论文部分内容阅读
从艺术家蔡广斌的艺术创作年表来看,20世纪90年代是他寻求新艺术风格的重要时期。虽然当时抽象水墨比较红火,处于上升阶段,但他却并不怎么看好抽象水墨。据我所知,一是他感到“中国抽象艺术的生成土壤并不坚实”。(1)二是他认为“抽象水墨与中国当代艺术相比差得太远,基本上是做做肌理、拓印、拼贴,太表面化了”。(2)在后来的一系列访谈中,他进一步说明了他的想法,即认为抽象水墨一方面对现实介入得不够,另一方面也缺乏深刻思想的表达。应该说,正是基于以上思考,他在新世纪的水墨探索中,迈出了很有意义的一步。可以想见,如果他
From the chronology of artistic creation by artist Cai Guangbin, the 1990s saw him as an important period in his quest for art nouveau style. Although abstract ink was booming at that time, he was not optimistic about abstract ink. As far as I know, first, he felt that “the soil generated by Chinese abstract art is not solid.” (1) Second, he believes that “abstract ink painting is far too different from contemporary Chinese art and is basically done with texture, rubbing, collage and surface painting.” (2) In a series of interviews later, he further explained his idea that abstract ink on the one hand did not intervene in reality, on the other hand, lack of profound thought expression. It should be said that it is based on the above thinking that he took a meaningful step in the exploration of ink and ink in the new century. Can imagine, if he