Power,capital, and artistic freedom: contemporary Chinese art communities and the city

This paper offers a critical review of the proliferation of the contemporary art colony in China since the beginning of the twenty-first century in the context of China's promotion of cultural creative industries as one of the strategies for urban development and economic growth. Through analyzing cases in Beijing, Xi’an, and Sanya, cities ranging from ‘first-tier’ to ‘third-tier’ in their size and status, the paper explores the challenges and opportunities many contemporary Chinese art professionals find themselves face amid the competitive city image building campaign, a top-down movement led by local state and private investors in cities across China. It is evident that contemporary art and alternative art spaces associated with it have been drawn into the process of commodification, inadvertently recruited to play an ancillary role in the reproduction of the hegemonic collusion between political power and capitalism in a rapidly urbanizing China. Nonetheless, I argue that the inclusion of contemporary art communities as a player in the production and reproduction of the urban space has provided critical-minded artists, critics, and curators opportunities to participate in the reconfiguration of the physical and cultural landscape of Chinese cities, albeit not always with positive outcomes. As such, some art professionals are able to appropriate the process of capitalist urbanization to create their own ‘infrastructures of resonance’ [Thompson 2015. Seeing Power: Art and Activism in the Twenty-first Century. Brooklyn: Melville House], which support artistic freedom and facilitate the growth of diverse forms of cultural creation and exchange despite the coming dominance of ‘power plus capital’ [X. Wang 2003. A Manifesto for Cultural Studies. In: C. Wang, ed. One China, many paths. London: Verso, 274–291].     

Positive You: a self-advocate’s arts-based approach for building self-esteem

Positive You is an inclusive arts project supporting learning disabled people to explore self-esteem through art-making. The project was developed by self-advocate Leah Jones who observed a gap in service provision after struggling with her own confidence and self-esteem for many years. This article has been co-written by Leah and her support Jade French using a life-story approach. Leah hopes that by sharing her story, this article will not only demonstrate the value of art-making in developing self-esteem, but also that learning disabled people can develop their own employment opportunities with the right support.     

媒介难忘——电影媒介的美学分析

媒介本质论将艺术形式与艺术媒介本质地连接在一起,认为创作、欣赏与评价等活动都应该立足于媒介的特性来进行;经典电影研究自觉地继承和发扬了以上命题。以卡诺尔为代表的后来者,主张在电影研究中“忘掉媒介”,认为媒介只是工具,它不能限制艺术。但也有研究者并未放弃对艺术媒介的理论维护,例如高特,他将媒介的理论价值用三个媒介特殊论命题系统地呈现了出来,我们在认识、解释、评价和创造艺术品时,应立足于其特殊的媒介特性。而如果站在更为宽广的大众媒介的理论视野来理解电影与媒介,认识到电影作为大众艺术代表的地位,则能够合理地融汇卡诺尔与高特之间的二律背反。     

丹磨色美夸原质--楚绘画的艺术史意义

楚绘画是中国上古时期水平最高和最有时代特色的绘画之一.它涵盖了后世中国画人物、山水、花鸟分科的基本题材,基本上确立了中国画的工具材料和造型语言,并能以概括性较强的的形色语言表现对象的神韵;已初步形成了中国绘画散点透视的特点,对汉代绘画及后世中国绘画格局的形成意义至关重大.其造型、图式和色彩不仅具有形态学意义而被后世直接继承,更为重要的是,它所包含的艺术要素和艺术精神影响了整个艺术史的发展走向.     

论“合力”与声音训练

声音训练是声乐艺术学习中重要的内容,掌握科学的发声技巧是美好歌唱的技术保障,而"合力"的掌握和运用能使声音得到有效的训练。在介绍呼吸源"合力"产生及构成原理的基础上,阐述了在声音训练中运用"合力"的原因及方法,阐明了"合力"科学运用的价值:能有效掌握发声技巧,能完善提高歌唱技能,能使训练方法易掌握且操作性强、见效快。     

浅析宋代磁州窑陶瓷的装饰艺术

磁州窑是宋代北方民窑的杰出代表,文章从其的造型、装饰和原材料等方面分析了它的民族风格和地方特色。     

21世纪环境艺术教育的观念与方法

伴随着社会的进步与生活水平的提高,人类越来越注重精神方面的需求,环境艺术概念的提出,则是人类文明与社会进步的必然结果。在我国,环境艺术教育尚属新兴学科,环境艺术大致包括城市规划、建筑、园林绿化、公共空间、城市雕塑、壁画等环境艺术品以及室内空间、公益性设施等。它是人类生存环境中从宏观到微观的整合体,不仅协调着人们的生活方式,同时也引导和设计着社会和人类的行为。今天,人类希望在绿色环境中生活,向往城市环境和自然环境的高度和谐。为此,应当加强环境艺术理论的探讨和设计水准的提高,使环境艺术与高科技相结合,与人类文化相结合,在总结中国传统的设计经验的基础上,吸收国外有益的设计意识和技巧,走出一条符合中国国情的环境艺术教育发展的道路。     

高校艺术教育运作的新思路

本文对当前高校艺术教育存在的一些问题进行了思考和分析,并由此提出了相应的应对策略。在未来的高校艺术教育实践中,应当在艺术教育的内容、教学方式、教学机制、教学评价、教学环境等方面贯彻整合、协调的理念,促进艺术教育的健康发展。     

论美育中创造力的培养

创造力是美术创造的灵魂.在美术教育中要通过倡导个性化作品欣赏,倡导艺术想象力的飞跃,倡导创作风格的多样化来培养学生的创造力.     

艺术人类学再思考

通过对国外、国内艺术人类学研究的梳理和评述,了解它的独特视角和方法,进而探讨在艺术人类学研究中田野工作的特点和重要性。