Jing – JING SHUI https://www.jsvacenter.com Art and Culture Fri, 20 Dec 2019 16:01:39 +0000 en-US hourly 1 https://wordpress.org/?v=6.5.4 https://www.jsvacenter.com/wp-content/uploads/2021/01/LogoMakr-0hYI4a-100x100.png Jing – JING SHUI https://www.jsvacenter.com 32 32 Chinese Art/Calligraphy Workshop at East Asian Center, UVa. https://www.jsvacenter.com/chinese-calligraphy-workshop-at-east-asian-center-uva/ Tue, 06 Nov 2018 01:20:48 +0000 https://www.jsvacenter.com/?p=319 Chinese Painting Technique Lecture/Demonstration with Local Artist Jing Shui in Sep.27, 2019 in the Fayerweather Lounge.

 


Nov.16, 2018, local artist Jing Shui led two workshops in Chinese Calligraphy at the UVA Language Commons.


March. 2018, spring Semester.

]]>
A Discussion of the McGuffey Art Center Project with former Charlottesville Mayor Satyendra Huja  https://www.jsvacenter.com/a-discussion-of-the-mcguffey-art-center-project-with-charlottesville-mayor-satyendra-huja/ Mon, 05 Nov 2018 17:59:01 +0000 https://www.jsvacenter.com/?p=241 A Discussion of the McGuffey Art Center Project with former Charlottesville Mayor Satyendra Huja  Read More »

]]>
Jing published an article in the National Museum of China Journal (she’s very accomplished) about McG’s relationship with the City govt and community. I arranged the following interview which Jing excerpted for her article. Enjoy, Robert.

R:

Mayor Huja, thank you for meeting with me to discuss the creation of McGuffey Art Center.  We will soon be celebrating the 40th anniversary of the McGuffey School building functioning as a community art center.  My Chinese intellectual friends who come here, including my wife, are very impressed with McGuffey Art Center.  They find fascinating the partnership between the City of Charlottesville, which owns the McGuffey School building property, and an association of self-governing artists who occupy the building with 40 studios and 5 exhibition galleries.  The artists enjoy rents far below market value in exchange for providing a wide variety of cultural services and outreach to the community.   My Chinese friends are coming from their own governmental system, and they love to see that we have worked out a cooperative relationship between City Government and the free enterprise artists so that the arts contribute to the culture of our community and the life experiences of our citizens.

S:

You’re aware I have some paternal interest in this project.  A long time back when I first came to connect with McGuffey, they were going to demolish it.

R:

Demolish McGuffey School?

S:

There was a proposal, which I inherited, to build over it.  This would have been a stupid thing to do.  We decided to partly develop it, and partly leave the building alone.

R:

When you first came to town you became city manager?

S:

City planning director.

R:

Were you here when Main Street still had automobile traffic?

S:

Yes.  My first project was the Downtown Mall.

R:

To divert the traffic and make a walking mall?

S:

Yes.  People used to tell me to go back to India with these ideas.  Now they think I’m a genius.  And they keep re-electing me.  I don’t know why.

R:

So, is it fair to say that it was your idea to come up with the downtown mall in its current form?

S:

I wouldn’t say that was my idea alone.  I was part of a group of people.  An idea- what is a new idea? You know I was brought up in a boarding school in India- from my youth, you know what Main Street was?  A mall.  And it was a lot more than that.  It was there for hundreds of years.  It was not a new idea.  It was a new idea to Charlottesville- because they were using cars in the street.  So it was not my idea- the idea’s been there for a long time.  I was the advocator of the idea.  I promoted it to see that it works here.

R:

You grew up where the town’s center was a public walking area.

S:

There were roads that went around the center, for horses and carts.

R:

My wife is writing an article on McGuffey Art Center and submitting it to the National Art Museum of China Journal, which is equivalent to the National Gallery West Wing of the National Mall in D.C.  So I’m really proud to say, if this article passes the edit, McGuffey is going to be written up and read by millions of people.

S:

It’s a good idea, and again it’s not a new idea, it’s been there many other times… when I first saw it, it was in Alexandria.  There was a collective of artists occupying a decommissioned torpedo factory. It was there before McGuffey….So again… usually there are very few new ideas, there is a reincarnation of old ideas, many times. So this is one of those.  But I believe in reincarnation.

R:

So you brought before City Council the closing of Main Street and bricking over of the mall.

S: Not just bricking, but the making of a public space for human interaction.  It was to be like a public living room.  Where we share.  Community happens when people interact.  It is our joy to interact.

R: When the first artists came to City Hall and asked to rent the McGuffey School and make an art center there… you were here before that?

S: Yes.

R: You witnessed them as they approached.

S:

Yes.  West Main street between downtown and University of Virginia was very bad.  If you tried to walk from one end to the other you could get assaulted…. At this time I was trying to revitalize West Main Street and I needed to bring people’s attention there.  No bank wanted to give any loan on that neighborhood.  So I said, “Well, if we had a mural there  on a building  then people will see it and they will talk about this place.”  So we had a mural competition.  The guy who won the mural competition, I found out a while later, he could not paint.  He could draw a picture, but he could not paint.  Now the real trouble was I’d already sold the idea to the City Council, they had money committed to it, and here I was. I asked a painter I knew if he would like to paint the mural, and he said, “Well my brother’s an even better painter.”  I said, “Where is he?”  And he said, “He’s in jail.”  So I talked to the jailer and he said, “I’ll let him out, for the competition” So I told the artist, “If anybody asks any questions, don’t say anything.  Here’s a wall for you, here’s the paint, pay your debt to society.”  He did two, three murals, on West Main Street, morning glories.

So that’s how I first got involved with public art.

R:

Was the goal to do urban renewal?  You said there was trouble on West Main Street.

S:

There were two goals.  To bring activity downtown, and secondly, the artists needed a place work.

R:

Do you feel that the presence of McGuffey Art Center has been helpful in the economic development of the downtown mall?

S:

Yes, very much so.

R:

For the life of the local residents and citizens of the city, what do you see as the function of McGuffey Art Center?

S:

All of us like beauty.  Beauty is not limited to rich people.  When you see a beautiful work of art or beauty in nature, you admire it.  And so this is a presence of beauty in the community.  You cannot live on food alone.  It is in all of us. We must get in touch with it in some way.

R:

Are you pleased with the way that McGuffey has evolved over the years?

S:

I think we have a much better partnership.  Over the years I must tell you that there have been times when the city wanted to pull out, when they felt they were spending too much money and not getting enough.  But now they don’t feel that way.

R:

Do you feel that the new bigger programs that McGuffey’s involved in, where the public comes on to the front lawn, are positive?

S:

Yes.  Very positive.  Because as you know, art happens not only in art centers.  Art happens in homes, public spaces, anywhere.  Art happens all over the place.  So it is just as important to get it out of the room, out of the building.

R:

So, if we draw the public out of their work mode, and into the free atmosphere of the arts, that is the goal.

S: Yes.

R: Do you have an idea for the next step in the development of McGuffey Art Center?

S:

I’ve been talking to a few people, but I don’t have any great plans as such.  I feel they’ve been doing fairly well.  Though I think we could extend somewhat more.  It would be good to go outside, bring in others to display their art there also.

R:

Different groups, we invite them in and put on exhibitions.  For example, we had an exhibition of children’s paintings from Rwanda.

S:

I saw that. I think that connection with Rwanda and Africa is also very healthy.  Because we also have our African American population who need to see their heritage represented in art, not just the art of the rich white population.

R:

The final formal question I have is: What are your thoughts on international cooperation and exchange?  For example, at one point we hosted Poggio A Caiano from Italy and had them bring an art exhibit, and we also sent to them an art exhibit.

S:

We tried the same thing with Bulgaria but it didn’t work out. But we should do more of them, I think.

R:

I saw a display here in City Hall of various sister cities that Charlottesville now has.  Do you feel that we should do more with our sister cities?

S:

Yes, I do.  Because we already know those cities. Poggio a Caiano, Italy; Winneba, Ghana; Besancon, France; and Pleven, Bulgaria.  There are connections, we need to build on those connections.

R:

Well perhaps someday we will have a sister city in China.

S:

We might.  We probably should.  There are more than a billion people, and they love art.  I’ve been to China only once.  It was very different, at that time there were no cars.  It was in 1981 or 2.  There were no cars.  Mainly buses and bicycles.  I went to Beijing, Shanghai, Canton, Guilin, Xian.

R:

Those were very early years.  Soon after Nixon.

S:

Yes.  Right after Nixon.

R:

So you saw Old China. But by then you had already overseen the establishment of McGuffey Art Center and the Downtown Mall in Charlottesville.

S:

Yes.

Submitted by:Robert Bricker and Yana McLaughlin, 8/29/2014.

]]>
A Model of an American Art Community – McGuffey Art Center https://www.jsvacenter.com/publications/ Mon, 05 Nov 2018 15:42:51 +0000 https://www.jsvacenter.com/?p=215

美国社区艺术中心的运行模式

——以麦伽菲艺术中心为例

税 静(清华大学美术学院博士后)

成立于1975年的麦伽菲艺术中心(McGuffeyArtCenter,图1)位于美国弗吉尼亚州中部美丽的小城夏洛茨维尔市(Charlottesville)内。夏洛茨维尔市安静美丽,到处花草错落、树木葱茏。在市中心不长的商业主街上,散布着多家书店、画廊、艺术品商店和餐厅,倘若在夏日或秋日温暖的天气于街道漫步或闲坐,身边总能有跳跃的小松鼠为伴。艺术中心的具体位置在市中心的西主街上,它的成功运作可以说是夏洛兹维尔市与艺术家协会良好合作关系的实践成果。夏洛茨维尔市距离华盛顿特区大约有两小时车程,是美国第三任总统、《独立宣言》主要起草人托马斯·杰斐逊的故乡,也是他所创办的弗吉尼亚大学所在地。尽管夏洛茨维尔的城市面积不大,但杰斐逊故居和弗吉尼亚大学均于1988年被收入《世界遗产名录》,而且弗吉尼亚大学也是北美唯一一所被列为世界遗产的大学。夏洛茨维尔市是美国文化、历史的集中缩影,因此常常作为外交上重要的参访地迎接外国政要的到来。它不仅是美国公认的宜居城市,其浓厚的艺术氛围也同样脍炙人口。

麦伽菲艺术中心是一个多功能的艺术中心。它一方面是艺术家们的工作室,是各类艺术展览的举办地,另一方面也承载类似于社区美术馆的各项功能,即在艺术家的成长、公众的艺术教育和艺术文化传播上发挥着重要的作用,成为当地文化生活的聚集地。艺术中心的整体建筑是由建于1916年的麦伽菲中学校舍翻新改建而成。更早时,这里是夏洛茨维尔市政府机关和麦伽菲艺术协会共同办公之地。曾经的学校教室现如今已成为通透敞亮的艺术工作室。整个艺术中心建筑内设有三家画廊,提供了夏洛茨维尔市最大的艺术展示空间。画廊常年展示艺术中心成员不同风格类型的作品,以及各个艺术文化交流和艺术项目的相关作品。同时,艺术中心还开设有一系列艺术教育课程,这使得艺术本身成为当地居民生活中相当日常化却又非常重要的内容。

麦伽菲艺术中心与艺术家们互惠互利,权利与义务分明。艺术家们以远低于市场价格的租金就能在艺术中心拥有工作室,但同时也承诺为当地社区提供广泛而多样的文化艺术服务。艺术协会每年都会选举出新的执行委员会,具有一定自治权,而租用工作室的各个艺术家协会也会被要求作为他们社区服务的机构而存在。艺术中心就像是市政府和私人艺术家们一起成立的“合资公司”,目的是直接提升城市艺术文化水平,他们在这一点上的运作形成了有效的伙伴关系。在2009年,麦伽菲艺术中心建筑被政府注册为“具有历史意义”的建筑,成为当地的标志性建筑。目前,艺术中心由45位拥有独立工作室的艺术家和超过85位的合作艺术家组成。所有签约艺术家都可以在艺术中心的画廊举办展览、在艺术礼品店售卖作品及衍生产品,或者使用艺术中心的公共教室设施。每个月的第一个星期五,固定举办新展览的开幕酒会,具体时间一般安排在下午五点半至七点半。艺术中心或通过网络发布信息,或寄送请柬,邀请公众参与。

作为专业的艺术机构及艺术文化交流与传播平台,麦伽菲艺术中心不仅帮助本地艺术家的成长及创作,也致力于策划各种形式的专业艺术展览;它尽力为公众提供艺术创作机会,为儿童、青少年及成年人设置了丰富的艺术教育课程;它在积极推广各项艺术合作项目上也做了大量工作,主要表现在艺术中心专业艺术家的个人创作和公益项目、公众艺术教育及推广、国际艺术项目合作与交流这三个方面。

麦伽菲艺术中心一周中有六天对公众免费开放。每一间工作室门口都挂有标示艺术家名字及其身份的门牌。如果工作室的门开着,就意味着欢迎造访者入内参观,欣赏艺术家的艺术创作过程并随时与艺术家交流。大的团体或学校人员来参观艺术中心时,可根据预约安排特定的艺术家与团队进行集体交流。

艺术家

麦伽菲艺术中心的艺术家分为两类,一类是拥有艺术中心工作室的艺术家;另一类则是中心的合作艺术家,他们在艺术中心没有工作室,但可以使用画廊、艺术商店、教室等相关设施。

1982年毕业于美国费城艺术学院雕塑与造型专业的罗伯特·布瑞克RobertBricker既是一位雕塑家,同时也是一家青铜工艺铸造厂老板,他拥有麦伽菲艺术中心的一号工作室已有三十多年。他是在大学毕业后移居到夏洛兹维尔市的。作为1983年加入艺术中心的元老,罗伯特多次服务于艺术中心执行委员会,还曾连续十年担任艺术画廊委员会主席,主要负责协调和策划每月的艺术展览。现今他平日里除了完成自己私人铸造厂的各项工作之外,大部分时间就是在一号工作室里教授绘画课程、接待朋友和艺术爱好者、画画或独处。他说艺术是他生命中的最爱,也是他始终不变的信仰。罗伯特非常热爱亚洲艺术,也经常在美国的各大拍卖会上欣赏和购买亚洲艺术品,比如日本浮世绘作品等。从20世纪90年代至今,他多次在中国旅行,并且在旅行期间购藏中国艺术品,尤其是唐卡。罗伯特深深赞叹并沉醉于古老的中国文化与艺术,这种热切的情感也使得他引领了身边的很多人认识并喜爱中国及中国艺术。(图2)

詹姆士·胡宾JamesHubin毕业于威斯康辛大学麦迪逊分校雕塑专业,是一位独立雕塑家和首饰设计师。作为麦伽菲艺术中心的合作艺术家,他并不拥有艺术中心的工作室。所以他在位于安静山麓的自家楼下修建了自己的独立工作室。詹姆士性格非常沉静,他的作品可以看作其深邃思想的具象注解,只要面对他的作品,这种无形的精神引力便会引领观者进入到他所创造的艺术世界。有时候,他僧侣般的东方气质也会浸润到作品之中,尽管似乎带有哀伤的意绪,但是却具有让人信服的力量。2012年,他在麦伽菲艺术中心举办了题为“面对面”(face to face)的个人雕塑作品展。(图3)

麦伽菲艺术中心是多种艺术融合与传播的中心。除了造型艺术,艺术家还从事其他类型的视觉艺术以及表演艺术,包括摄影、舞蹈等。艺术家们通过开放艺术工作室、展览和演出活动、课程、参观和推广项目等为公众提供机会,使之参与到多种艺术活动中。由此,艺术中心履行着自己一贯以来服务社区的义务。

公众艺术教育及推广

麦伽菲艺术中心现固定开放三项人物画课程,以及舞蹈课、视觉艺术课、儿童艺术课、儿童艺术夏令营、艺术研习班、私人课程等,为社区公众提供多样化的服务。

雕塑家罗伯特·布瑞克担任艺术中心人物画协会的主席,主持着人物画公益课程及相关项目。该项目至今已运行两年多。在此,公众可以修习裸体模特绘画课程。课程和艺术家工作室对公众虽然都是免费开放的,但是每个学员也需要象征性地支付给模特酬劳,每次每人缴纳大约10到15美元。这样的艺术项目与罗伯特的教育理念有关。罗伯特认为,与其把这个课程安排在指定的公共教室里,不如向公众一周三次开放其私人工作室,还可以像工作室的主人一般发出邀约,迎来客人,一起分享艺术所带来的快乐。尽管这样的课程设置占用了艺术家的私人创作空间,也可能给艺术家的个人创作带来干扰,但罗伯特发现,即便如此,这样去做也是值得的。比如,作为艺术协会的资深成员,他坚信这种对服务社区的承诺的持续实施有利于在麦伽菲艺术中心和夏洛兹维尔市政府之间建立良好的伙伴合作关系,而且他也可以用自己的方式把艺术服务延伸至那些不同年纪、不同绘画水平,但又希望在人物素描、绘画和雕塑水平上得到更大提高的人们。于是,人物画开放课程就在两个不同的艺术家工作室举办,一般课时长达两个小时。拥有较大空间的一号艺术工作室承担了周四和周六两个上午的课程,另外一个较小的工作室承担着一次晚上的课程。(图4)

罗伯特的一号工作室被他设置为可以容纳16人的课堂,但常常会超员。一般他会提前设置好灯光、座位,以及摆模特时必要的道具等。布置好这一切,就可以静静地等待人们携带着画具前来。来参加学习的主要是当地居民,有时也会有短暂停留于夏洛茨维尔市的人赶来画画,也有城郊居民想来做一次模特,体验一下艺术氛围。而常来的人们往往会因为对艺术共同的热爱成为好朋友。模特在台上如戏里的主角般倾情摆出罗伯特要求的姿态或者他(她)自己认为美的姿态。有趣的是,有时候模特也会坐在台下画别的模特。只要愿意,这里每个人都可以是台上的模特或者台下的画者。课间休息的时候,人们会相互交流,轻声赞赏彼此作品中的精彩之笔。有时候会有专业的摄影师前来拍摄他的个人艺术项目,即记录一系列与这个人物画课程相关的瞬间。罗伯特在模特摆造型的舞台上设计了一个带有好多面镜子的空间。裸体模特在这个空间里根据感觉摆出短时或者长时姿态,这些镜子反射出模特的不同角度,就像立体雕塑作品的多个造型面一样。供模特摆造型的舞台上还悬挂有很多丝绸,摆设了非洲面具和雕塑、中国的面具和龙纹样丝绸面料等,所有这些具有异域风情的道具实际上给前来绘画的公众提供着多样组合的视觉体验。不同的人来到这个舞台客串裸体模特,有艺术家、工程师、建筑师、科研者、工人……做裸体模特不仅需要勇气,同时也需要对艺术怀有强烈的热爱之心,所以整个工作室非常讲究艺术氛围。不论是造型台上的模特还是台下的画者都很是享受这音乐轻绕、运笔沙沙,艺术家和模特之间偶尔开个小小玩笑的两小时。罗伯特曾在不同的学校做过专业艺术指导老师,但是很长一段时间因为其个人雕塑创作而停止专门的教学。所以对他而言,邀请公众到他的一号工作室作画,也是满足他自己作为艺术教育工作者的内在需求。实际上来到工作室参加人物画课程的人中有非常专业的艺术老师、学生和爱好者,具有很强的专业技能,所以在一定的课程积累以后,课程主持人便组织大家在艺术中心画廊专门策划他们的人物画展览。麦伽菲艺术中心会为这些专业的艺术展做相应的宣传推广工作。

年近七十岁的简·辛普森JeanSampson是位诗人也是位画家,她的工作室位于麦伽菲艺术中心二层。简师从于莫顿·特勒(1),特勒曾以创办弗吉尼亚艺术研究院而闻名遐迩。简评价说她的老师是一位极为优秀的艺术家和教师,她几乎是在尽可能地复制他的教学模式。简在麦伽菲艺术中心教授的课程是色彩理论和初级班的艺术设计。她的个人绘画课程被称为“简的勇敢抽象油画班”,主要针对成年人进行油画训练。她说她在对学生的作品发表评论之前,总是尝试寻找出学生作品中很多好的方面并给予肯定。有意思的是,简总是愿意先问她的学生喜爱自己作品的哪些地方,然后再尽力试着帮助他们去重复练习和加深表达这些他们自己认为很好也很喜欢的方面。一般地,她的学生们会从一系列抽象艺术的色彩范本中得到知识并以此为基础开始练习。简的课程设置会让学生们在第一节课的时候就完成一系列组画,鼓励他们使用充分油画刀(刮刀)作画并充分享受那种感觉。她的教学方式非常个性化,而且在每一个学生需要的时候给予有针对性的指导。幸运的是,她的学生们往往会跟她学习好几年,甚至很多年,因此他们能够体认到她一直尝试传授给他们的理念。简和她的学生们亦师亦友。简很爱她的学生们,并以他们为骄傲。尤其让简感到欣慰的是,她的好几个学生都已经成功举办了个人画展。(图5)

在这里,绘画课程给人最为深刻的印象是,来学习艺术的人们非常享受艺术创作的过程以及与其他专业艺术家的交流。他们说在绘画课上得到最多的就是快乐。同样在儿童课程班,老师很多时候都是在鼓励他们,让他们充分享受艺术想象和创作所带来的满足,并在合适的时候针对不同孩子的进度和特点传授技巧,让他们在过程中自然学习和练习绘画技艺。

国际艺术项目合作与交流

油画家瑞蕾·巴尔弗ReneeBalfour的行事风格非常干练。她不仅是麦伽菲艺术中心日常运作的负责人之一,也是专事儿童绘画教学的麦伽菲驻地艺术家。瑞蕾于1982年毕业于美国弗吉尼亚联邦大学,获得油画和版画专业学位。她于1983年开始展出个人艺术作品,在那以后持续参加了很多国际性的群展和个展。从1993年开始至今,瑞蕾在她位于麦伽菲艺术中心二楼的个人工作室里作为专业油画教师指导成年人和儿童习画。她于2010年创建了“心艺术”基金,旨在通过出售儿童绘画作品获得资金,捐赠给弗吉尼亚大学儿童医院。2013年1月,她还在夏洛茨维尔市创办了名为“艺术与使命”的公益艺术机构。该机构专注于如何让儿童通过接受艺术教育而获得健康成长。曾担任过麦伽菲艺术中心主席的她拥有丰富的活动经验和强大的项目执行能力,常年拥有艺术中心的艺术工作室。同时她也是《弗吉尼亚视觉艺术资源名录》的著述者之一。(图6)

瑞蕾作为主要策划人和执行者完成了2013非洲卢旺达儿童与青少年公益项目的艺术活动。为做好这一艺术项目,她花了一个月的时间与超过125名的卢旺达孤儿与青少年一起工作。她带领团队在卢旺达地区与当地的公益组织合作,教儿童和青少年画画,并把他们独立完成的艺术作品收集起来带回美国麦伽菲艺术中心,并专门策划了一个艺术展览。在展览上,每幅作品都附有作者的照片、创作说明、创作随感以及售价。作品所售得的资金被用于持续资助卢旺达当地儿童与青少年的艺术教育项目。此次活动得到社会广泛的支持和关注,夏洛兹维尔市政府及其他艺术机构、艺术家、媒体以及各界人士出席了展览开幕式。参加开幕式的来宾可以选择自己喜欢的作品,在留言本上写下对作者想要说的话。来宾们还将拿着写有自己“寄语”的纸张跟作品合影,这张“寄语照片”将作为卢旺达项目的组成部分而返回非洲,作为对当地儿童和青少年创作者的纪念和鼓励,为整个项目画上句号。可以看出,这个艺术项目不仅在宣传非洲文化艺术上起到积极作用,更重要的是筹得了发展当地儿童与青少年艺术教育的公益资金,真正鼓励了参与这个艺术项目的小小艺术家以及策划工作人员,使他们更有信心面对未来。的确,参与卢旺达项目的很多人都表示在这个过程中拥有了非常多的感动和收获。

由此看来,在分担社会服务性质的责任和公众艺术的教育和传播功能上,不论是公立美术机构还是民间公益艺术组织在实质上都致力于实现几个共同的目标,那就是推广艺术家及其艺术,举办高品质的专业展览,实现各具特色的艺术教育理念,以促成美育在公众生活中形成吸引力和影响力,并最终建立其渗透人心的专业艺术机构形象。在这一点上,麦伽菲艺术中心的运作方式和经验又与夏洛兹维尔市政府在社会服务上的诉求取得一致,进而达成良好的长期互助扶持合作关系。麦伽菲艺术中心通过开放工作室和各种深入居民生活的互动艺术活动,为人们提供了更多的机会参与到艺术对话和创造过程中,也使得艺术以主动的姿态、多样的方式影响人们,使他们在日常生活中感受艺术之美,也使他们的生活和心灵获得抚慰和润泽。正如夏洛兹维尔市胡迦市长( An Interview of Former Mayor Huja ) 所言:“美不是有钱人的专享。我们每一个人都喜欢美的东西。当看见美的艺术作品,或者自然界中美的事物,我们都会由衷地赞赏。所以麦伽菲艺术中心就是这个社区美好的存在。人不能仅靠食物来生存,因为我们所有人对美都是有需求的,所以我们必须以某种方式与它相连。”如果把类似麦伽菲艺术中心这种规模的艺术机构比作社区美术馆来的话,这种富有亲和力、渗透力的“由点及面”的艺术教育方式和艺术传播方式是具有一定借鉴意义的。

  (责编:徐沛君)

  注释:[1]莫顿·特勒,1918年4月出生于美国彼得斯堡,其艺术生涯始于加利福尼亚州的洛杉矶城市学院。1960年莫顿和妻子搬到弗吉尼亚州的克罗泽特,并任教于霍顿艺术学院。1965至1975年间创办了弗吉尼亚艺术研究院。1985年移居至俄勒冈州的戴斯克里克,用尽余生画画和做艺术展览,于1996年4月去世。他的作品可以在世界许多地方的私人藏家和公立收藏机构里看到,包括美国国家艺术馆、乔治亚艺术博物馆和大英博物馆。

]]>