本文選題：公眾教育　切入點：個人收藏　出處：《美術(shù)觀察》2014年05期

【摘要】：正近十年來,隨著經(jīng)濟快速發(fā)展和文化繁榮,中國的美術(shù)館建設進入高速發(fā)展的階段,每年都有新的美術(shù)館和個人收藏館落成開館,許多美術(shù)館的硬件設施力追世界一流。但是,各類美術(shù)館的快速落成并不代表擁有了合格的館藏和學術(shù)研究能力,更不意味著對公眾教育功能的實現(xiàn)。一、美術(shù)館固定作品收藏展示的匱乏當前,無論是基于政府建構(gòu)公共文化服務體系初衷之上的公立美術(shù)館,還是民間資本投資建立的民辦私營美術(shù)館,其建館速度快、規(guī)模大、檔次高已成共識,國內(nèi)美術(shù)館建筑面積動輒二三萬平方米,但是美術(shù)館建設僅有硬件是遠遠
[Abstract]:In the past decade, with the rapid economic development and cultural prosperity, the construction of art galleries in China has entered a stage of rapid development. Every year, new galleries and individual collections are opened. Many art galleries have hardware facilities that catch up with the world class. However, the rapid completion of various galleries does not mean that they have qualified collections and academic research capabilities, let alone the realization of the public education function. The lack of the collection and display of the museum's fixed works is not only a public art museum based on the original intention of the government to construct a public cultural service system, but also a private art museum run by private people with private capital investment. The museum is built quickly and on a large scale. It has become a consensus that the building area of art galleries in China is more than 200, 000 square meters, but only hardware is far away from the construction of art galleries.
【作者單位】： 安徽大學藝術(shù)學院;
【分類號】：J124

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