2014年英语二 多项对应

第 1 段

Emerging in the late Sixties and reaching a peak in the Seventies, Land Art was one of a range of new forms, including Body Art, Performance Art, Action Art and Installation Art, which pushed art beyond the traditional confines of the studio and gallery. Rather than portraying landscape, land artists used the physical substance of the land itself as their medium.

大地艺术兴起于六十年代末,并在七十年代达到顶峰,它是包括身体艺术、行为艺术、行动艺术和装置艺术 在内的一系列新形式之一,这些形式将艺术推向了传统工作室和画廊的界限之外。大地艺术家并非描绘风 景,而是使用土地本身的物质实体作为他们的媒介。

第 2 段

The British land art, typified by Richard Long's piece, was not only more domestically scaled, but a lot quirkier than its American counterpart. Indeed, while you might assume that an exhibition of Land Art would consist only of records of works rather than the works themselves, Long's photograph of his work is the work. Since his "action" is in the past, the photograph is its sole embodiment

以Richard Long的作品为代表的英国大地艺术,不仅在规模上更具本土化,而且比美国的同类作品更加离奇。事实上,尽管你可能会认为大地艺术展览只会包含作品的记录而非作品本身,但Long的作品照片就是作品本身。由于他的"行动"已成为过去,这张照片就是其唯一的体现。

第 3 段

That might seem rather an obscure point, but it sets the tone for an exhibition that contains a lot of black-and-white photographs and relatively few natural objects

这一点可能显得相当晦涩,但它为这个包含大量黑白照片和相对较少自然物品的展览定下了基调。

第 4 段

Long is Britain's best-known Land Artist and his Stone Circle, a perfect ring of purplish rocks from Portishead beach laid out on the gallery floor, represents the elegant, rarefied side of the form. The Boyle Family, on the other hand, stand for its dirty, urban aspect. Comprising artists Mark Boyle and Joan Hills and their children, they recreated random sections of the British landscape on gallery walls. Their Olaf Street Study, a square of brick-strewn waste ground, is one of the few works here to embrace the commonplaceness that characterises most of our experience of the landscape most of the time

Long是英国最著名的大地艺术家,他的《石圈》是一个由来自Portishead海滩的紫色岩石铺设在画廊地板上的完美圆环,代表了这种艺术形式优雅、精致的一面。而另一方面,Boyle Family则代表了其肮脏、都市的一面。该家族由艺术家Mark Boyle和Joan Hills及其子女组成,他们在画廊墙壁上重现了英国景观的随机片段。他们的《Olaf街研究》是一片散落着砖块的荒地,是这里为数不多拥抱平凡的作品之一,而这种平凡正是我们大多数时候对景观体验的特征。

第 5 段

Parks feature, particularly in the earlier works, such as John Hilliard's very funny Across the Park, in which a long-haired stroller is variously smiled at by a pretty girl and unwittingly assaulted in a sequence of images that turn out to be different parts of the same photograph

公园是其中的特色,尤其是在早期作品中,如John Hilliard非常有趣的《穿过公园》,其中一位长发漫步者在一系列图像中时而被一位漂亮女孩微笑着看,时而在不知不觉中遭到袭击,而这些图像最终被证明是同一张照片的不同部分。

第 6 段

Generally however British land artists preferred to get away from towns, gravitating towards landscapes that are traditionally considered beautiful such as the Lake District or the Wiltshire Downs. While it probably wasn't apparent at the time, much of this work is permeated by a spirit of romantic escapism that the likes of Wordsworth would have readily understood. Derek Jarman's yellow-tinted film Towards Avebury, a collection of long, mostly still shots of the Wiltshire landscape, evokes a tradition of English landscape painting stretching from Samuel Palmer to Paul Nash

然而,英国大地艺术家通常更喜欢远离城镇,被吸引到传统上被认为美丽的景观,如湖区或Wiltshire丘陵。虽然在当时可能并不明显,但这些作品中的大部分都弥漫着一种浪漫主义的逃避精神,Wordsworth这样的人

第 7 段

In the case of Hamish Fulton, you can't help feeling that the Scottish artist has simply found a way of making his love of walking pay. A typical work, such as Seven Days, consists of a single beautiful black-and-white photograph taken on an epic walk, with the mileage and number of days taken listed beneath. British Land Art as shown in this well selected, but relatively modestly scaled exhibition wasn't about imposing on the landscape, more a kind of landscape-orientated light conceptual art created passing through. It had its origins in the great outdoors, but the results were as gallery-bound as the paintings of Turner and Constable

就Hamish Fulton而言,你不禁会觉得这位苏格兰艺术家只是找到了一种让他对步行的热爱获得回报的方式。一件典型的作品,如《七天》,由在一次史诗般的步行中拍摄的一张美丽的黑白照片组成,下方列出了里程和所花费的天数。如这个精心挑选但规模相对适度的展览所展示的英国大地艺术,并非要强加于景观,而更像是一种在穿行中创造的以景观为导向的轻概念艺术。它起源于广阔的户外,但其成果却像Turner和