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June 29, 2020
洞察：新媒体正在重塑纪录片产业
<p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal"><img data-key="0" src="http://imagev2.xmcdn.com/group86/M09/2A/AB/wKg5IF74EaOBFUw6ABMyk1AVlf8070.png!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" alt="" data-origin="http://imagev2.xmcdn.com/group86/M09/2A/AB/wKg5IF74EaOBFUw6ABMyk1AVlf8070.png?op_type=0" data-large="http://imagev2.xmcdn.com/group86/M09/2A/AB/wKg5IF74EaOBFUw6ABMyk1AVlf8070.png!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" data-large-width="750" data-large-height="332.62260127931773" data-preview="http://imagev2.xmcdn.com/group86/M09/2A/AB/wKg5IF74EaOBFUw6ABMyk1AVlf8070.png!op_type=4&device_type=ios&upload_type=attachment&name=mobile_small" data-preview-width="140" data-preview-height="62.08955223880597"><br></p><span><br></span><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">从时代的角度看艺术，这里是磨时艺见。</p><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">近日，北京师范大学纪录片研究中心、五洲传播中心等机构发布的《中国纪录片发展研究报告2020》指出，新媒体正在重塑纪录片产业的规则和版图，中国纪录片正迎来蓬勃发展。</p><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">该报告显示，在过去的一年，新媒体的迅猛崛起改变了纪录片的观看模式，<span>越来越多的纪录片在网络上播出，甚至只投放网络媒体</span>。例如，腾讯视频出品的纪录片《水果传》、《风味原产地·潮汕》，哔哩哔哩出品的纪录片《人生一串》等都通过独播创造了品牌价值。</p><span><br></span><p style="font-size:16px;line-height:30px;font-family:Helvetica, Arial, sans-serif;color:#333333;font-weight:normal;text-align:justify;" data-flag="normal"><img data-key="1" src="http://imagev2.xmcdn.com/group84/M02/2A/53/wKg5JF74EbSwI-GiAACIDbGLps4472.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" alt="" data-origin="http://imagev2.xmcdn.com/group84/M02/2A/53/wKg5JF74EbSwI-GiAACIDbGLps4472.jpg?op_type=0" data-large="http://imagev2.xmcdn.com/group84/M02/2A/53/wKg5JF74EbSwI-GiAACIDbGLps4472.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" data-large-width="750" data-large-height="411.33455210237656" data-preview="http://imagev2.xmcdn.com/group84/M02/2A/53/wKg5JF74EbSwI-GiAACIDbGLps4472.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_small" data-preview-width="140" data-preview-height="76.78244972577696"><br></p><p style="font-size:14px;line-height:24px;color:#999999;word-break:break-all;font-weight:normal;" data-flag="backup">哔哩哔哩出品纪录片《人生一串》</p><span><br></span><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">而且，为了适应观众收看方式的变化，纪录片传统制播机构也在逐渐重视与新媒体机构的深度合作，播出渠道正在从原来的以传统电视媒介为主，向<span>传统电视媒介与新媒体播出渠道并重</span>的趋势演变。</p><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">此外，对于中国纪录片而言，<span>新媒体不仅是主要传播平台，也正在成为主要生产平台。</span>2019年，新媒体机构纪录片产能达到新高度：优酷原创纪录片260个小时，占播出总量35%；腾讯视频自制纪录片23部，约占全年新上线项目1/3；哔哩哔哩出品并上线纪录片16部，合计55.6小时；爱奇艺自制加联合出品纪录片15部。</p><span><br></span><p style="font-size:16px;line-height:30px;font-family:Helvetica, Arial, sans-serif;color:#333333;font-weight:normal;text-align:justify;" data-flag="normal"><img data-key="2" src="http://imagev2.xmcdn.com/group82/M01/29/79/wKg5Il74Eb7xpD3IAADijsC6pUQ378.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" alt="" data-origin="http://imagev2.xmcdn.com/group82/M01/29/79/wKg5Il74Eb7xpD3IAADijsC6pUQ378.jpg?op_type=0" data-large="http://imagev2.xmcdn.com/group82/M01/29/79/wKg5Il74Eb7xpD3IAADijsC6pUQ378.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" data-large-width="750" data-large-height="421.875" data-preview="http://imagev2.xmcdn.com/group82/M01/29/79/wKg5Il74Eb7xpD3IAADijsC6pUQ378.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_small" data-preview-width="140" data-preview-height="78.75"><br></p><p style="font-size:14px;line-height:24px;color:#999999;word-break:break-all;font-weight:normal;" data-flag="backup">腾讯视频出品纪录片《潮汕：风味原产地》</p><span><br></span><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">同时，报告还指出，随着智能手机的普及和信息视频化程度的提高，<span>短视频收看人群增长迅速</span>，催生大量<span>短视频形态的微纪录片</span>。相比于长纪录片对事物深度认知的考验，<span>微纪录片可以在短时间内达到一个信息点的刺激</span>，有其自身的独特优势。</p><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal"><img data-key="3" src="http://imagev2.xmcdn.com/group82/M01/29/7A/wKg5Il74EcvCc1kMAAB-hpZC5kk519.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" alt="" data-origin="http://imagev2.xmcdn.com/group82/M01/29/7A/wKg5Il74EcvCc1kMAAB-hpZC5kk519.jpg?op_type=0" data-large="http://imagev2.xmcdn.com/group82/M01/29/7A/wKg5Il74EcvCc1kMAAB-hpZC5kk519.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" data-large-width="750" data-large-height="421.2168486739469" data-preview="http://imagev2.xmcdn.com/group82/M01/29/7A/wKg5Il74EcvCc1kMAAB-hpZC5kk519.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_small" data-preview-width="140" data-preview-height="78.62714508580342"><br></p><p style="font-size:14px;line-height:24px;color:#999999;word-break:break-all;font-weight:normal;" data-flag="backup">腾讯视频出品微纪录片《武汉战疫纪》</p><span><br></span><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">简而言之，微纪录片的兴起，使纪录片生产方式<span>从专业创作开始向社会创作和平民创作转化</span>。创作主体的多元化和创作题材的多样化，将进一步扩大纪录片的社会影响，强化<span>纪录片的生活化和新闻化特征</span>。</p><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">磨时艺见，每晚9点，准时更新。</p>
June 29, 2020
卡特兰：艺术是一座特洛伊木马
<p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal"><img data-key="0" src="http://imagev2.xmcdn.com/group87/M03/29/78/wKg5J174EEGSvjEFAAIMSYh-83s664.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" alt="" data-origin="http://imagev2.xmcdn.com/group87/M03/29/78/wKg5J174EEGSvjEFAAIMSYh-83s664.jpg?op_type=0" data-large="http://imagev2.xmcdn.com/group87/M03/29/78/wKg5J174EEGSvjEFAAIMSYh-83s664.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" data-large-width="750" data-large-height="1124.2857142857142" data-preview="http://imagev2.xmcdn.com/group87/M03/29/78/wKg5J174EEGSvjEFAAIMSYh-83s664.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_small" data-preview-width="140" data-preview-height="209.86666666666665"><br></p><p style="font-size:14px;line-height:24px;color:#999999;word-break:break-all;font-weight:normal;" data-flag="backup">莫瑞吉奥·卡特兰</p><span><br></span><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">从时代的角度看艺术，这里是磨时艺见。</p><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">莫瑞吉奥·卡特兰（Maurizio Cattelan）是20世纪90年代以来活跃在国际当代艺术领域最重要的意大利艺术家之一,他的“雕塑”作品《喜剧演员》虽然只是一根被灰色强力胶带固定在展墙上香蕉，却以12万美元的价格售出。卡特兰在上海大型群展“艺术家此在”（The Artist is Present）展会上接受媒体的采访时，就发表了自己对于艺术作品复制与原创的观点。</p><span><br></span><p style="font-size:16px;line-height:30px;font-family:Helvetica, Arial, sans-serif;color:#333333;font-weight:normal;text-align:justify;" data-flag="normal"><img data-key="1" src="http://imagev2.xmcdn.com/group87/M00/29/23/wKg5IV74EFDjPnvLAADMaLwo9A073.jpeg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" alt="" data-origin="http://imagev2.xmcdn.com/group87/M00/29/23/wKg5IV74EFDjPnvLAADMaLwo9A073.jpeg?op_type=0" data-large="http://imagev2.xmcdn.com/group87/M00/29/23/wKg5IV74EFDjPnvLAADMaLwo9A073.jpeg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" data-large-width="750" data-large-height="930.9375" data-preview="http://imagev2.xmcdn.com/group87/M00/29/23/wKg5IV74EFDjPnvLAADMaLwo9A073.jpeg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_small" data-preview-width="140" data-preview-height="173.775"><br></p><p style="font-size:14px;line-height:24px;color:#999999;word-break:break-all;font-weight:normal;" data-flag="backup">莫瑞吉奥·卡特兰的作品：《完美的一天》</p><span><br></span><span><br></span><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">卡特兰表示，人们都有一种自然的思考方式，就是<span>通过参照物来理解，大脑总会寻找那些已经知道的东西</span>。例如，当我们想到足球队时，最先会想到的是像皇家马德里队这样有名的例子。艺术的思考也是如此，<span>艺术家都是从复制远古时代的艺术开始的</span>。但是，即使是复制品也是和原创一样真实的。<span>原创是“神的事情”</span>，而只要能给予人启发的作品就是一件有原创性的作品。</p><span><br></span><p style="font-size:16px;line-height:30px;font-family:Helvetica, Arial, sans-serif;color:#333333;font-weight:normal;text-align:justify;" data-flag="normal"><img data-key="2" src="http://imagev2.xmcdn.com/group85/M07/2A/3B/wKg5JV74EFuA2W9kAAC14vgx0E4577.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" alt="" data-origin="http://imagev2.xmcdn.com/group85/M07/2A/3B/wKg5JV74EFuA2W9kAAC14vgx0E4577.jpg?op_type=0" data-large="http://imagev2.xmcdn.com/group85/M07/2A/3B/wKg5JV74EFuA2W9kAAC14vgx0E4577.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" data-large-width="750" data-large-height="1131.8181818181818" data-preview="http://imagev2.xmcdn.com/group85/M07/2A/3B/wKg5JV74EFuA2W9kAAC14vgx0E4577.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_small" data-preview-width="140" data-preview-height="211.27272727272725"><br></p><p style="font-size:14px;line-height:24px;color:#999999;word-break:break-all;font-weight:normal;" data-flag="backup">莫瑞吉奥·卡特兰的作品：《不怕爱》</p><span><br></span><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">卡特兰还认为，艺术作品应该要有能力带领人们进入自己最深层次的意识，它<span>必须能颠覆人们的情绪，让人们感到震惊，继而发现那些自己未曾探索、未曾体验也因此未曾理解的意识</span>。艺术可以通过暴力、好奇心、怜悯、厌恶等方式做到这点，而这些挑衅方式都是合理的，因为<span>艺术不应该被等同于道德课</span>，而是一座特洛伊木马，它让人们直面潜意识，激发想象力和本能反应。</p><span><br></span><p style="font-size:16px;line-height:30px;font-family:Helvetica, Arial, sans-serif;color:#333333;font-weight:normal;text-align:justify;" data-flag="backup"><img data-key="3" src="http://imagev2.xmcdn.com/group85/M07/2A/6F/wKg5H174EGXgA7blAABbRobZdCM483.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" alt="" data-origin="http://imagev2.xmcdn.com/group85/M07/2A/6F/wKg5H174EGXgA7blAABbRobZdCM483.jpg?op_type=0" data-large="http://imagev2.xmcdn.com/group85/M07/2A/6F/wKg5H174EGXgA7blAABbRobZdCM483.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" data-large-width="750" data-large-height="432.2727272727273" data-preview="http://imagev2.xmcdn.com/group85/M07/2A/6F/wKg5H174EGXgA7blAABbRobZdCM483.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_small" data-preview-width="140" data-preview-height="80.6909090909091"><br></p><p style="font-size:14px;line-height:24px;color:#999999;word-break:break-all;font-weight:normal;" data-flag="backup">莫瑞吉奥·卡特兰的作品：《无题》</p><span><br></span><span><br></span><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">最后，卡特兰表示，复制和原创之间的关系就像意大利的番茄一样，虽然番茄是意大利厨房中最重要的食材之一，但是它是在意大利文明业已经形成之后，才从秘鲁和墨西哥引进欧洲的。同理，人们永远不知道自己会从复制、混合和迁徙中创造出什么，<span>每个人都在以自己的方式复制，而这就是原创性</span>。</p><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">磨时艺见，每晚9点，准时更新。</p>
June 28, 2020
新声：他创造了只有黑皮肤的艺术世界
<p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal"><img data-key="0" src="http://imagev2.xmcdn.com/group84/M06/2A/53/wKg5Hl74DaLC2IdEAACTQoozAOs42.jpeg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" alt="" data-origin="http://imagev2.xmcdn.com/group84/M06/2A/53/wKg5Hl74DaLC2IdEAACTQoozAOs42.jpeg?op_type=0" data-large="http://imagev2.xmcdn.com/group84/M06/2A/53/wKg5Hl74DaLC2IdEAACTQoozAOs42.jpeg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" data-large-width="750" data-large-height="375" data-preview="http://imagev2.xmcdn.com/group84/M06/2A/53/wKg5Hl74DaLC2IdEAACTQoozAOs42.jpeg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_small" data-preview-width="140" data-preview-height="70"><br></p><p style="font-size:14px;line-height:24px;color:#999999;word-break:break-all;font-weight:normal;" data-flag="backup"><span><span>克里·詹姆斯·马歇尔</span></span></p><span><br></span><p style="font-size:16px;line-height:30px;font-family:Helvetica, Arial, sans-serif;color:#333333;font-weight:normal;text-align:justify;" data-flag="normal">从时代的角度看艺术，这里是磨时艺见。</p><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">当我们回顾20世纪之前的西方艺术史时会发现，黑人艺术家、黑人主题的作品很少出现在主流视野当中，这是诸多历史因素所导致的现象。这种黑人艺术创作的边缘化状态，正是艺术家克里·詹姆斯·马歇尔一切创作的来源。</p><span><br></span><p style="font-size:16px;line-height:30px;font-family:Helvetica, Arial, sans-serif;color:#333333;font-weight:normal;text-align:justify;" data-flag="normal"><img data-key="1" src="http://imagev2.xmcdn.com/group86/M06/2A/7E/wKg5IF74DRiA61raAAEKskvlyx8725.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" alt="" data-origin="http://imagev2.xmcdn.com/group86/M06/2A/7E/wKg5IF74DRiA61raAAEKskvlyx8725.jpg?op_type=0" data-large="http://imagev2.xmcdn.com/group86/M06/2A/7E/wKg5IF74DRiA61raAAEKskvlyx8725.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" data-large-width="750" data-large-height="746.5277777777777" data-preview="http://imagev2.xmcdn.com/group86/M06/2A/7E/wKg5IF74DRiA61raAAEKskvlyx8725.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_small" data-preview-width="140" data-preview-height="139.35185185185185"><br></p><p style="font-size:14px;line-height:24px;color:#999999;word-break:break-all;font-weight:normal;" data-flag="backup"><span> 马歇尔作品</span>《在聚光灯下》</p><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">黑人的身份让马歇尔在十几岁的时候，才有机会走进美术馆参观。他说，那是自己第一次可以不被歧视地尽情参观，所以他在每层楼都细细地参观，不放过任何内容。马歇尔发现，被载入史册的艺术作品中严重缺失对黑人的描绘，而人们谈及有关艺术和美的想法时，黑人的形象也是缺席的。所以他决定要深入了解艺术史的轨迹，试图将黑人主题纳入其中。</p><span><br></span><p style="font-size:16px;line-height:30px;font-family:Helvetica, Arial, sans-serif;color:#333333;font-weight:normal;text-align:justify;" data-flag="normal"><img data-key="2" src="http://imagev2.xmcdn.com/group82/M05/29/85/wKg5HF74DTvRmosWAAJ8JYFx5Yg440.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" alt="" data-origin="http://imagev2.xmcdn.com/group82/M05/29/85/wKg5HF74DTvRmosWAAJ8JYFx5Yg440.jpg?op_type=0" data-large="http://imagev2.xmcdn.com/group82/M05/29/85/wKg5HF74DTvRmosWAAJ8JYFx5Yg440.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" data-large-width="750" data-large-height="1147.3821989528794" data-preview="http://imagev2.xmcdn.com/group82/M05/29/85/wKg5HF74DTvRmosWAAJ8JYFx5Yg440.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_small" data-preview-width="140" data-preview-height="214.17801047120417"><br></p><p style="font-size:14px;line-height:24px;color:#999999;word-break:break-all;font-weight:normal;" data-flag="backup"> 马歇尔作品《呜咽呜咽》 </p><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">1978年，马歇尔从洛杉矶奥蒂斯艺术学院毕业之后，就开始了自己的艺术之路。他在绘制人物的时候，配色都是碳黑、玛斯黑和象牙黑，偶尔会使用黄色或蓝色的阴影。马歇尔表示，这样创作的原因之一是为了打破“黑色无法变得复杂多样”的固有顾念，当照明方式或参观位置发生变化时，画中的人物会在眼前若隐若现，使其同时具有可见性和隐形性。</p><span><br></span><p style="font-size:16px;line-height:30px;font-family:Helvetica, Arial, sans-serif;color:#333333;font-weight:normal;text-align:justify;" data-flag="normal"><img data-key="3" src="http://imagev2.xmcdn.com/group85/M03/2A/21/wKg5JV74DVnyN6liAAJ91cE2qAk758.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" alt="" data-origin="http://imagev2.xmcdn.com/group85/M03/2A/21/wKg5JV74DVnyN6liAAJ91cE2qAk758.jpg?op_type=0" data-large="http://imagev2.xmcdn.com/group85/M03/2A/21/wKg5JV74DVnyN6liAAJ91cE2qAk758.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" data-large-width="750" data-large-height="932.0539419087137" data-preview="http://imagev2.xmcdn.com/group85/M03/2A/21/wKg5JV74DVnyN6liAAJ91cE2qAk758.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_small" data-preview-width="140" data-preview-height="173.98340248962657"><br></p><p style="font-size:14px;line-height:24px;color:#999999;word-break:break-all;font-weight:normal;" data-flag="backup">马歇尔作品《艺术家为不及往昔的自己所作的肖像》 <br></p><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">1993年的时候，马歇尔的作品《样式》成为第一幅被大型美术馆收藏的作品，到了1997年，马歇尔被授予“美国麦克阿瑟基金会奖”，从此作品价格大涨。但是当马歇尔知道自己的作品要被拍卖出售时，他感到十分苦恼，不明白为什么要把作品送给只想用它们来赚钱的人。</p><span><br></span><p style="font-size:16px;line-height:30px;font-family:Helvetica, Arial, sans-serif;color:#333333;font-weight:normal;text-align:justify;" data-flag="normal"><img data-key="4" src="http://imagev2.xmcdn.com/group87/M09/29/08/wKg5IV74DXPiTildAAGdkIxR3JE975.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" alt="" data-origin="http://imagev2.xmcdn.com/group87/M09/29/08/wKg5IV74DXPiTildAAGdkIxR3JE975.jpg?op_type=0" data-large="http://imagev2.xmcdn.com/group87/M09/29/08/wKg5IV74DXPiTildAAGdkIxR3JE975.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_large" data-large-width="750" data-large-height="381.25" data-preview="http://imagev2.xmcdn.com/group87/M09/29/08/wKg5IV74DXPiTildAAGdkIxR3JE975.jpg!op_type=4&device_type=ios&upload_type=attachment&name=mobile_small" data-preview-width="140" data-preview-height="71.16666666666666"><br></p><p style="font-size:14px;line-height:24px;color:#999999;word-break:break-all;font-weight:normal;" data-flag="backup"> 马歇尔作品《知识与奇迹》</p><span><br></span><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">时至今日，年过花甲的马歇尔依然每天在工作室绘画，所有事情都是他自己身体力行。马歇尔表示，面对黑人形象在艺术史上的缺失，自己的兴趣在于对其进行扩展而非批评。黑人艺术家可以等着别人让他走进艺术世界，也可以把自己放在平等的位置上，放在自己想看的故事里。</p><p style="color:#333333;font-weight:normal;font-size:16px;line-height:30px;font-family:Helvetica,Arial,sans-serif;hyphens:auto;text-align:justify;" data-flag="normal">磨时艺见，每晚9点，准时更新。</p>
508 total episodes available
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