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Puntos de nivel PRO 101, Preguntas respondidas: 51, Preguntas formuladas: 3
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inglés al chino: Appropriation Art (挪用藝術) General field: Arte/Literatura Detailed field: Arte, artes manuales, pintura
Texto de origen - inglés Appropriation Art
To appropriate is to borrow. Appropriation is the practice of creating a new work by taking a pre-existing image from another context – art history, advertising, the media – and combining that appropriated image with new ones. Such borrowings can be regarded as the two=dimensional equivalent of the FOUND OBJECT. But instead of, say, incorporating that “found” image into a new collage, the postmodern appropriator redraws, repaints, or rephotographs it. This provocative act of taking possession flouts the MODERNIST reverence for originality. While modern artists often tipped their hats to their art historical forebears (Edouart Manet borrowed a well-known composition from Raphael, and Pablo Picasso paid homage to Peter Paul Rubens and Diego Velaquez), they rarely put such gleanings at the intellectual center of their work. A sea change occurred when Campbell’s soup cans and Billo boxes began to inspire artworks; POP ART was appropriation’s precursor and Andy Warhol its godfather.
Like collage, appropriation is simply a technique or a method of working. As such, it is the vehicle for a variety of viewpoints about contemporary society, both celebratory and critical. In perhaps the most extreme instances of recent appropriation, Sherrie Levine rephotographed photographs by Edward Weston and made precisely rendered facsimiles of Piet Mondrian’s watercolors. Her work questions conventional notions of what constitutes a masterpiece, a master, and indeed, art history itself. By choosing to appropriate only the work of male artists, this FEMINIST ARTIST asks viewers to consider the place of women within the art historical canon, and, in the case of Weston’s nude photographs of his young son, to consider whether the gender of the photographer affects how pictures are reviewed.
Jeff Koons, one of the few appropriators working in three dimensions, has his sculpture fabricated in stainless steel or porcelain to replicate giveaway liquor decanters and KITSCH figurines. Other artists such as David Salle and Julian Schnabel use appropriation to create a dense network of images from history, contemporary art, and POPULAR CULTURE. The multilayered, pictorial equivalent of free association, their art frequently defies logical analysis.
inglés al chino: Promotion material for Fernando Botero in China General field: Mercadeo Detailed field: Publicidad / Relaciones públicas
Texto de origen - inglés BOTERO, BOLD AND BEAUTIFUL
As the most famous contemporary Latin American artist, Fernando Botero is best known for his “fat
figures”. He depicts women and men, daily life, historical events, still life, animals and nature with
voluptuous proportions. At the same time, Botero conveys in fine details subtle criticism, irony and
humor.
Inspired by Colombian folklore and history, Botero sees himself as “the most Colombian of
Colombian artists”. His smooth painting style eliminating all traces of brushwork and texture and
his use of vibrant colors are his distinctive trademark. Botero’s sculptures are a natural extension
of his paintings, powerfully focusing on volume and mass yet portraying a delicate lightness and
satirical wit in many of the figures.
Fernando Botero’s works are exhibited worldwide
and are included in private and major museum
collections such as the Metropolitan Museum of Art
and the Museum of Modern Art in New York.
Botero’s recognition is also demonstrated by the
prices his works bring: The highest price achieved
at auction for a sculpture (“The Dancers”, 2011) is
US$ 1.76 million while the highest price for a
painting (“Family Scene”, 2010) is US$ 1.7 million.
Fernando Botero’s "Family Scene"
Some Facts:
1932 - Born in Medellin, Antioquia, Colombia
1950 - First exhibition by Galerias de Arte Foto-Estudio Leo Matiz,
Bogotá
1951 - First exhibition outside of Colombia at Galeria Antonio
Souza, Mexico City
1957 - First exhibition in the United States at Pan American Union,
Washington, D.C.
1965 - Exhibition included in “The Emergent Decade: Latin
American Painting”, The Guggenheim Museum of New York
1966 - First exhibition in Europe at Staatliche Kunsthalle, Baden-
Baden, West Germany
Fernando Botero is now eighty years old and lives in Pietrasanta,
Italy.
This is a rare opportunity to purchase a painting or sculpture
directly from the artist. If you would like further information,
please email [email protected]
Fernando Botero’s “The Dancers”
Traducción - chino 费尔南多.博特罗(FERNANDO BOTERO) - 一位画风粗犷不据的當代美术大師
费尔南多.博特罗-
因为画“肥胖人物”而知名,在拉美现代艺术界被视为最重要的大画家。博特罗 画笔下的人物,都是俱有誇
张比例的肥胖身躯。他的主题包括日常生活,历史故事,静物,动物和大自然等等。 博特罗的笔调精致细
腻,深具批判, 讽刺和幽默的意味。
博特罗風格受到哥伦比亚民俗艺术及历史很深的影响,及早即以“最能代表哥伦比亚艺术的画家”自许。也
因此他年轻时代的哥伦比亚是他画中屢見不乏的主題,例如:小镇风情, 中产階级的家庭生活,元首人物,
宗教领袖,聖母,军人,甚至异国风情的丰盛蔬果靜
物等等都鲜活地出現在他的画布上。
博特罗的笔触平滑,画布上没有任何笔跡以及纹理;
他的用色鲜艳並且充满活力,这也是他所特有的風格
標誌。
70年代中期之后博特罗除了绘画之外也开始尝试雕
塑,這是一個从二度空间創作進入到三度空间創作的
自然厉程,透过雕塑的創作過程,他能深度的探索体
积与混厚之間的美学,但有趣的是他的人物却都发散
着轻盈诙谐的風趣。 “家庭场景”
博特罗的作品在全世界重要的博物馆及私人都有收藏, 如纽约的大都會美术馆 ( the Metropolitan Museum of
Art) 以及現代美术馆 ( the Museum of Modern Art ) 等等。
他的作品行情在艺术市場上居高不下,足证明其在現代美术界的重要性:目前最高价的画作( “家庭场景”,
2010拍卖):一佰七十万美元。目前最高价的雕塑作品(“舞者”,2011拍卖): 一佰七十六万美元。
重要大事紀:
1932出生於Medellin, Antioquia, Colombia
1950 第一次展览:Galerias de Arte Foto-Estudio Leo Matiz, Bogotá
1951第一次國际展:Galeria Antonio Souza, Mexico City
1957 第一次美国展在Pan American Union, Washington, D.C.
1965 古根汉美术馆 “The Emergent Decade: Latin American Painting”, The
Guggenheim Museum of New York
1966 德国Staatliche Kunsthalle, Baden-Baden, West Germany
博特罗今年八十岁,目前定居义大利的皮也创參塔。
以下的电子邮件信箱可以让您直接向大師购买他的作品,這是一個千
載难逢的机会,切勿错过! [email protected]
“舞者”
español al chino: 意願書 General field: Otros Detailed field: Derecho: contrato(s)
Texto de origen - español 1. Que las Instituciones arriba mencionadas, han mantenido contactos, los cuales justifican el estrechamiento del ntercambio de conocimentos y experiencias en beneficio de la enseñanza superior.
2. Que la mejor forma de implementar estos propósitos es mediante el establecimento de un documento bàsico que facilite la realizaciòn de programas comunes.
3. Que las partes firmantes manifiestan su voluntad en la suscripcíon de una carta de intención, que será la base para la suscripción de un convenio general y acuerdos operativos que se deriven.
4. La presente carta de intención permitirá a estas instituciones, iniciar acercamientos formales de colaboración en materia de:
* Ayudar al establecimiento de programas de intercambio académico;
* Colaboración en programas de movilidad e intercambio docente y estudiantil;
* Colaboración en el dsarrolle de proyectos de investigación.
La presente carta de intención será coordinada por un responsable designado por cada una de las Instituciones participantes. Cada programa específico contará con un responsable de acuerdo con la estructura administrativa.
Las partes expresan que la presente carta de intención es producto de la buena fe de los suscribientes, por lo que se comprometen a realizar todos y cada uno de los compromisos para su debido cumplimento, y en caso de presentarse alguna discrepancia respecto a aspectos que no se encuentren expresamente pactados y a la interpretación o cumplimiento, de manera voluntaria y de común acuerdo la resolverán en forma administrativa.
La colaboración iniciada en téminos de la presente carta de intención tendrá como vigencia seis meses y durante este periodo se comprometen a suscribir un convenio general y derivar los acuerdos operativos necesarios para dar cumplimiento a su iniciativa de colaboración. Su cancelación o modificación deberá ser solicitada por escrito por la parte interesada, al menos con ssenta días de anticipación, en la inteligencia de que los programas que se encuentren realizándose, continuarán bajo las condiciones originales hasta su conclusión.
LEÍDA LA PRESENTE CARTA DE INTENCIÓN POR LAS PARTES Y ENTERADAS DE SU CONTENIDO Y ALCANCE LEGAL, LO FIRMAN POR DUPLICADO EN LOS IDIOMAS ESPAÑOL Y CHINO, DE UN MISMO TENOR E IGUAL VALIDEZ, AL MARGEN DE TODAS LAS HOJAS, A EXCEPCIÓN DE LA ÚLTIMA QUE SE FIRMA AL CALCE, DE CONFORMIDAD Y PARA DEBIDA CONSTANCIA, CORRESPONDIENDO UN EJEMPLAR PARA CADA SUSCRIBIENTE, EN LA CIUDAD DE XXX, A LOS XXX
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