Exhibition period: October 20th to October 28th, 2012

Exhibition location: Central Hall and C Hall of Guanshan Yue Art Museum

Exhibition Opening Ceremony Time: October 20th, 2012 10:30 AM

Organizers: Shenzhen Municipal Bureau of Culture, Sports and Tourism, Shenzhen University

Organizers: Chinese Printmaking Magazine, Shenzhen Modern Art and Design Research Center

Co organizer: Guan Shanyue Art Museum

Media support: Art magazine, Art Observation magazine

Curator: Qi Fengge

Seminar time: October 20, 2012, from 2:30 pm to 5:30 pm

Seminar venue: International Conference Hall D of Shenzhen Normal University

As the mainstream printmaking in the history of contemporary Chinese printmaking, the art academy printmaking has played an indispensable role in promoting the development of printmaking throughout the country. In order to showcase the artistic achievements of art school printmaking, exchange the creative experience of art school printmaking, clarify the direction, enhance confidence, and promote the healthy development of art school printmaking, we have planned and held this exhibition and seminar.        

In recent years, due to the lack of advantages in expanding enrollment, coupled with the increasing demand for restructuring, the staffing has been tightened, the creative team has aged, and there is a lack of successors in the art academy. Especially during the period when the West is spreading and modernist art is sweeping across Kyushu, some painters in art academies feel outdated, changing their ways to keep up with the trend, and lacking the modern concepts and knowledge structure of young teachers and students in the academies; Persistently adhering to tradition while worrying about being seen as conservative, I was once confused and lost, which was the main symptom that led to the decline of printmaking in art academies. However, in fact, as the mainstream printmaking in the history of contemporary Chinese printmaking, academy printmaking played an indispensable role in promoting the development of printmaking throughout the country. In the mid-1950s to early 1960s, academy printmaking emerged, represented by Sichuan, Jiangsu, and Beidahuang printmaking, forming the first peak of academy printmaking. With aesthetic pleasure and an elegant trend, it transformed the combat quality and utilitarian form of printmaking before the founding of the People's Republic of China. In the late 1970s and 1980s, there was a second peak. In addition to the three regions mentioned above, Yunnan, Guizhou, Shanxi, Anhui, Inner Mongolia, Guangdong and other regions formed a polygon, surpassing traditional printmaking in local realism and cultural depiction. Along with other printmaking, it presented the most prosperous situation in the history of Chinese printmaking. It can be said that printmaking in art academies has its excellent tradition, forming its own characteristics and advantages in terms of social closeness to life, realistic realism, and pursuit of perfection and classicism. However, in the past 20 years, due to subjective and objective reasons, the characteristics have begun to fade in the direction of differentiation, and the advantages have not been fully demonstrated.        

The 34 painters invited to participate in this exhibition have certain representativeness in terms of age structure, artistic orientation, and plate types. Each painter exhibited five representative works, accompanied by their artistic resumes, exhibitions, awards, collections, publications, and other literature materials, so that the audience can understand the painter's works from more perspectives and have a more comprehensive understanding of the overall trend of printmaking in the Chinese Academy of Painting.