1985——1989年創(chuàng)作了大量的、當(dāng)時(shí)稱為現(xiàn)代藝術(shù)的作品，名為“85黑色游戲”系列，其中包括繪畫、陶藝、木雕等；

1985年舉辦蘭州858現(xiàn)代藝術(shù)展，并于同年籌建東方藝術(shù)沙龍；

1986年開始燒制陶藝品，同年成立蘭州特種藝術(shù)研究所；

1987年舉辦楊樹峰333件現(xiàn)代陶藝展；

1987年應(yīng)邀參加甘肅中青年藝術(shù)家座談會(huì)，在會(huì)上批評(píng)美協(xié)主席對(duì)新生藝術(shù)的限制；

1988年在蘭州金城盆景園舉辦蘭州新藝術(shù)個(gè)人展；

1988年參加中國(guó)黃山現(xiàn)代藝術(shù)研討會(huì)；同一年，作品入選中國(guó)美術(shù)館舉辦的現(xiàn)代藝術(shù)大展，但被本人拒絕；

1979——1989年的十年間，創(chuàng)作了500余幅繪畫作品、1000余件陶藝品和50多件木雕作品；

1990年舉辦迎亞運(yùn)現(xiàn)代藝術(shù)大展；此后再?zèng)]有參加過國(guó)內(nèi)任何有關(guān)藝術(shù)的活動(dòng)和展覽，同時(shí)開始反思85藝術(shù)并潛心進(jìn)行藝術(shù)創(chuàng)作；

1990——1992年臥病三年；

1993年到海南創(chuàng)業(yè)，同時(shí)進(jìn)行藝術(shù)創(chuàng)作并承接裝飾工程；1996年獨(dú)自去美國(guó)闖蕩人生，同時(shí)進(jìn)行藝術(shù)創(chuàng)作；

1989——2009年間創(chuàng)作了大量新作品，同時(shí)也撰寫了大量有關(guān)藝術(shù)創(chuàng)作、反思85思潮及當(dāng)下社會(huì)和藝術(shù)問題的文章，極具探討和研究?jī)r(jià)值，以后將陸續(xù)推出并與社會(huì)見面。

In 1982, he graduated from Fine Arts Department of Northwest Normal University, major in oil painting;

1982 u2013 1984, he disobeyed the allocation of the university and became the society ranger for two years and three months;

In 1984, he was re-assigned to Golden City Bonsai Garden, a subsidiary of Lanzhou Garden Bureau;

In 1985, he signed a Leave Without Pay Contract with his unit and became a truly free person;

1985 u2013 1989, he created a lot of so called modern art works of that time, named "85 Black Game" series, which include paintings, pottery, woodcarving, etc.;

In 1985, he held Lanzhou 858 Modern Art Exhibition, and prepared for the establishment of Oriental Art Salon;

In 1986, he began to produce ceramics and found Lanzhou Special Institute of Arts;

In 1987, he held Yang Shufeng Modern Ceramics Exhibition, exhibiting 333 ceramics;

In 1987, he was invited to participate in a forum of Gansu young artists, at which he criticized the constraints of Chairman of Art Association to new arts;

In 1988, he held Lanzhou New Art Solo Exhibition in Lanzhou Gold City Bonsai Garden;

In 1988, he participated in China Huangshan Modern Art Seminar;

At the same year, his works were selected to be exhibited in the contemporary art exhibition held by Art Museum of China, but he refused;

1979 - 1989, he created more than 500 pieces of paintings, more than 1,000 pieces of ceramics and more than 50 pieces of wood works;

In 1990, he held a modern art exhibition for celebrating the coming of Asian Games; from then on, he did not attend any domestic art events and exhibitions ever and began to reflect 85 Arts and devote himself to artistic creation;

1990 u2013 1992, he was confined to bed for illness for three years;

In 1993, he came to Hainan to start his business, devoted to artistic creation and began to undertake decorative project;

In 1996, he began his lone turbulent life in the United States, and did not stop devoting to his artistic creation;

1989 u2013 2009, he created a large number of new works and wrote a large number of articles of great explore and study value on art creation, reflection of 85 thought and the current social and artistic issues, which will be rolled out to the society later.

八五時(shí)代 生命寫意

對(duì)當(dāng)代中國(guó)美術(shù)來說，85新潮美術(shù)運(yùn)動(dòng)是一段難以忘懷的火熱記憶。盡管1989年的“中國(guó)現(xiàn)代藝術(shù)展”使它在褒貶難辯的爭(zhēng)吵中匆匆落幕，但它仍然給整個(gè)美術(shù)界烙下了深深的印記，至今對(duì)中國(guó)當(dāng)代美術(shù)產(chǎn)生著深遠(yuǎn)的影響。

事隔二十多年，我們已經(jīng)可以對(duì)這場(chǎng)運(yùn)動(dòng)進(jìn)行較為冷靜客觀的評(píng)價(jià)：85新潮美術(shù)運(yùn)動(dòng)的起點(diǎn)是對(duì)“文革”期間美術(shù)異化為政治話語工具的反撥，是一次向藝術(shù)本體回歸的潮流。但是在80年代中后期整個(gè)社會(huì)文化情境的影響下，它迅速偏離了原來的軌道，被卷入了一場(chǎng)民族精神解放與文化革新運(yùn)動(dòng)，并在其中充當(dāng)了急先鋒。它所思考、關(guān)注與批判的問題已遠(yuǎn)遠(yuǎn)超出了以往的所謂藝術(shù)問題，而是全部的社會(huì)、文化問題。

85另類藝術(shù)家楊樹峰的生命寫意藝術(shù)，也是在同一個(gè)時(shí)間和空間里形成的，但他卻是當(dāng)時(shí)所謂主流藝術(shù)圈的一條“漏網(wǎng)之魚”。社會(huì)發(fā)展的大環(huán)境和個(gè)人生活經(jīng)歷也曾將他推向當(dāng)時(shí)的精英藝術(shù)探索之路，而他獨(dú)特的個(gè)性品質(zhì)以及身處西北邊疆的生活環(huán)境卻使他對(duì)“探索”的理解與當(dāng)時(shí)中國(guó)所謂現(xiàn)代精英藝術(shù)圈的主流觀念產(chǎn)生偏離。他沒有像當(dāng)時(shí)同樣在進(jìn)行現(xiàn)代藝術(shù)創(chuàng)作的同行們一樣，在西方的各種哲學(xué)觀念、文化觀念中去尋找藝術(shù)的歸宿，而是從自己內(nèi)心、從自己的生命出發(fā)去探索藝術(shù)的本體問題，去尋找藝術(shù)的真正歸宿。他用生命盡情地去游戲，用藝術(shù)盡情地寫意，三十年來洋洋灑灑從不曾間斷，這種內(nèi)向的探索使他在社會(huì)中越來越孤獨(dú)，在精神上卻越來越富有。

楊樹峰這一時(shí)期的創(chuàng)作全部圍繞著生命的意義、藝術(shù)的價(jià)值、純藝術(shù)語言及藝術(shù)精神的建立而展開，采用不同材料、不同手段創(chuàng)作了大量的作品。其作品如同他的生命日記，在短短五六年中完成了從寫實(shí)、表現(xiàn)、抽象、觀念到行為、公共等多種藝術(shù)語言與生命的磨合，留下了生命寫意的五百多件作品。如果沒有強(qiáng)大的內(nèi)在生命力，怎么可能在探索的狀態(tài)下完成如此數(shù)量的作品！只有一個(gè)理由，那就是他已經(jīng)忘掉了創(chuàng)作本身，而是在用生命去寫意。

當(dāng)然，在中國(guó)85新潮美術(shù)行列中，楊樹峰的獨(dú)獨(dú)缺席卻也成就了他，使他在另一片荒野之地創(chuàng)建出另類體系，他的作品是生命的游戲，豪放的寫意，貌似無規(guī)則，卻在無規(guī)則狀態(tài)下顯現(xiàn)出真正的秩序。

楊樹峰的作品的價(jià)值，在于其藝術(shù)創(chuàng)作始終沒有偏離對(duì)藝術(shù)本體這個(gè)根本問題的探求，是在人性、精神、生命層面對(duì)觀者的成功征服。他的藝術(shù)體現(xiàn)生命、貫穿于生活，可以跨越時(shí)間、跨越空間、跨越文化與人們進(jìn)行交流。此時(shí)舉辦“85時(shí)代生命寫意楊樹峰333件（1979-1989）藝術(shù)作品展”，觀者不僅可以分享他的藝術(shù)成就和人生體驗(yàn)，更重要的是可以糾正人們對(duì)“85新潮美術(shù)”運(yùn)動(dòng)的精神認(rèn)知的偏離，使人們從85精英文化中找到精神層面的藝術(shù)價(jià)值，并以此推動(dòng)整個(gè)社會(huì)對(duì)文化、對(duì)藝術(shù)本質(zhì)的理性思考，喚起社會(huì)對(duì)純?nèi)诵曰�藝術(shù)精神的尊敬。此次參展作品包括繪畫、文獻(xiàn)、圖片等，觀眾將更立體、更真實(shí)地感受到藝術(shù)家藝術(shù)風(fēng)格的衍變和確立過程。作品使用的材料多種多樣，油畫、水墨、紙板畫、木雕和陶藝（圖片）等。

在過去很長(zhǎng)一段時(shí)間里，一些所謂的藝術(shù)家為了與西方對(duì)話，建立起不真實(shí)的藝術(shù)語言，在求得認(rèn)可的同時(shí)獲得了暫時(shí)的成功，但卻導(dǎo)致了藝術(shù)生命力的衰竭，給藝術(shù)創(chuàng)作帶來了巨大傷害，并由此產(chǎn)生了極為嚴(yán)重的文化藝術(shù)滯后事實(shí)。進(jìn)入二十一世紀(jì)的中國(guó)開始為世界所矚目，中國(guó)的當(dāng)代藝術(shù)也被世界所關(guān)注，因此發(fā)展具有強(qiáng)大生命力的純藝術(shù)作品正逢其時(shí)，這需要所有熱愛藝術(shù)、尊重藝術(shù)的藝術(shù)家們長(zhǎng)期的共同努力。

所幸楊樹峰在三十年前就已經(jīng)成為追求藝術(shù)真知并進(jìn)行藝術(shù)實(shí)踐的先鋒。讓我們?cè)谡褂[中共享這些生命力與社會(huì)碰撞而產(chǎn)生的生命寫意藝術(shù)，共享這視覺與精神上的饕餮盛宴，共同感受一段屬于全人類的生命藝術(shù)之旅。

85 Times ·Life Impression

Art Exhibition of 333 pieces of art works（1979-1989）,Yang Shufeng

Preface

As for Contemporary Chinese Art, the 85 Modernization Art Movement was a fiery and unforgettable memory. Although the 1989 "Chinese Contemporary Art Exhibition" made it end in hurry and in quarrels, it still bore deep imprint tothe entire art world and produced a far-reaching impact to the Chinese contemporary art.

After a lapse of 20 years, we have been able to give a more sober and objective assessment to this movement: the beginning of 85 Modernization Art Movement is a beginning of art backwash, for art had been alienated to be a political discourse tool during "Cultural Revolution”, and 85 Modernization Art Movement was a trend of returning to the art ontology. But under the influence of the cultural environment of the whole society in the mid-to-late 1980s, it quickly deviated from the original track and involved in the movement of national spirit liberation and cultural reform, becoming thevanguard of the movement. The issues it thought, concerned and criticized had gone far beyond the so-called art range, covering all social and cultural issues.

The life impression art of Yang Shufeng, one of the 85 alternative artists, was formed at the same time and space, however, he was a lucky fish escaped net in the so-called mainstream art circles. The big environment of social development, as well as his personal life experience, pushed him to the road of exploring the elite art of that time, while, his unique personality traits, as well as his living conditions in the northwest frontier, brought him to deviate from the understanding of "explore” and from the mainstream ideas of the so-called modern elite art circles of that time. He did not look for art destination in the Western philosophical ideas and cultural values, just like what his colleagues done at that time, but found the true art destination from his inner self and own life for the issue of art ontology. He used to go to enjoy the game of life with heartily art freehand for three decades, without intermittent. This kind of inward exploration made him more and more isolated in society, but become increasingly rich in spirit.

His creation during this period all began with the establishment of the meaning of life, the value of art, the pure art language and the artistic spirit, creating a large number of works with different materials and different means. His works are just like his life diary, and himself, after the run-in of life and many artistic languages, including realism, performance, abstraction, concepts, behavior and public, in just five or six years, left 500 pieces of life freehand works. Without internal vitality, how could he complete so many works in exploring state! Only one explanation, that is he is already forgot create itself, but to painting with life.

Of course，in the ranks of 85 modernization art of China, the absence of Yang Shufeng had instead enabled him to get a piece of wild land to create an special system. His works are the games of life and the bold freehand, seems irregular, but reveals the true order.

The value of works of Yang Shufeng lies in their consistent exploration of art ontology without deviation and also lies in their successful conquest of the viewer in levels of human nature, spirit and life. His art reflects life, runs throughout life and can exchange with people across time, space and culture. At this time, Holding the Art Exhibition for the 333 pieces 85 life-freehand art works (1979-1989)of Yang Shufeng, can make viewer not only share his artistic achievements and life experience, but also correct the spirit and conscious deviation of people to 85 modernization art movement, enabling people find spiritual artistic value from the 85 elite culture and pushing the rational thinking of art and culture to the whole society, as well as calling for the respect of the society to pure humanized arts spirit. The exhibition works are part of the works that the author created at 1980s (1979-1989), including painting, literature, pictures, etc. The audience will feel the Evolution and establishment of the art style of the artist in a more three-dimensional and more realistic way. The author used a variety of materials, including oil paintings, inkwash painting, cardboard painting, carving, pottery (picture) and so on.

For a very long period of time in the past, some so-called artists established untrue artistic language for a dialogue with the West, and led to the failure of artistic vitality at the same time that they sought for approval, although they obtained a temporary success, they brought great harm to the art creation, causing serious arts and culture lag. Going into the twenty-first century, China has begun to win focus attention of the world, and Chinese contemporary art has also been concerned by the world, bring a opportunity for the development of pure art works of strong vitality, which requires joint work of all artists who love art and respect art.

Fortunately, Yang Shufeng has become the pioneer in pursuit of artistic truth and conducting of art practice three decades ago. Let us share these life freehand arts created by the collision of vitality and society, as well as this visional and spiritual gluttonous feast, appreciating a life art trip of all mankind.