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战后西方雕塑呈现出明显远离形象的倾向。艾莉森·萨尔(Alison Saar)是少数坚持具象传统的艺术家之一,她从中世纪木刻传统和“天真”的民间艺术中汲取营养,其木制作品具有末完成的砍凿特征,使观者的鉴赏超越了模型制造术,进而领悟雕像自身的含义。萨尔倡导富于想象的幻想过程,她的作品涉及到家庭、身份、种族和性别等问题,虽然根植于个人的经历和家族史,但却启迪了观者自己的身份意识和个人见解。
Post-war Western sculpture showed a clear trend away from the image. Alison Saar, one of the few artists who adheres to the iconic tradition, draws on nutrition from medieval woodcut traditions and “naive” folk art, whose wooden work has the unfinished chopping feature, So that the appreciation of the viewer beyond the model making, and then realize the meaning of the statue itself. Saar advocates an imaginative fantasy process. Her work involves issues such as family, status, race and gender. Although her works are rooted in personal experiences and family history, her works inspire the viewer’s own identity and personal opinions.