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上世纪60年代,保罗·泽克(Paul Thek)因其独特鲜明的风格而被写进西方艺术史。从事创作的泽克与摄影师胡加尔(Peter Hujar)一起,通过极其近似躯块、遗骸的作品或全维度的环境艺术作品,质问虚和实的界限,探索生与死的区别。但有关其代表作《墓穴》的图片资料始终寥寥。胡加尔档案馆后来发现了这位摄影师的遗物,其中的胶片小样淋漓尽致地呈现了保罗·泽克的创作环境和细节,展示了影响其作品的文化因素、作品的风格特征及内涵,同样也暗示了保罗和摄影师彼得·胡加尔之间微妙的关系。
In the 1960s, Paul Thek was written into Western art history for its distinctive and distinctive style. Working together with photographer Peter Hujar, Zek, who works on creation, questions the boundaries of virtuality and reality and explores the difference between life and death through works of art that closely approximate the body, remains, or dimensions of the environment. However, the representative of his “grave” picture information has always been very small. The Hugar Archives later discovered the photographer’s relics, the film sample vividly presents Paul Zoe’s creative environment and details, showing the cultural factors affecting his work, the style and content of the work, also Suggesting a delicate relationship between Paul and photographer Peter Hugar.