跨界·拓展
——公共艺术教育学科思考

景育民

跨界·拓展
——公共艺术教育学科思考

景育民

编者按：景育民将“写意雕塑”当作其雕塑核心，多年来在艺术形态上不断探索，在材料语言上不断实践，在当代艺术语境与观念中，不断吸纳传统文化资源，探寻具有当代文化精神与全新理念的艺术呈现方式。他早期的作品多是对自我生存状态的视觉审视，而近些年来，他致力于转换、改变材料，并在观念性上寻求突破。不仅如此，他还积极推动公共艺术教育教学的建构，试图在都市文化发展过程中，不断梳理、调整、修正一套完整的、具有实践意义的教育体系。

Editor’s note:Jing Yumin takes freestyle sculpture as his central idea of creation. For years, he has been exploring art forms, and experimenting on material languages. In search of artistic presentation approaches consistent with the contemporary cultural spirit and new ideas, he keeps absorbing traditional cultural sources into the context and concepts of contemporary art. His early works are like a visual examination of people’s own living condition; however, in recent years, he has been devoted to converting and altering materials, trying to seek conceptual breakthroughs. Moreover, he actively promotes public art teaching and education, trying to trim, adjust and revise a complete educational system with practical significance in the process of urban cultural development.

一、公共艺术学科教育的新阶段

公共艺术是一个不断变化的、动态的概念，它的内在精神与外在形态被时代信息不断改写、完善。当下中国当代公共艺术的发展，已经呈现出越来越多的后现代趋向，首先表现在形态上更加趋向于综合性、跨类型、多元化的特征，由传统的类型化艺术进入“泛艺术”的概念，并由此衍生出众多体现时代表征的新艺术类型；艺术的社会化转型特征日益明显，与社会生活之间的联系愈发紧密，艺术成果更多地进入公共文化空间。在此发展背景下，作为推进中国城市化进程的应用型新学科，公共艺术学科教育经历了过去十多年的探索与发展，在众多的理论学者、艺术家、学科教育践行者的共同努力下，已经走出了初期的困惑与探索阶段，并逐步摸索出了一条适应中国公共文化发展需求、具备独立文化态度与专业特色的发展道路。公共艺术学科概念被不断地深化与完善，学科教育更加注重合理性、独立性、综合性，并向着系统化、专业化教学模式延伸，相关的教学、科研方面的学术交流平台明显增多。同时，面对社会公共文化意识的不断提升，公共艺术理论与实践的不断推进，以及对公共艺术专业结构与综合性人才结构的需求，学科教育自身也面临着发展转型阶段的诸多新课题。许多高等院校的公共艺术专业院系，对各自的学科特色、学术定位、发展方向形成了越来越成熟的认知与思考，比较有代表性的如中央美术学院城市设计学院、中国美术学院的公共艺术学院、汕头大学长江艺术与设计学院公共艺术专业、南京艺术学院设计学院公共艺术专业、江南大学设计学院公共艺术专业等。

景育民 行囊—长白山站Jing Yumin, Travelling Bag, exhibited in Changbai Mountain

景育民 行囊—平潭站Jing Yumin, Travelling Bag, exhibited in Pingtan

I. New Phase of Public Art Education

景育民 第七届全国城市运动会主火炬塔 综合材料 高60米 获中国环境艺术最佳范例奖Jing Yumin, Cauldron of the 7th National City Games, mixed media, 60 meters high, Award of Best Practices of Environmental Art of China

景育民 行囊——长春站Jing Yumin, Travelling Bag, exhibited in Changchun

Public art is an ever-changing and dynamic concept, its internal spirit and external shape being constantly altered and improved by the era’s information. Currently, the development of Chinese contemporary public art has demonstrated a growing post-modern tendency. Firstly, the art form, which has evolved from traditional categorized art to “pan arts”, tends to be more integrating, trans-category and diversified, and therefore a great number of new art categories bearing certain characteristics of ourera have been evolved. As the socialization of art has become increasingly obvious and art is connected with social life more closely, an increasing number of art works have entered into public cultural space. In this situation, after more than a decade of exploration and development, the discipline of public art, as a new applied subject to promote the process of urbanization in China, has overcome the confusion of the preliminary exploratory stage, and gradually found out a way of development with an independent cultural attitude and professional features and meeting the demand of China’s public art development because of the joint efforts of theoreticians, artists and educators. The concept of the discipline of public art has been constantly deepened and perfected, leading the teaching of this discipline to a systematic and professional teaching mode and making it more rational, independent and integrated; as a result, more platforms for academic exchange in teaching and research have appeared. Meanwhile, in face of the constant improvement of social public cultural awareness, the continuous progress of public art theories and practice and the growing demand for a professional structure and all-round talents of public art, public art education itself is challenged by many new problems in the stage of development and transition. The schools or departments of public art in many universities and colleges, such as School of Urban Design of Central Academy of Fine Arts, School of Public Art of China Academy of Art, the major of public art of Cheung Kong School of Art & Design, Shantou University, the major of public art of School of Design, Nanjing University of the Arts, and the major of public art of School of Design, Jiangnan University, have developed their more mature perception of their respective discipline characteristics, academic positioning and development direction.

二、学科跨界：公共艺术学科教育发展的思考

近年来，“跨界”在当代艺术中成为一个耳熟能详的词，不仅是在不同的学科之间，设计界、艺术界乃至时尚界诸多跨领域的跨界合作亦是日趋频繁，“跨界”这一命题更是成为各种相关讲座、论坛、展览、会议中的热题。随着当代公共艺术逐渐向广义概念延伸与拓展，公共艺术也在“跨界”中不断寻求发展变化，进而实现着自我研究领域完善及其基本概念的再界定，以适应飞速发展的时代需求。公共艺术的“跨界”所带来的变化不仅体现在艺术实践与理论研究上，作为学科发展重要的持续推动力——公共艺术学科教育也显现出新的特征与趋势，表现为：

（一）公共艺术与时代科技的成果对接与转化结合日益密切，数字信息技术等新媒介方式的实验、应用为公共艺术语言系统的拓展与形式创新提供了重要契机，针对新媒介、新材质的研究成为公共艺术学科科研与教学的一个重要课题。

（二）公共艺术学科与社会学、环境学、文化学、生态学、材料学等众多交叉学科之间的跨界研究增多，社会公共意识主导下的公共艺术进入到更为广义的文化概念，在此基础上公共艺术学科教学呈现出趋向于多元化、多向度的公共文化领域的思考，并引发了艺术形态方面的一些美学新思维。

（三）随着城市公共文化空间拓展、城市规划的整体性思考以及面向时代、面向公众的文化诉求，公共艺术学科教育作为城市公共文化重要孵化器与形式载体，与园林、建筑、音乐、表演、社会活动等其他领域之间的合作愈发密切，更为积极地拓展着公共艺术的内涵及外延。

从艺术史的角度来看，当代公共艺术已经发展成为一个集合的概念，其艺术形态的流变也早已超越了传统领域的认知，覆盖了壁画、雕塑、景观、建筑、水体、园艺、城市设施等传统艺术手段，以及大地艺术、光电烟火、新媒体艺术、装置艺术等新艺术形式，并涉及音乐、表演、公共节庆、行为艺术、广场表演等暂时性的公共空间艺术活动。由此可见，作为多元城市文化形态的综合性学科，公共艺术学科中的“跨界”便成为一种必然，也是这一阶段性的重要特征。因此，本文从公共艺术学科教学的角度探讨“跨媒介”“跨学科”“跨领域”的概念，也是天津美术学院公共艺术专业未来的学科特色与学术主张，希望在未来通过逐步的研究、深化、总结形成体系化的思考，体现在学院的教学实践与科研当中。

II. Interdisciplinary: Some Thoughts on the Development of Public Art Education

In recent years, the term “interdisciplinary” has become very familiar in contemporary art. “Interdisciplinary” cooperation has become increasingly frequent between not only different disciplines but also the fields of design, art and even fashion. “Interdisciplinary” is also a hot topic of various lectures, forums, exhibitions, and conferences. With the extension of the concept of public art to a broader sense, public art has been seeking development and changes while being “interdisciplinary”and tries to perfect its own research and redefine its basic concepts in order to meet the growing requirement of this era. The changes the“interdisciplinary” feature of public art has brought about are shown not only in artistic practice and theoretical study, but also in new features and tendencies of public art education as a continual propelling force of the disciplinary development, including:

1. Public art has increasingly absorbed and utilized new results of science and technology. The experiments and application of such newmedia approaches as digital information technology have provided an important opportunity for the exploration and formal innovation of the language system of public art. The research of new media and new materials has become an important subject of scientific research and education of public art disciplines.

2. Interdisciplinary researches between public art and sociology, environmental studies, science of culture, ecology and material science have increased. Public art dominated by social public awareness has become a cultural concept in a broader sense and, on this basis, public art education tends to be diversified and multi-dimensional, and has aroused some new aesthetic ideas.

3. As an important incubator and form carrier of urban public culture, public art education has cooperated more closely with other fields, such as gardening, architecture, music, performance and social activities, and is actively expanding the connotation and denotation of public art with the expansion of urban public cultural spaces, the comprehensive thinking on urban planning, and the cultural request in face of the era and its public.

“跨媒介”是当下公共艺术发展的一个新特征，当今科技的快速发展为公共艺术实现的“介质”选择提供了更广阔的空间，也是学科未来发展的大势所趋。新媒介的应用，可以通过数字化技术精确控制诸如水、光、声音乃至气味等一些非固体的材料，也可以采用影像、多媒体装置、互动感应装置、虚拟现实、网络艺术等技术手段，实现科学技术与艺术的高度结合，创造更为丰富的新型表现形式。公共艺术的“跨媒介”现象早在上世纪末的欧洲、美国和日本，就出现过一些相关的展览和事件。1980年光学工程师迈克尔·温扬（Michael Wenyon）和艺术家苏珊·甘布尔（Susan Gamble）在伦敦大学金史密斯学院（Goldsmith，University of London）制作一台全息设备，这是欧洲致力于研究光媒介的艺术应用的第一个全息车间。英国艺术家乌斯曼·哈克（Usman Haque）采用计算机控制的交互式气味系统创作作品《空间·气味》等。2013年5月的第五届悉尼灯光音乐节上的活力悉尼灯光单元，艺术家布赖恩·伊诺（Brian Eno）利用全息影像技术点亮悉尼歌剧院，将悉尼歌剧院的标志性船帆变成一块画布——《7700万件画作》。这件作品结合音乐，通过“自生成软件”控制 300 幅原创数字绘画作品生成，体现了声、光、色的交融。2015年，雕塑家吕品昌创作的作品《鄱湖日出》，将雕塑造型与交互性新媒体艺术相结合，使雕塑审美意义超越了旧有的语言范式而转化为信息的载体，实现了传统“空间”概念向虚拟的拓展。这件作品是在城市雕塑领域对新媒介运用的实验探索，为公共艺术学科教学提供了很有价值的范例。2014年，中国美院毕业季“马上火”成为一场全城瞩目的艺术狂欢，“火车”主题装置开幕式、“美术馆之夜”音乐秀、服装秀与前沿性艺术展览的同台呈现，不仅树立了学院的文化品牌与公共形象，更呈现了当代美术学院教育的开放式文化态度，为城市增添了一个文化热题。

公共艺术的“跨学科”，是当代社会公共文化发展到现阶段的必然现象。由西方社会意识形态下衍生出的公共艺术概念发展至今，已经涵盖了社会学、文化学、政治学、规划学、传播学、生态学等众多相关学科的知识。在当代多元文化背景下的公共艺术学科，也不仅限于对艺术本体的研究，而是进入到公共文化层面的整体性思考。因此，基于社会公共意识发展下的人文关怀，以及当代公共艺术概念拓展，公共艺术创作在理念与方法论上也呈现出“跨学科”的研究趋势，主要表现为对社会学、环境学、生态学、策划学等一些交叉学科的结合与借鉴。随着当代社会对公共文化意识认知的普及性发展，公共艺术开始走出城市命题转向农村，以艺术修复、构建公共空间文化的乡村新形态，开启兼具社会、生态、人文、历史等多重文化价值的崭新课题。目前，国内外已经有一些这方面的艺术实践：日本的“越后妻有”地区于2000—2009年间举办四届公共艺术节，邀请了众多国际艺术家、艺术团体进行实地创作，以实验性空间艺术平台的介入方式实现乡村文化改造，成为国际学术界知名案例；由中国当代艺术家渠岩主导启动的公共艺术项目“许村计划”以“原住村落与建筑规划”为核心，力求实现以艺术复兴村落，从而进入到对中国式农村文化当代生存与转型的社会学、政治学层面的探讨；2012年，艺术家焦兴涛在贵州省遵义的羊磴镇发起了“羊磴艺术合作社”系列艺术实践项目，聚焦当地的人文风物、生活百态，以全方位的角度深入调研农村的文化形态，以体验式创作、互动、改造等方式实现艺术的乡村“落地”。在具有6亿多农业人口的中国，公共艺术的“乡村课题”在当下乃至未来都具有重要的本土意义与研究空间。

From the perspective of art history, contemporary public art has become a collective concept, and its art form has long evolved beyond traditional areas, covering both such traditional art mediums as wall painting, sculpture, landscape, architecture, water body, gardening, urban facilities, and such new art forms as land art, photoelectric fireworks, new media art, installation art, and involving such temporary public space art activities as music, performance, public festivals, performance art and square performance. This shows that the “interdisciplinary” feature is a necessity in public art as a comprehensive discipline reflecting diversified urban culture, and is also an important character of its current phase of development. Therefore, “cross-media”, “interdisciplinary” and “crossfield”, with their concepts discussed in this paper from the angle of public art education, are also the future disciplinary characteristics and academic standpoints of the public art major of Tianjin Academy of Fine Arts. It is hoped that these features will be systemized through gradually research, deepening and summarizing, and embodied in the teaching practice and scientific research of the academy.

“Cross-media” is a new feature of the present development of public art. Today, the rapid development of science and technology has provided public art with more possibilities of choice of “medium”, which is also an irresistible trend of future development of the discipline. The application of new media leads to a high degree of integration of science and technology with art and the creation of new and more verified forms of expression either through the precise control of non-solid materials such as water, light, sound and even odor by way of digital technology or through some technological methods including videos, multimedia devices, interactive induction systems, virtual reality and Internet art. The “cross-media” phenomenon of public art already appeared in some exhibitions and events in Europe, the USA and Japan in the late 20th century. In 1980, Michael Wenyon, an optical engineer, and Susan Gamble, an artist, made a holographic equipment in Goldsmith School, University of London, which was the first holographic workshop in Europe devoted to the research on the application of optical medium to art. Usman Haque, a British artist, created a work titledSpace and Odorby means of an interactive odor system controlled by computer. In May 2013, at the 5th Vivid Sydney, Brian Eno, an artist, lit up Sydney Opera House using holographic imaging technology and turned the symbolic sails of the opera house into a canvas, creating a work titled77 Million Paintings. Combined with music, this work controlled the generation of 300 original digital paintings through a self-generated software, showing the integration of sound, light and color. In 2015, Lü Pinchang, a sculptor, created a work titledSunrise in Poyang Lake, combining sculpture modeling and interactive new-media art. InSunrise in Poyang Lake, an experiment of new media application in the field of urban sculpture, the aesthetic significance of the work exceeded the normal form of language and was translated into a carrier of information, realizing the expansion of the traditional term of “space” to a virtual world and making itself a valuable case for public art education as well. In 2014, “Get Popular at Once”, the graduation season of China Academy of Art, became an art carnival and drew the attention of the city. The concentrated presentation of the opening ceremony of the theme installation “Train”, the music show “A Night in the Gallery”, the fashion show and the pioneering art exhibition not only helped build up the cultural brand and public image of the Academy, but also revealed an open cultural attitude of contemporary education of a fine art academy, adding a new hot topic to the city culture.

The “interdisciplinary” feature of public art is inevitable in the present stage of development of contemporary social public culture. Today, the concept of public art, derived from the ideology of Western society, covers the knowledge of different disciplines, such as sociology, cultural studies, political science, planning, communication and ecology. The discipline of public art, in the contemporary multicultural context, is not restricted to the study of art itself, but involves the comprehensive thinking on public culture. Therefore, on the basis of humane care inthe context of growing social public awareness and the expansion of the concept of contemporary public art, public art creation has witnessed an “interdisciplinary” tendency in terms of ideas and methodology. This tendency is demonstrated in the combination of public art with such disciplines as sociology, environment science, ecology and planning studies, and its use of them for reference. With the increasing understanding of public culture in contemporary society, public art, once focused on urban topics, has started to turn to rural subjects in an attempt to restore and construct new rural forms of public spatial culture by means of art, and set foot on new issues with multicultural value including society, ecology, humanity and history. At present, some similar artistic practices exist both at home and abroad. During the four public art festivals held in Echigo Tsumari, Japan, from 2000 to 2009, many international artists and art groups were invited for on-the-spot creation, aiming at transforming rural culture through the intervention from experimental space art platform, which has become a well-known case in international academic circles. The public art project titled “Xucun Program” launched by the Chinese contemporary artist Qu Yan, with“original village and the planning of building” as its core, was targeted at revitalizing a village through art so as to conduct a discussion on the subsistence and transformation of Chinese rural culture in contemporary times from the perspectives of sociology and political science. In 2012, Jiao Xingtao, an artist, launched a serial art project titled “Yangdeng Art Cooperative” in Yangdeng Town, Zunyi of Guizhou Province, focusing on the local people and scenery as well as social life to investigate rural cultural types in an in-depth and all-round manner and to realize the“landing” of art in villages by means of experience-oriented creation, interaction and transformation. In China, a country with an agricultural population of over 600 million, the “rural topic” of public art has local significance and research space at present and even in the future.

景育民 《对接·启程》全景一 综合材料 长50米 2012 作品曾获得第一届中国公共艺术学术奖Jing Yumin,Docking and Setting Out, full view, mixed media, 50 meters long, 2012, the 1st Chinese Public Art Academic Award

在后现代美学的影响下，公共艺术作为当代城市文化形态建构的重要方式，“跨领域”的思维与尝试层出不穷，与建筑、音乐、表演等不同领域文化形态的跨界结合增多。1997年，美国加州建筑师弗兰克·盖里（Frank O. Gehry）设计的毕尔巴鄂古根海姆博物馆正式落成。这是一座借助一套v空气动力学使用的电脑软件逐步设计而成的博物馆，使用玻璃、钢和石灰岩、钛金属为材质，构成感的空间分割以及流动韵律的线条，使这座建筑成为该城市最著名的公共艺术案例。“快闪”（flash mob）是近年来国际上流行的一种公众行为艺术，指一群人在预先约定的地点集合，进行简短活动后迅速解散。这是丹麦哥本哈根爱乐乐团在哥本哈根中央车站的一次古典音乐“快闪”，曲目是著名的《波莱罗舞曲》。美国摄影师斯潘塞·图尼克（Spencer Tunick）的天体艺术摄影，多年来通过记录系列性的公众行为艺术的方式，不断探讨人与现代文明、自然三者之间的对话。

景育民 消息树 不锈钢、棕绳、小铜钟 2000年Jing Yumin, Message Trees, stainless steel, coir ropes, small copper bells, 2000

Influenced by postmodernist aesthetics, public art, as an important mode of structuring contemporary urban cultural types, has been closely connected with “cross-field” thoughts and attempts demonstrated by its increasing interdisciplinary integration with architecture, music and performance. In 1997, Guggenheim Museum Bilbao, designed by Frank O. Gehry, an American architect from California, was completed. The museum was designed little by little with the assistance of a computer software used normally in v aerodynamics. Materials like glass, steel, limestone and titanium were used, and unique space division and flowing lines made the museum the most famous public art case in the city. “Flash mob” is a form of public performance art popular around the world in recent years. It refers to a group of people who assemble suddenly ina place appointed beforehand and quickly disperse after completing a brief activity. The Copenhagen Philharmonic Orchestra of Denmark playedBoleroat a classic music flash mob in the Copenhagen Central Station. Over the years, by recording a series of public performance art, the American photographer Spencer Tunick, through his photography of Nudism Movement, has kept exploring the conversation between human beings, modern civilization and Nature.

三、公共艺术的专业定位与发展方向

天津美术学院的公共艺术专业，主要定位于城市公共空间文化形态的研究与设计，将学科重点放在公共空间策划与设计、公共艺术实验性创作以及公共艺术理论研究这几方面。未来的学院教学将以“跨媒介、跨学科、跨领域”作为专业特色，并采取“双向化”的教学思维，一方面实现艺术实践与理论研究上的实验性探索，推动学术研究的前沿性与持续性；另一方面，强调科研教学与社会实践的结合，促进教育成果的社会化转型，以实现培养具有公共文化意识、综合性专业素质与社会实践能力人才的办学定位，其中，几个主要的发展方向是：

1.公共空间（环境）策划与设计

2.新媒介与装置艺术

3.城市环境雕塑（造型）设计

公共空间（环境）策划与设计专业，以公共空间形态设计与策划、城市形象研究与设计、公共艺术策划与理论研究为主要内容。专业以城市学、策划学、传播学、环境学、生态学以及与公共艺术相关的文化学、社会学理论为学科基础，基于对城市空间文化的整体思考，主要研究公共空间的文化形态、环境美学、场所意义、形象表达、公共艺术项目设计与实施等一系列系统化实践。在课程设置上主要包括公共空间分析与策划、城市空间形态设计、城市文化形象设计与传播、社会实践项目创意与设计、公共艺术活动与文本策划、公共艺术理论研究等。

景育民 梦幻新舟 高21米Jing Yumin, Fantastic New Boat, 21 meters high

景育民 飘浮 不锈钢 10米Jing Yumin, Floating, stainless steel, 10 meters high

III. Professional Orientation and Development Direction of Public Art

The public art major of Tianjin Academy of Fine Arts is mainly oriented to the research and design of cultural forms of urban public spaces. The emphasis of the discipline falls on public space planning and design, experimental public art creation and public art theory. In the future, “cross-media, interdisciplinary, and cross-field” will be taken as the feature of the major, and a “two-way” teaching idea will be adopted. On the one hand, the experimental exploration of artistic practice and theoretical studies will be conducted to enhance the pioneering nature and continuity of academic research; on the other hand, emphasis will be put on the combination of research and teaching with social practice and the social applicability of educational achievements in order to cultivate talents with public culture awareness, comprehensive professional competence and social practice ability. Currently, we have set up three major fields:

1. Public space (environment) planning and design

2. New media and installation art

3. Urban environment sculpture (modeling) design

新媒介与装置艺术专业，是以当代新型空间艺术形态——装置艺术设计与创作为主要内容，专业定位于公共空间装置艺术的空间实践、材料应用与理论研究。该专业作为独立的空间艺术学科，强调学术前沿性与社会实用性的结合。专业以当代造型语言研究、材料媒介研究与空间理论为基础，主要包括实验性装置艺术研究、环境装置艺术设计、应用型装置艺术设计三个研究方向。实验性装置艺术主要是从跨媒介材料语言拓展与空间意义研究、观念造型语言研究、空间形态的多样化方面实现创新性研究。环境装置艺术设计与应用型装置艺术设计主要侧重于社会性需求与公共空间的实用价值研究。

城市环境雕塑（造型）设计，作为与城市文化之间关系最为直接的专业，主要是针对公共空间中城市环境雕塑设计与实施，是传统城市雕塑的当代转型。该专业以公共空间理论、城市雕塑造型研究为基础，以城市公共空间设计、城市环境策划、城市公共设施设计、艺术工程为主导方向，强调教学成果与社会实践的相互转化。

另外，我们还计划开展一些公共艺术的专项课题实践，以及学术交流与教学经验交流活动，一方面以交流积累经验，推动学院自身的成长；另一方面分享展示学院的教学与科研成果，扩大学院在业界的学术影响力，创建体现学科特色的学术品牌。在这方面我们也可以借鉴其他兄弟院校的优秀经验：汕头大学公共艺术专业相继创立了“公共艺术节”“公共艺术专业年度展”，成为国内公共艺术领域的品牌活动；四川美院公共艺术学院举办的2015年首届“公共艺术教育国际工坊”，引进国际公共艺术成功案例，邀请国际知名艺术家、学者通过讲座、交流与互动教学的方式，拓展学科发展的国际化视野。我们将在探索的过程中不断调整、修正、提高，也希望在未来能够更多地与国内外学术界与院校、机构相互交流，共同拓展。

景育民：天津美术学院教授

Based on urbanology, planning studies, communication, environmental science, ecology, and public art-related cultural studies and sociological theories, the major of public space (environment) planning and design mainly focuses on public space planning and design, city image study and design and public art planning and theoretical research. On the basis of an overall thinking on urban space culture, it mainly studies cultural forms, environmental aesthetics, location significance, image expression, and the design and execution of public art projects. Its curriculum includes mainly public space analysis and planning, urban space form design, city image design and communication, social practice project creation and design, public art activities and text planning, and public art theories, etc.

The major of new media and installation art takes the new form of contemporary space art - installation art design and creation - as main content, and is oriented to spatial practice, material application and theoretical studies of public space installation art. As an independent space art discipline, the major stresses the combination of academic progressiveness and social applicability. Based on contemporary modeling language research, material and media research and space theory, the major involves three research directions, namely, experimental installation art research, environmental installation art design, and applied installation art design. Experimental installation art focuses on innovative research, involving cross-media material language expansion and space concept research, conceptual modeling language research, and diversification of space forms. Environmental installation art design and applied installation art design place particular emphasis on research on the social demand and practical value of public space.

Urban environment sculpture (modeling) design, as a major most related to urban culture, focuses on design and execution of urban environment sculpture in public spaces, embodying contemporary transformation of traditional urban sculpture. This major, taking public space theories and urban sculpture modeling research as its foundation and urban public space design, urban environment planning, urban public facilities design and artistic engineering as its predominating direction, stresses the mutual transformation of teaching results and social practice.

In addition, we plan to launch some specific public art projects as well as academic and teaching experience exchanges with the purpose of promoting the development of our academy by accumulation experience through these exchanges on the one hand, and, on the other, sharing and demonstrating teaching and research results of our academy, which may help to expand the influence of our academy in the professional circles and create an academic brand that may reflect our subject characteristics. We may, in this regard, draw on the successful experiences of other institutions of higher education. The public art major of Shantou University has launched the “public art festival” and the “annual exhibition of public art”, which have become brand activities in the field of public art in China. The first “International Public Art Education Workshop” held at the School of Public Art of Sichuan Academy of Fine Arts in 2015 broadened the international horizon of the subject development of the school by introducing successful cases of public art around the world and inviting well-known foreign artists and scholars for lectures, exchanges and interactive teaching. We will constantly adjust, revise and improve our approaches in the process of exploration, and we hope for more exchanges with domestic and foreign academia, colleges, universities and institutions for common development.

Jing Yumin: professor at Tianjin Academy of Fine Arts

Interdisciplinary and Expansion : Thinking on Public Art Education

Jing Yumin