下的当代艺术》(2019,北京大学出版社) 《西方艺术:一部视觉的历史》(2022 北京大学出版社),主持翻译《文艺复兴新艺术史》(2024,江苏凤凰美术出版社)。伊莎贝尔·科纳罗(Isabelle Cornaro)于1974年出生于法国,在巴黎和日内瓦生活和工作。她的作品涉及多种媒介,如装置、雕塑、影像和绘画等。在过去的16年里,她一直在探索物体及其自身图像之间的关系,原件和复制品之间的关系。她的研究围绕着物体(特别是装饰性的物件),价值和艺术之间的关系展开。通过对物质象征、知觉经验和复制品等问题的讨论,她也在探索如何将形式和语言转化,例如将一幅古老的大师画作转化为三维装置,将一部电影转化为图谱,或将极简主义的词汇转化为富有更多情感的语言。科纳罗曾在众多艺术机构举办过个人展览,包括法国塞里尼昂当代艺术博物馆(2019),布鲁塞尔爱马仕基金会(2016),英国南伦敦美术馆(2015),法国巴黎东京宫(2015),英国布里斯托尔Spike Island(2015),瑞士伯尔尼美术馆(2013),法国格勒诺布尔Le Magasin当代艺术中心(2012),法国波尔多地区当代艺术基金会(2012), 德国杜塞尔多夫艺术博物馆(2009)等。刘商英,蒙古族,1974年生于中国云南省昆明市;现为中央美术学院教授,任教于油画系第三工作室,工作生活于北京。 自2011年至今,刘商英先后多次深入西藏阿里、内蒙古额济纳旗、新疆罗布泊、阿尔金山、天山等地进行野外现场绘画项目,持续以创作发生地为单元,先后创作了《玛旁雍错》系列、《胡杨与沙》系列、《荒原计划》系列、《沙子泉》系列、《祁曼塔格》系列、《彩虹》系列、《天山》系列及《花谷道》系列,并将在现场完成的绘画放置在项目现场真实的自然场域中展示,以此来探讨绘画与项目发生地之间的关系。重要个展包括“在世界之间行走”(西海美术馆,2022)、“谁的绘画”(星空间,2021)、 “生命场”(内蒙古阿拉善盟额济纳旗红城遗址,2017)、“青山半入城”(常熟美术馆,2016)、“空故纳万境”(中国美术馆,2015)、“浮云”(北京中间美术馆,2013)。作品曾在海内外重要艺术机构展出,其中包括:广东美术馆(广州,2023)、北京民生现代美术馆(北京,2022)、松美术馆(北京,2020)、多利亚潘菲利美术馆(意大利,2019)、保加利亚国家美术馆(保加利亚,2019)、梅格基金会美术馆(法国,2018)、中华艺术宫(上海,2018)、维多利奥美术馆(意大利,2015)、印尼国家美术馆(印尼,2014)、纽约艺术学院(美国,2013)、中国美术馆(北京,2012)、关山月美术馆(深圳,2011)、中央美术学院美术馆(北京,2010)等。此外,刘商英曾参加第3届中国新疆国际艺术双年展(中国,2023)、首届北京艺术双年展(中国,2022)、2022武汉双年展(中国,2022)、第14届达喀尔非洲当代艺术双年展(塞内加尔,2022)、2021成都双年展(中国,2021)、第4届圣地亚哥双年展(智利,2015)等国内外双年展。 邬建安,1980年生于北京,现为中央美术学院教授,博士生导师。邬建安的艺术思辨和视觉创造,核心在于借助那些看似远离今日生活的情境,表达⼈类⽂明历史中永恒的部分,唤醒人内心感受中隐秘幽微却宏大磅礴的潜意识,进而引发对时代和⼈的反思与观照。如著名美术史学者、芝加哥⼤学教授巫鸿所⾔,“他的想象力总在几个维度上同时进行,他的作品也总在几个维度上同时刺激和扩展人们的艺术想象。他游走于文字和图像之间,在抽象与具象之上又加上⼀个叙事维度……他驰骋于古今之间,把当下的⼈们在瞬息间带往诡谲奇邈的洪荒时代。他跨越媒材和⻛格:绘画、雕塑、剪纸、装置提供给他多样的语汇,但同时激起跨界、综合、打乱、超越的欲望。”2017年,邬建安的作品代表中国参加第57届威尼斯双年展。近年来,作品先后参加《思维的线索:馆藏中的⾏动抽象》(美国伯克利美术馆及太平洋影像艺术中心,2022)、《超融体:2021成都双年展》(中国成都天府美术馆,2021)、《玻璃应力:未来之窗》(俄罗斯国⽴艾尔⽶塔什冬宫博物馆,2021)、《开物:当代中国的⽇常与想象》(法国⾥尔伯爵夫⼈博物馆,2021)、《生生不息——叙事的⻩河》(银川当代美术馆,2020)、《纸上谈缤》(意⼤利那不勒斯国家考古博物馆,2019)、《第七届越后妻有⼤地艺术三年展》(日本新泻越后妻有,2018)、《蛇形》(日本东京森美术馆,2019;新加坡艺术科学博物馆,2017)等重要展事,并在北京、上海、⾹港、纽约等地举办多次个⼈艺术展。他的代表作品进入大都会艺术博物馆、波士顿美术博物馆、洛杉矶郡立艺术博物馆、伯克利美术馆及太平洋影像艺术中心、巴⻄奥斯卡·尼迈耶博物馆、澳⼤利亚白兔艺术收藏、北京民生现代美术馆、上海星美术馆、日本福冈亚洲艺术博物馆、中央美术学院美术馆、康奈尔⼤学赫伯特 F. 约翰逊艺术博物馆等美术馆的馆藏。现代传播集团、汇丰尚玉中心、陈⼀丹基金会,以及爱马仕、迪奥、宝格丽等机构亦收藏有邬建安的作品。2019年,邬建安入选CCTV纪录频道出品的《中国想象⼒》,这也是他的首部个⼈纪录⽚。他获得的主要艺术奖项包括“2022年度卓越艺术人才奖助”(Asian Cultrual Council 纽约亚洲⽂化协会),(“2018年度40 Under 40亚洲卓越艺术家”(Perspective《视野》)、“2020 Best of the Best年度艺术家”(《罗博报告》)、“2017年度青年力量”(《南方⼈物周刊》)等。耿雪,1983年生于吉林。2007年于中央美术学院雕塑系本科毕业,并获学士学位。2014年于中央美术学院版画系研究生毕业,获硕士学位,导师徐冰教授。现任教于中央美术学院雕塑系。作品涉及陶瓷、雕塑、绘画、影像等不同媒介。受邀参加的重要展览包括2019年第58届威尼斯双年展中国馆、2018年第21 届澳大利亚悉尼双年展、2017年第57届威尼斯双年展平行展、2014韩国釜山双年展等。陶瓷、雕塑、绘画、及影像作品被诸多国内外公共机构收藏,包括中国中央美术学院美术馆、河南博物院、武汉美术馆、筑中美术馆、香港 M+美术馆/乌利.希克收藏,英国威尔士国家博物馆、美国威斯康星大学 查森美术馆、韩国光州美术馆、日本濑户美术馆、澳大利亚白兔美术馆、荷兰皇家陶瓷博物馆、 加拿大西蒙弗雷泽大学图书馆、澳大利亚维多利亚国家博物馆、澳大利亚动力博物馆等。影像作品曾入选的电影节展映有“中国动画百年,万籁鸣文献展——中国独立动画电影论坛特别展映”,成都大学美术与影视学院美术馆;11.IZDANJE 25FPS 电影节,克罗地亚;“Here out there”展,芬兰赫尔辛基艺术节;荷兰HAFF 国际动画电影节,荷兰乌特勒支大学博物馆;斯洛伐克ANČA国际动画电影节等。主编  / 何一沙责编 / 杜隐珠
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CAFAM讲座预告丨法国艺术家对话央美教授,探究穿梭古今超越维度的艺术史

2024-05-21

物,景,情往返于主客之间讲座时间:2024年5月21日(星期二) 18:30-20:00 讲座地点:中央美术学院美术馆学术报告厅报名方式: 请扫描上方二维码报名参加讲座 注:受场地限制,讲座对校外公众开放300个名额,先到者优先,请携带身份证原件在中央美术学院北门扫码登记入校;本场讲座将安排交传翻译。 学术主持:邵亦杨(中央美术学院人文学院副院长)主讲人:伊莎贝尔·科纳罗(法国艺术家) 特邀嘉宾:张然(今日美术馆馆长)圆桌嘉宾刘商英(中央美术学院油画系教授,艺术家)邬建安(中央美术学院实验艺术与科技艺术学院教授、艺术家)耿雪(中央美术学院雕塑系教师、艺术家) 主办机构:今日美术馆、中央美术学院人文学院协办机构:中央美术学院美术馆 活动流程18:00-18:30 活动签到18:30-18:35 邵亦杨教授开场主持18:35-18:40 今日美术馆馆长张然致辞18:40-19:10 艺术家伊莎贝尔·科纳罗创作分享19:10-20:00 嘉宾圆桌讲座简介伊莎贝尔·科纳罗(Isabelle Cornaro)将古典主义风景的二维平面转为三维立体的装置。从父母辈的珠宝开始,她尝试着探索“物”与“景”的概念。她的创作经常超越我们赋予艺术品的传统术语。伊莎贝尔·科纳罗,Paysages II,2010例如那些大型装置,艺术家认为它是空间中的一种绘画。而那些装饰性的珠宝、项链、发丝则在艺术家手中构成极其抽象的极简风景。科纳罗对于“景观”的诠释以及对殖民历史的构建最终都回到我们与物体之间的关系。物体是我们自身的延伸,带有感情、记忆、情绪。本次谈话将从科纳罗的创作中对于现成物的运用出发,发掘日常物与当代艺术之间的联系,以及这些联系是如何承载人类情感与历史变迁的。伊莎贝尔·科纳罗,Savane autour de Bangui et le fleuve Utubangui 10,摄影,35×50cm,2007,该系列作品将于今日美术馆展出本次活动将汇集当代艺术领域来自不同文化,不同研究及实践背景的艺术创作者、研究者和教育者,从伊莎贝尔·科纳罗的创作出发,围绕艺术与观念的交汇、艺术与艺术史的对话延展至跨文化交流与艺术创作、展览等话题。艺术家身份之外,科纳罗同时也是一位策展人及艺术教育工作者。通过分享和交流,探索当代艺术的多维面向,启发思考,共同探索艺术的无限可能性。嘉宾简介邵亦杨,中央美术学院教授,博士生导师,人文学院副院长, 西方美术史研究负责人,中国美协艺术理论委员会委员,世界艺术史协会委员,中国油画学会理事,江苏凤凰美术出版社视觉文化系列执行主编,2003年获悉尼大学哲学博士,曾任墨尔本大学客座教授,在世界艺术史大会,美国美术史年会,做会议主持或发言。2019年获国际中国当代艺术批评奖。主要著作有:《后现代之后》(2008 上海人民美术出版社)《穿越后现代》(2012,北京大学出版社),《西方美术史》(2014,北京大学出版社),《20世纪现当代艺术史》(2018/2021),上海人民美术出版社),《全球视野下的当代艺术》(2019,北京大学出版社) 《西方艺术:一部视觉的历史》(2022 北京大学出版社),主持翻译《文艺复兴新艺术史》(2024,江苏凤凰美术出版社)。伊莎贝尔·科纳罗(Isabelle Cornaro)于1974年出生于法国,在巴黎和日内瓦生活和工作。她的作品涉及多种媒介,如装置、雕塑、影像和绘画等。在过去的16年里,她一直在探索物体及其自身图像之间的关系,原件和复制品之间的关系。她的研究围绕着物体(特别是装饰性的物件),价值和艺术之间的关系展开。通过对物质象征、知觉经验和复制品等问题的讨论,她也在探索如何将形式和语言转化,例如将一幅古老的大师画作转化为三维装置,将一部电影转化为图谱,或将极简主义的词汇转化为富有更多情感的语言。科纳罗曾在众多艺术机构举办过个人展览,包括法国塞里尼昂当代艺术博物馆(2019),布鲁塞尔爱马仕基金会(2016),英国南伦敦美术馆(2015),法国巴黎东京宫(2015),英国布里斯托尔Spike Island(2015),瑞士伯尔尼美术馆(2013),法国格勒诺布尔Le Magasin当代艺术中心(2012),法国波尔多地区当代艺术基金会(2012), 德国杜塞尔多夫艺术博物馆(2009)等。刘商英,蒙古族,1974年生于中国云南省昆明市;现为中央美术学院教授,任教于油画系第三工作室,工作生活于北京。 自2011年至今,刘商英先后多次深入西藏阿里、内蒙古额济纳旗、新疆罗布泊、阿尔金山、天山等地进行野外现场绘画项目,持续以创作发生地为单元,先后创作了《玛旁雍错》系列、《胡杨与沙》系列、《荒原计划》系列、《沙子泉》系列、《祁曼塔格》系列、《彩虹》系列、《天山》系列及《花谷道》系列,并将在现场完成的绘画放置在项目现场真实的自然场域中展示,以此来探讨绘画与项目发生地之间的关系。重要个展包括“在世界之间行走”(西海美术馆,2022)、“谁的绘画”(星空间,2021)、 “生命场”(内蒙古阿拉善盟额济纳旗红城遗址,2017)、“青山半入城”(常熟美术馆,2016)、“空故纳万境”(中国美术馆,2015)、“浮云”(北京中间美术馆,2013)。作品曾在海内外重要艺术机构展出,其中包括:广东美术馆(广州,2023)、北京民生现代美术馆(北京,2022)、松美术馆(北京,2020)、多利亚潘菲利美术馆(意大利,2019)、保加利亚国家美术馆(保加利亚,2019)、梅格基金会美术馆(法国,2018)、中华艺术宫(上海,2018)、维多利奥美术馆(意大利,2015)、印尼国家美术馆(印尼,2014)、纽约艺术学院(美国,2013)、中国美术馆(北京,2012)、关山月美术馆(深圳,2011)、中央美术学院美术馆(北京,2010)等。此外,刘商英曾参加第3届中国新疆国际艺术双年展(中国,2023)、首届北京艺术双年展(中国,2022)、2022武汉双年展(中国,2022)、第14届达喀尔非洲当代艺术双年展(塞内加尔,2022)、2021成都双年展(中国,2021)、第4届圣地亚哥双年展(智利,2015)等国内外双年展。 邬建安,1980年生于北京,现为中央美术学院教授,博士生导师。邬建安的艺术思辨和视觉创造,核心在于借助那些看似远离今日生活的情境,表达⼈类⽂明历史中永恒的部分,唤醒人内心感受中隐秘幽微却宏大磅礴的潜意识,进而引发对时代和⼈的反思与观照。如著名美术史学者、芝加哥⼤学教授巫鸿所⾔,“他的想象力总在几个维度上同时进行,他的作品也总在几个维度上同时刺激和扩展人们的艺术想象。他游走于文字和图像之间,在抽象与具象之上又加上⼀个叙事维度……他驰骋于古今之间,把当下的⼈们在瞬息间带往诡谲奇邈的洪荒时代。他跨越媒材和⻛格:绘画、雕塑、剪纸、装置提供给他多样的语汇,但同时激起跨界、综合、打乱、超越的欲望。”2017年,邬建安的作品代表中国参加第57届威尼斯双年展。近年来,作品先后参加《思维的线索:馆藏中的⾏动抽象》(美国伯克利美术馆及太平洋影像艺术中心,2022)、《超融体:2021成都双年展》(中国成都天府美术馆,2021)、《玻璃应力:未来之窗》(俄罗斯国⽴艾尔⽶塔什冬宫博物馆,2021)、《开物:当代中国的⽇常与想象》(法国⾥尔伯爵夫⼈博物馆,2021)、《生生不息——叙事的⻩河》(银川当代美术馆,2020)、《纸上谈缤》(意⼤利那不勒斯国家考古博物馆,2019)、《第七届越后妻有⼤地艺术三年展》(日本新泻越后妻有,2018)、《蛇形》(日本东京森美术馆,2019;新加坡艺术科学博物馆,2017)等重要展事,并在北京、上海、⾹港、纽约等地举办多次个⼈艺术展。他的代表作品进入大都会艺术博物馆、波士顿美术博物馆、洛杉矶郡立艺术博物馆、伯克利美术馆及太平洋影像艺术中心、巴⻄奥斯卡·尼迈耶博物馆、澳⼤利亚白兔艺术收藏、北京民生现代美术馆、上海星美术馆、日本福冈亚洲艺术博物馆、中央美术学院美术馆、康奈尔⼤学赫伯特 F. 约翰逊艺术博物馆等美术馆的馆藏。现代传播集团、汇丰尚玉中心、陈⼀丹基金会,以及爱马仕、迪奥、宝格丽等机构亦收藏有邬建安的作品。2019年,邬建安入选CCTV纪录频道出品的《中国想象⼒》,这也是他的首部个⼈纪录⽚。他获得的主要艺术奖项包括“2022年度卓越艺术人才奖助”(Asian Cultrual Council 纽约亚洲⽂化协会),(“2018年度40 Under 40亚洲卓越艺术家”(Perspective《视野》)、“2020 Best of the Best年度艺术家”(《罗博报告》)、“2017年度青年力量”(《南方⼈物周刊》)等。耿雪,1983年生于吉林。2007年于中央美术学院雕塑系本科毕业,并获学士学位。2014年于中央美术学院版画系研究生毕业,获硕士学位,导师徐冰教授。现任教于中央美术学院雕塑系。作品涉及陶瓷、雕塑、绘画、影像等不同媒介。受邀参加的重要展览包括2019年第58届威尼斯双年展中国馆、2018年第21 届澳大利亚悉尼双年展、2017年第57届威尼斯双年展平行展、2014韩国釜山双年展等。陶瓷、雕塑、绘画、及影像作品被诸多国内外公共机构收藏,包括中国中央美术学院美术馆、河南博物院、武汉美术馆、筑中美术馆、香港 M+美术馆/乌利.希克收藏,英国威尔士国家博物馆、美国威斯康星大学 查森美术馆、韩国光州美术馆、日本濑户美术馆、澳大利亚白兔美术馆、荷兰皇家陶瓷博物馆、 加拿大西蒙弗雷泽大学图书馆、澳大利亚维多利亚国家博物馆、澳大利亚动力博物馆等。影像作品曾入选的电影节展映有“中国动画百年,万籁鸣文献展——中国独立动画电影论坛特别展映”,成都大学美术与影视学院美术馆;11.IZDANJE 25FPS 电影节,克罗地亚;“Here out there”展,芬兰赫尔辛基艺术节;荷兰HAFF 国际动画电影节,荷兰乌特勒支大学博物馆;斯洛伐克ANČA国际动画电影节等。主编  / 何一沙责编 / 杜隐珠
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CAFAM讲座预告 | 琼·斯尼泽 :1970年后美国的女性艺术发展

2024-05-21

讲座名称:《1970年后美国的女性艺术发展》Lecture Title: "The Development of Women's Art in America After 1970" 讲座时间:2024年5月22日18:30-20:30Time: 18:30-20:30,22ndMay,2024 讲座地点:中央美术学院美术馆学术报告厅Location: Auditorium, CAFA Art Museum 讲者:琼·斯尼泽(哥伦比亚大学巴纳德学院艺术史和视觉艺术系联合系主任)Speaker: Joan Snitzer(the Co-Chair of the Department of Art History and Visual Arts at Barnard College, Columbia University)主持:王春辰  (中央美术学院美术馆副馆长)Host: Wang Chunchen (Deputy Director of CAFAM) 讲座介绍 受20世纪70年代女性主义艺术运动的启发,通过艺术创作和组织艺术实践活动的美国女性艺术家们,逐渐获得美国公众认可并进入主要画廊或博物馆。琼·斯尼泽教授将在讲座中详细剖析那些曾被认为是“另类”艺术史、技术、形式和材料的艺术作品及女性艺术家,是如何被纳入美国主流文化并受到公众关注。当前纽约主要画廊和博物馆展出的女性艺术作品将成为本次讲座的亮点。 Inspired by the feminist art movement of the 1970s, American women artists gradually gained public recognition and entered major galleries and museums through their creative works and organized art practices. In this lecture, Professor Snitzer will analyze in detail how art works and female artists, once considered "alternative," in terms of art history, techniques, forms, and materials, have been incorporated into mainstream American culture and gained public attention. The highlight of this lecture will be the current exhibitions of women's art in major galleries and museums in New York. 讲者简介                                                    琼·斯尼泽教授 斯尼泽教授曾担任美国著名艺术家和波普艺术运动的主要人物安迪·沃霍尔助手,自1986 年起在美国哥伦比亚大学任教,教龄已近 40 年,现为哥伦比亚大学巴纳德学院视觉文化与艺术史系联合主任。 斯尼泽教授目前所授课程包括“意象与形式”,一门为当代艺术实践提供历史理论的课程; 以及 “高级工作坊”,这是一门为正在准备毕业作品集的视觉艺术专业学生开设的课程。2006 年,因其卓越的教学成果获得了玛格丽特·米德奖,并于今年获得哥大颁发的“最佳教学奖”。 斯尼泽教授在教学同时亦从事艺术批评写作与视觉艺术创作。斯尼泽教授师从著名艺术史学者和批评家本杰明·布赫洛和罗莎琳德·克劳斯。她认为绘画是视觉交流的重要途径以及个人和社会价值的表现方式。她的作品曾展出于纽约现代艺术博物馆(纽约)、 MoMA PS1 (纽约)、布朗克斯美术馆(纽约)、大卫•诺兰画 廊(纽约)、2B 画廊(布达佩斯)、Ajolote Contemporaneo 画廊(墨西哥) 等国内外艺术机构。作品被美国银行、高盛、保德信金融集团、IBM 等多家著名机构以及私人收藏。 斯尼泽教授一直保有对非营利世界的热情, 1980 年她在纽约布朗克斯美术馆创办的“市场中的艺术家”(AIM)项目,至今已运营 45 年,为职业上升期的艺术家提供了展览机会和学习交流空间。斯尼泽教授还是美国历史最悠久的、由艺术家运营的女性非盈利艺术空间 A.I.R 画廊的主要指导之一,并同时在世界各地多次举办个人绘画作品展览与公益讲座。 自斯尼泽教授在安迪沃霍尔的工作室“银色工厂”工作起,她陆续结识了尚-米榭·巴斯奇亞 安娜·曼迪耶塔 杰夫·昆斯等多位在当代艺术中举足轻重的艺术家,见证了纽约当代艺术的发展。 Professor Joan Snitzer served as an assistant to the renowned American artist and key figure of the Pop Art movement, Andy Warhol. She has been teaching at Columbia University in the United States since 1986, with nearly 40 years of teaching experience. She is currently the Co-Chair of the Department of Art History and Visual Arts at Barnard College, Columbia University. Professor Snitzer's current courses include "Imagery and Form," a course that provides historical theory for contemporary art practice, and "Advanced Studio,” a course designed for visual arts students preparing their graduation portfolios. In 2006, she received the Margaret Mead Award for her outstanding teaching achievements, and this year, she was awarded the "Excellence in Teaching Award" by Columbia University. In addition to teaching, Professor Snitzer is also engaged in art criticism writing and visual arts creation. She studied under renowned art historians and critics Benjamin Buchloh and Rosalind Krauss. She believes that painting is an important means of visual communication and a way of expressing personal and societal values. Her works have been exhibited at the Museum of Modern Art (MoMA) in New York, MoMA PS1 (New York), the Bronx Museum of the Arts (New York), the David Nolan Gallery (New York), 2B Gallery (Budapest), and Ajolote Contemporaneo Gallery (Mexico), among other domestic and international art institutions. Her works are in the collections of major institutions and private collectors, including Bank of America, Goldman Sachs, Prudential Financial, and IBM. Professor Snitzer has always maintained a passion for the non-profit world. In 1980, she founded the "Artist in the Marketplace" (AIM) program at the Bronx Museum of the Arts in New York, which has been operating for 45 years and provides exhibition opportunities and spaces for professional growth for emerging artists. Professor Snitzer is also one of the key advisors to A.I.R. Gallery, the oldest artist-run, non-profit women's art space in the United States. She has held numerous solo painting exhibitions and public lectures worldwide. Since working at Andy Warhol's studio, "The Silver Factory," Professor Snitzer has met several significant contemporary artists such as Jean-Michel Basquiat, Ana Mendieta, and Jeff Koons, witnessing the development of contemporary art in New York. 讲座相关作品                                       安娜·门迪耶塔,《剪影系列》,1976年                                                    Ana Mendieta, Silueta Series, 1976.                                       辛迪·舍曼,《无题电影剧照 #21》,1978年                                                    Cindy Sherman, Untitled Film Still #21, 1978                                                    珍妮·霍尔泽,《受伤的地球》,在格拉斯哥举行的光投影展,以配合第26届联合国气候变化大会(COP26), 2021                                                    Jenny Holzer, Hurt Earth, light projection in Glasgow to coincide with the Cop26 climate conference, 2021.                                                    朱莉·梅赫雷图,《高盛壁画》, 2009年                                                    Julie Mehretu, Goldman Sachs Mural, 2009.                                                    莎拉·茨的作品《三重点·天文馆》于2013年创作,使用的材料包括木材、钢材、塑料、石头、绳子、风扇、投影仪,                                                    以及打印在杜邦纸上的岩石照片。这件作品在第55届威尼斯双年展美国馆展出。                                                    Sarah Sze, Triple Point (Planetarium), 2013,Wood, steel, plastic, stone, string, fans, overhead projectors,                                                     photograph of rock printed on Tyvek, U.S. Pavilion 55th International Art Exhibit La Biennale Di Venezia.主编  / 何一沙责编 / 杜隐珠
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CAFAM讲座预告 | 琼·斯尼泽 :1970年后美国的女性艺术发展

2024-05-21

讲座名称:《1970年后美国的女性艺术发展》Lecture Title: "The Development of Women's Art in America After 1970" 讲座时间:2024年5月22日18:30-20:30Time: 18:30-20:30,22ndMay,2024 讲座地点:中央美术学院美术馆学术报告厅Location: Auditorium, CAFA Art Museum 讲者:琼·斯尼泽(哥伦比亚大学巴纳德学院艺术史和视觉艺术系联合系主任)Speaker: Joan Snitzer(the Co-Chair of the Department of Art History and Visual Arts at Barnard College, Columbia University)主持:王春辰  (中央美术学院美术馆副馆长)Host: Wang Chunchen (Deputy Director of CAFAM) 讲座介绍 受20世纪70年代女性主义艺术运动的启发,通过艺术创作和组织艺术实践活动的美国女性艺术家们,逐渐获得美国公众认可并进入主要画廊或博物馆。琼·斯尼泽教授将在讲座中详细剖析那些曾被认为是“另类”艺术史、技术、形式和材料的艺术作品及女性艺术家,是如何被纳入美国主流文化并受到公众关注。当前纽约主要画廊和博物馆展出的女性艺术作品将成为本次讲座的亮点。 Inspired by the feminist art movement of the 1970s, American women artists gradually gained public recognition and entered major galleries and museums through their creative works and organized art practices. In this lecture, Professor Snitzer will analyze in detail how art works and female artists, once considered "alternative," in terms of art history, techniques, forms, and materials, have been incorporated into mainstream American culture and gained public attention. The highlight of this lecture will be the current exhibitions of women's art in major galleries and museums in New York. 讲者简介                                                    琼·斯尼泽教授 斯尼泽教授曾担任美国著名艺术家和波普艺术运动的主要人物安迪·沃霍尔助手,自1986 年起在美国哥伦比亚大学任教,教龄已近 40 年,现为哥伦比亚大学巴纳德学院视觉文化与艺术史系联合主任。 斯尼泽教授目前所授课程包括“意象与形式”,一门为当代艺术实践提供历史理论的课程; 以及 “高级工作坊”,这是一门为正在准备毕业作品集的视觉艺术专业学生开设的课程。2006 年,因其卓越的教学成果获得了玛格丽特·米德奖,并于今年获得哥大颁发的“最佳教学奖”。 斯尼泽教授在教学同时亦从事艺术批评写作与视觉艺术创作。斯尼泽教授师从著名艺术史学者和批评家本杰明·布赫洛和罗莎琳德·克劳斯。她认为绘画是视觉交流的重要途径以及个人和社会价值的表现方式。她的作品曾展出于纽约现代艺术博物馆(纽约)、 MoMA PS1 (纽约)、布朗克斯美术馆(纽约)、大卫•诺兰画 廊(纽约)、2B 画廊(布达佩斯)、Ajolote Contemporaneo 画廊(墨西哥) 等国内外艺术机构。作品被美国银行、高盛、保德信金融集团、IBM 等多家著名机构以及私人收藏。 斯尼泽教授一直保有对非营利世界的热情, 1980 年她在纽约布朗克斯美术馆创办的“市场中的艺术家”(AIM)项目,至今已运营 45 年,为职业上升期的艺术家提供了展览机会和学习交流空间。斯尼泽教授还是美国历史最悠久的、由艺术家运营的女性非盈利艺术空间 A.I.R 画廊的主要指导之一,并同时在世界各地多次举办个人绘画作品展览与公益讲座。 自斯尼泽教授在安迪沃霍尔的工作室“银色工厂”工作起,她陆续结识了尚-米榭·巴斯奇亞 安娜·曼迪耶塔 杰夫·昆斯等多位在当代艺术中举足轻重的艺术家,见证了纽约当代艺术的发展。 Professor Joan Snitzer served as an assistant to the renowned American artist and key figure of the Pop Art movement, Andy Warhol. She has been teaching at Columbia University in the United States since 1986, with nearly 40 years of teaching experience. She is currently the Co-Chair of the Department of Art History and Visual Arts at Barnard College, Columbia University. Professor Snitzer's current courses include "Imagery and Form," a course that provides historical theory for contemporary art practice, and "Advanced Studio,” a course designed for visual arts students preparing their graduation portfolios. In 2006, she received the Margaret Mead Award for her outstanding teaching achievements, and this year, she was awarded the "Excellence in Teaching Award" by Columbia University. In addition to teaching, Professor Snitzer is also engaged in art criticism writing and visual arts creation. She studied under renowned art historians and critics Benjamin Buchloh and Rosalind Krauss. She believes that painting is an important means of visual communication and a way of expressing personal and societal values. Her works have been exhibited at the Museum of Modern Art (MoMA) in New York, MoMA PS1 (New York), the Bronx Museum of the Arts (New York), the David Nolan Gallery (New York), 2B Gallery (Budapest), and Ajolote Contemporaneo Gallery (Mexico), among other domestic and international art institutions. Her works are in the collections of major institutions and private collectors, including Bank of America, Goldman Sachs, Prudential Financial, and IBM. Professor Snitzer has always maintained a passion for the non-profit world. In 1980, she founded the "Artist in the Marketplace" (AIM) program at the Bronx Museum of the Arts in New York, which has been operating for 45 years and provides exhibition opportunities and spaces for professional growth for emerging artists. Professor Snitzer is also one of the key advisors to A.I.R. Gallery, the oldest artist-run, non-profit women's art space in the United States. She has held numerous solo painting exhibitions and public lectures worldwide. Since working at Andy Warhol's studio, "The Silver Factory," Professor Snitzer has met several significant contemporary artists such as Jean-Michel Basquiat, Ana Mendieta, and Jeff Koons, witnessing the development of contemporary art in New York. 讲座相关作品                                       安娜·门迪耶塔,《剪影系列》,1976年                                                    Ana Mendieta, Silueta Series, 1976.                                       辛迪·舍曼,《无题电影剧照 #21》,1978年                                                    Cindy Sherman, Untitled Film Still #21, 1978                                                    珍妮·霍尔泽,《受伤的地球》,在格拉斯哥举行的光投影展,以配合第26届联合国气候变化大会(COP26), 2021                                                    Jenny Holzer, Hurt Earth, light projection in Glasgow to coincide with the Cop26 climate conference, 2021.                                                    朱莉·梅赫雷图,《高盛壁画》, 2009年                                                    Julie Mehretu, Goldman Sachs Mural, 2009.                                                    莎拉·茨的作品《三重点·天文馆》于2013年创作,使用的材料包括木材、钢材、塑料、石头、绳子、风扇、投影仪,                                                    以及打印在杜邦纸上的岩石照片。这件作品在第55届威尼斯双年展美国馆展出。                                                    Sarah Sze, Triple Point (Planetarium), 2013,Wood, steel, plastic, stone, string, fans, overhead projectors,                                                     photograph of rock printed on Tyvek, U.S. Pavilion 55th International Art Exhibit La Biennale Di Venezia.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

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

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.

Event Booking Form

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Reminder:

Hello! Thank you for participating in our public education event and we are looking forward to seeing you! If you cannot attend the event on time, please send a text message to 13261936837 (Liang) to cancel the booking. Please be aware that your eligibility for using the quick booking may be affected If you cancel the booking more than three times. Thank you for your understanding!
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