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在20世界的喧嚣和粗暴中,一颗柔弱细腻敏感的心,将会如何感受这个苦难重重的世界?如果这颗心属于一位艺术家,那么他又将如何表达自己的感受?而承载这种感受的作品,又能否在这个世纪勇猛乃至无忌的探索之中,找到自己可以容身的一席之地?法国雕塑家乔治·让克洛以自己的方式,以他的泥塑艺术回答了这些问题。他无疑是独特的,因为他不属于任何一种“现代”、“后现代”甚或其它的什么主义的标签之列,而只属于他自已。他所给予当今画坛的最重要的启示就是忠实于自己的灵魂,每个人独有的灵魂。不幸的是他已于今年的3月30日于巴黎病故,这里所作的一点粗略的介绍就算作我们对他的一次小小的纪念,他值得我们去关注和牢记。 凯兹·哈林眼中的世界也同样的纷纷扰扰与苦难重重,但却走出了一条完全迥异于让克洛的艺术之路,它同样是那么真实,真实得不回避任何世间丑陋。这位31岁便离开人世的年轻人一定是不忍于让克洛那样的沉重,转而用一种信手涂鸦的艺术语言平衡、释放着深深的压力,应该感谢他带给我们的一份轻松和畅快。
How can one feel this world of misery in the hustle and bustle of the world of 20, and how he will express his feelings if the heart belongs to an artist? Feelings of the works, but also in this century brave and even wild exploration to find their place to live? French sculptor George Jean Clover in his own way, with his clay sculpture to answer these questions. He is undoubtedly unique because he does not belong to any one of the labels of “modern”, “postmodern” or even any other doctrine but belongs to himself. The most important revelation he has given today’s painting circles is his unique soul, which is faithful to his own soul. Unfortunately, he died in Paris on March 30 this year. The slightest introduction here made him a little memorial to him and deserved our attention and keeping in mind. In the same way that the world in Katz Harlem’s eyes was disturbing and suffering, it came out of a completely different way from Jean-Claude’s art. It is equally true and does not evade any ugliness. The 31-year-old left young man must have embarrassed Kroh’s heavy weight to balance the art language of graffiti, releasing deep pressure and thanks to him for his ease And carefree.