1985年元月5日，艺术理论月刊《美术思潮》在湖北武汉诞生，其英文名「THE TREND OF ART THOUGHT」昭示着这本刊物的宗旨：
它将是一个综合性的思想文化杂志，不仅限于美术领域，而是涉及更广泛的文化思潮。
你想做当代美术的开拓者吗
你愿意参与当代美术活动吗
美术思潮将是你的耳目喉舌
——《美术思潮》封底宣言
美术史上从来就没有永恒不变的实践和理论，当代美术实践对已往的理论所进行的突破，迫使理论家重新思考和展望。
《美术思潮》鼓励和推动百家争鸣。各种艺术见解的涌现、磨擦和交锋，是产生划时代的美术思潮的必要条件。
《美术思潮》在立足当代、面向未来的前提下，努力探求传统与变革不发生断裂的最大张力。
《美术思潮》强调知识性和资料性，它将古今中外同美术直接关联的一切有益的思维和思维材料奉献给读者。
《美术思潮》注重当代美术日益大众化的趋势，力图使理论走入整个文化界，不言而喻，一种新思潮的出现，决不是超现实的意志的产物，也不是少数人的理想，而是大众的事业。
《美术思潮》将以出版周期短为优势，务求成为当代美术理论的前沿阵地和信息传播中枢之一。
——《美术思潮》试刊号·前言
时任主编彭德立志为一代艺术家提供思想交锋的阵地，在他的影响下，当时许多青年艺术家顶住社会多方面的压力，积极地参与了对当代艺术的探索和讨论。
《美术思潮》的试刊号已展现出开阔的视野：
严善?的《信息时代艺术家的审美结构与建构》文章开篇就提到了《第三次浪潮》，并综合多方跨界理论阐述了信息时代艺术家应具备的「科学、道德、视野、技能修养」四个方面的素质。
郑胜天的《西方新表现主义》归纳了20世纪80年代出现的「新表现主义」流派的三大特点。
《湖北美术中心成立》 湖北美术中心是在美协湖北分会领导下的国家事业单位，除开展各项社会所需的美术事业外，并经营部分企业，具体任务是： 组织各类业余美术教育； 编辑美术书刊并组织出版、印刷、发行； 举办和承办各种美术作品及其它艺术品的展览； 举办美术讲座和开展其它美术活动； 为国内外大型现代建筑提供室内外美术设计，提供雕塑、壁画及其它美术作品； 开办文艺美术书店及美术用品商店； 组织美术品的出口和展销； 开办湖北美术广告公司； 开办美术装璜工厂。
姜庆国的《一部回顾现代美术的电视连续剧》以简短篇幅介绍了罗伯特·休斯 (Robert Hughes)于 1980 年制作的现代艺术纪录片《The Shook of the New》，其洞察、智识和通俗易懂的结合至今仍广受赞誉。视频在B站可看，其同名书籍《新艺术的震撼》也有出版。
艺术从来不是完全形而上的自由存在，每次艺术思潮的背后，都有技术飞跃改变人类认知的背景；科技发展和社会生产力的发展，会使人类从繁杂的劳动和固有的认知中解放出来，使人的本质力量更为充分、自由地舒展开来。在这个 AI 技术开始爆发的时代，站在新纪元入口处的艺术创作者们，和1985年时的前辈们也许怀有些许相近的心情，隐约可见的更多的未知，更复杂的思考，更让人跃跃欲试的挑战。
回望这本1985年的试刊号，仿佛可以看到当年的《美术思潮》如何为文化困境中的年轻艺术家们搭起交流的平台，让三十八年后的我们仍能从中感受到对未来的憧憬和求变的激情。
「以史为鉴，可知兴替」。在此，ARThing艺术活 尝试开启对《美术思潮》的重读，希望以此刷新视野，看清新风将要吹来的方向。
《美术思潮》试刊号版权信息
On January 5, 1985, the art theory monthly magazine “The Trend of Art Thought” was born in Wuhan, Hubei, China. Its English name, “The Trend of Art Thought,” signifies the magazine’s purpose: to be a comprehensive intellectual and cultural publication that goes beyond the realm of fine arts and delves into broader cultural trends.
The trial issue of “The Trend of Art Thought” cover and back cover design were done by Lv Zhongyuan and layout design by Liu Xuzeng.
“Do you want to be a pioneer in contemporary art? Do you wish to participate in contemporary art activities? ‘The Trend of Art Thought’ will be your eyes, ears, and voice.” – Excerpt from the manifesto on the back cover of “The Trend of Art Thought.”
The art world is facing an era of reform that demands a large number of pioneering artists. The establishment of the theoretical monthly magazine “The Trend of Art Thought” aims to become the voice and trumpet for the new generation of artists.
Throughout art history, there has never been a practice or theory that remains eternally unchanged. The breakthroughs in contemporary art practice challenge theorists to rethink and anticipate the future.
“The Trend of Art Thought” encourages and promotes diverse opinions. The emergence, friction, and clashes of various artistic insights are necessary for the birth of revolutionary art thoughts.
With a focus on the present and an eye towards the future, “The Trend of Art Thought” endeavors to seek the maximum tension between tradition and transformation without breaking continuity.
Emphasizing knowledge and information, “The Trend of Art Thought” dedicates all beneficial thoughts and materials directly related to art from ancient and modern times, both domestic and foreign, to its readers.
“The Trend of Art Thought” pays attention to the increasing populism in contemporary art and strives to integrate theory into the entire cultural sphere. Undoubtedly, the emergence of a new trend is not the product of surreal will or the ideal of a minority but rather a collective endeavor.
“The Trend of Art Thought” will take advantage of its short publishing cycle to become a forefront in contemporary art theory and one of the central hubs for information dissemination.
Influenced by the vision of then-editor-in-chief Peng Deli, many young artists at the time resisted various societal pressures and actively engaged in exploring and discussing contemporary art.
The trial issue of “The Trend of Art Thought” already demonstrated a broad perspective:
– Yan Shanchun’s article “Aesthetic Structure and Construction of Artists in the Information Age” opened with a mention of the “Third Wave” and integrated various interdisciplinary theories to present four aspects of qualities artists should possess in the information age: scientific, moral, visionary, and skillful.
– Zheng Shengtian’s “New Expressionism in the West” summarized three major characteristics of the “New Expressionism” movement that emerged in the 1980s.
– Cha Li’s “Review and Outlook of Contemporary Chinese Painting” analyzed the potential development trends of modern Chinese painting from three aspects: its historical status, spiritual factors, and economic factors. The article advocated promoting the art industry through market mechanisms. This resonated with news about the establishment of the “Hubei Art Center.”
“Hubei Art Center Established
The Hubei Art Center is a state-run institution under the leadership of the Hubei Branch of the China Artists Association. In addition to conducting various art-related social activities, it also manages certain enterprises. Its specific tasks include:
Organizing various amateur art education;
Editing art books and organizing their publication, printing, and distribution;
Holding and hosting various art exhibitions and other art events;
Conducting art lectures and other art activities;
Providing indoor and outdoor art designs for large-scale modern architecture at home and abroad, providing sculptures, murals, and other art works;
Establishing literature and art bookstores and art supply stores;
Organizing the export and sales of art works;
Establishing the Hubei Art Advertising Company;
Establishing the Hubei Art Decoration Factory.”
Jiang Qingguo’s “A TV Drama Retrospective on Modern Art” briefly introduced Robert Hughes’ documentary series “The Shock of the New” produced in 1980, which remains highly acclaimed for its insightful, knowledgeable, and accessible presentation. The series can be viewed on Bilibili, and the eponymous book “The Shock of the New” has also been published.
In its short three-year publishing history, “The Trend of Art Thought” published 22 issues and distributed nearly 300,000 copies. Though limited by its contemporary conditions, the magazine primarily featured black and white text, actively introducing new artistic thoughts, and provided a source of ideas for the transformation of the art world in the 1980s. It initiated a liberation of thought and facilitated the rapid progress of contemporary art, injecting fresh energy into China’s still-rigid art aesthetics.
Art has never been a completely metaphysical existence. Behind each artistic trend lies a technological leap that changes human cognition. Technological advancement and the development of productive forces free humans from laborious work and inherent knowledge, allowing their inherent strengths to flourish more fully and freely. In this era of the AI technology’s emergence, contemporary art creators standing at the entrance of the new era and their predecessors in 1985 may harbor similar feelings—hints of more unknowns, more complex reflections, and more tempting challenges.
本篇文章来源于 ARThing艺术活
