本文選題：藝術(shù)批評 + 遭遇��； 參考：《美術(shù)觀察》2013年06期

【摘要】：正隨著近年來網(wǎng)絡(luò)論壇、網(wǎng)絡(luò)美術(shù)館、網(wǎng)絡(luò)展覽的興起,傳統(tǒng)藝術(shù)批評的寫作模式及其與受眾的關(guān)系備受沖擊。一方面,通過論壇、博客、微博等網(wǎng)絡(luò)空間,網(wǎng)民能夠第一時間了解到最新的藝術(shù)信息,無論是藝術(shù)家、美術(shù)館和畫廊都可以直接與網(wǎng)友進(jìn)行互動交流,這給藝術(shù)傳播和接受帶來了前所未有的大好時機(jī);另一方面,全民參與的網(wǎng)絡(luò)評論在將藝術(shù)批評推向高潮的同時,也將傳統(tǒng)的學(xué)院式批評精英性、專業(yè)性的特點變得開放化、碎片化。民眾對于藝術(shù)作品進(jìn)行的草根式、非理性的解讀和批評固然是話語權(quán)開放的一種表現(xiàn),但當(dāng)這
[Abstract]:With the rise of online forums, art galleries and online exhibitions in recent years, the writing mode of traditional art criticism and its relationship with the audience have been impacted. On the one hand, through cyberspace such as forums, blogs, Weibo and so on, netizens can learn the latest art information in the first place. Whether it is artists, galleries and galleries, they can interact directly with netizens. This has brought an unprecedented opportunity for the spread and acceptance of art; on the other hand, while bringing art criticism to the climax, the popular online commentary has also opened up the traditional meritocracy and professionalism of college criticism. Fragmentation. The grassroots, irrational interpretation and criticism of works of art by the public is certainly a manifestation of the openness of discourse, but when this is the case,
【分類號】：J05
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本文編號：1863262