批评是独立的,自成系统的,它应该是主体性很强的本体存在。批评的批评,应该是关于美术批评主体和批评本体的研究和建构。 多年来,对美术批评的“批评”(主要是责难和抱怨)已越演越烈,以至于说多了演烈了也就归之于平淡。无论这些责难和抱怨来自于艺术家或来自于批评界,但显然这些“批评”未能走出一个误区,也就是它们更多地停留在浮躁的感性认知、社会的功利冲突、人事的恩怨纠缠、以及一些似是而非的非学科性的争辩和责难的层面。要走出误区,关键应深入辨明究竟什么是美术批评,什么是美术批评的批评。 首先,美术批评本身应是一门独立的学科,它具有独立运作、独立语言逻辑和结构、独立的历史判断和审美判断、甚至自身独 Criticism is independent and self-contained, it should be a very subjective existence. Criticism of criticism should be about the research and construction of the main body of art criticism and criticism. Over the years, criticisms of art criticisms (mainly censure and complaints) have become more and more intense, so much so much that they are attributed to dullness. Whether these censures and complaints come from artists or from critics, it is clear that these “criticisms” fail to come out of a myth that they are more stuck in impetuous sensual perceptions, social utilitarian conflicts, and grievances in personnel matters, As well as some paradoxical non-disciplinary aspects of argumentation and censure. To go out of the myth, the key should be to identify in depth what is art criticism and what is the criticism of art criticism. First of all, art criticism itself should be an independent discipline, which has the independent operation, logic and structure of independent language, independent historical judgment and aesthetic judgment, and even its own independence