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大卫·乔斯利特:我们可以发现在60-70年代,艺术家的身体是作品的一部分。她把自己作为一种物品来操作和理解,比如说桌子上有很多不同的东西,比如有一把枪,有很多水果,邀请观众做想要做的任何事情,看一下会发生什么事情。把自己作为一个形象和物品放在作品当中,然后让观众把他看作现实当中的物品或者是影像,所以你坐在他对面,就像是帕梅拉·M·李说的,如果你和他一起喝茶你会做什么事情,但是他们当中并不是有对话,而是你要思考你坐在那个地方,这个距离代表了什么?我觉得可以回到后观念艺术来思考,你会发现整个世界全球化不是一个图像,而是一个情景。
David Josslett: We can see that in the 60s-70s, the artist’s body was part of the work. She operates and understands herself as an item. For example, there are many different things on the table, such as a gun, lots of fruit, inviting viewers to do whatever they want to do and see what happens. Put yourself in the works as an image and an object and then let the audience see him as an actual object or an image, so you sit opposite him, as Pamela M Lee said if you What do you do with tea while he is drinking, but there is not a dialogue among them, but you have to think about where you are sitting. What does this distance represent? I think you can go back and think about concept art and you will find that the whole Globalization of the world is not an image, but a scene.