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【精品文档】03中英文双语毕设外文翻译成品:1960–1980年间的纤维艺术及艺术与工艺等级研究

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【精品文档】03中英文双语毕设外文翻译成品1960–1980年间的纤维艺术及艺术与工
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此文档是毕业设计外文翻译成品( 含英文原文+中文翻译),无需调整复杂的格式!下载之后直接可用,方便快捷!本文价格不贵,也就几十块钱!一辈子也就一次的事!外文标题:Fiber Art and the Hierarchy of Art and Craft, 1960–80外文作者:Elissa Auther文献出处:《Journal of Modern Craft》 , 2018 , 1 (1) :13-33(如觉得年份太老,可改为近2年,毕竟很多毕业生都这样做)英文801单词, 4751字符,中文1417汉字。原文:Fiber Art and the Hierarchy of Art and Craft, 1960–80Elissa AutherAbstract“Fiber Art and the Hierarchy of Art and Craft, 1960– 1980” both explores the artistic, historical, institutional and extra-aesthetic forces affecting the formation of the fiber movement and evaluates the curatorial strategies of Mildred Constantine and Jack Lenor Larsen to negotiate the hierarchy of art and craft in order to elevate fiber as a medium of “high art.” The analysis considers the emergence of the category of fiber art in the 1960s and 1970s, the cultural contexts in which fiber or textiles were utilized in the period, strategies of transcending the hierarchy of art and craft, and other relations of dominance and subordination that defined fiber’s marginality in the hierarchy of the arts and shaped the responses of artists, critics and curators to aesthetic boundaries.Alan Saret’s Untitled (1968) (Figure 1), a work of rope and wire and Alice Adams’s Construction (1966) (Figure 2), of rope and steel cable, share significant formal similarities. Both works are floor based, of similar size and shape, and both utilize materials associated with “craft,” hand labor or industry. Indeed, one could conclude that the same artist made both works. But this is not the case, and the two artists were associated with very different artistic circles in the 1960s: Saret was an anti-form sculptor, whereas Adams was associated with what came to be known as the fiber art movement. Moreover, the works were exhibited and received very differently. Comparing the varied reception of these two similar objects reveals not only fiber’s arrival as a new medium of “high art” but also how this elevation of fiber issued from multiple sites or positions, each with a distinct location within the complex network of power relations governed by the application of the term “craft” in the United States in the 1960s and 1970s. In 1972, Mildred Constantine—a former curator of architecture and design at the Museum of Modern Art (MoMA), New York—reproduced Adams’s Construction in Beyond Craft, the first in-depth study of the emerging fiber art movement.1 This important text, co-authored with textile designer Jack Lenor Larsen, chronicled the movement’s evolution, defined its aesthetic priorities and defended work made of fiber as “fine art.” In 1963, Adams’s unorthodox woven works had been included in New York’s Museum of Contemporary Crafts’ exhibition Woven Forms (Figure 3), a show that Constantine and Larsen’s study singled out as groundbreaking.2In 1961, with Lenore Tawney’s solo exhibition at the Staten Island Museum, fiber art as it would be recognized in the following two decades made its public debut in a fine-art context. The show consisted of forty works produced between 1955 and 1961 in a technique now referred to as open-warp weave: a structure in which large parts of the warp are left unwoven. The reception of this and subsequent work demonstrates that from the start fiber artists experienced considerable resistance from the realmsof both craft and fine art for the way their work violated conventions of both practices. Tawney recalled that her early “open-warp weaves ... caused quite a controversy [amongst weavers]. No one had done this kind of weaving ... It’s against the rules and those people who go by the rules were against it” (Tawney 1978: n.p.).The first major American exhibition of the new genre of fiber art was MoMA’s Wall Hangings (Figures 6 and 7), co-curated by Constantine and, at her invitation, Larsen. With this exhibition, the two established themselves as the fiber movement’s leading experts and also set the canon of vanguard fiber art (or “Art Fabric,” as they called it). Wall Hangings presented to the American museum-going public the first international survey of primarily large-scale, abstract woven and off-loom work in fiber.References Adamson, Glenn. 2007. Thinking Through Craft. Oxford and New York: Berg.Albers, Anni. 1940. Hand WeavingToday: Textile Work at Black Mountain College. The Weaver 6(1): 3–7.Albers, Anni. 1959. Pictorial Weaves. Cambridge, MA: MIT Press.Andreae, Christopher. 1970. String and Rope. The Christian Science Monitor, January 23.Atwater, Mary. 1941. It’s Pretty, But is it Art? The Weaver 6 (3): 13–14, 26.Battcock, Gregory. 1969. Claire Zeisler. Arts Magazine, 43(6): 65.Bourgeois, Louise. 1969. The Fabric of Construction.Craft Horizons 29: 31–5.Collins, James. 1973. Review. Artforum 11(10): 89–93.Constantine, Mildred. 1999. Personal interview with the author, February 23.Constantine, Mildred and Larsen, Jack Lenor. 1969.Wall Hangings. New York: Museum of Modern Art.Constantine, Mildred and Larsen, Jack Lenor. 1972.Beyond Craft:The Art Fabric. New York:Van Nostrand.译文:1960–1980年间的纤维艺术及艺术与工艺等级研究 艾丽莎·亚瑟摘要“1960–1980年间的纤维艺术及艺术与工艺等级研究”都探讨了艺术、历史、制度和外在的美学力量对纤维运动的形成所产生的影响,同时也都评价了米尔德里德·康斯坦丁和杰克·兰诺·拉森用来衡量艺术与工艺等级用以作为将纤维提升为“高雅艺术”媒介的策展者策略。文章分析了20世纪60年代和70年代的纤维艺术范畴的出现,该时期内纤维或纺织品应用的文化背景,超越艺术和工艺等级的策略,以及其他的定义了纤维在艺术等级中的边缘性,并塑造艺术家、批评家和策展人对美学界限反应的支配和从属关系。艾伦·圣瑞德的《无题》(1968)是一幅运用绳子与织线的编制作品(见图1), 爱丽丝·亚当斯的《建筑》作品用的是绳子与钢丝绳,这两幅作品有及其重大的相似之处。他们都是以平面为基础,大小和形状都相似,同时也都使用与“手工艺”,手工劳动或工业相关的材料。事实上,人们都认为这两部作品出自同一位艺术家之手。但事实并非如此,在20世纪60年代,这两位艺术家身处两个截然不同的艺术圈:萨雷特是一个反形式的雕塑家,而亚当斯则与所谓的“纤维艺术运动”联系在一起。此外,这些作品的展出和接受度也大有不同。比较这两个相似作品的不同接受度,不仅可以发现纤维的出现并作为了一种新的“高雅艺术”的媒介,而且也揭示了如何从多个领域或位置提升纤维的高度,在20世纪60年代和70年代,每一个纤维在由美国的“工艺”一词应用所主导的复杂的权力关系网络内都有其独特位置。1972年,纽约现代艺术博物馆(MoMA)的前建筑与设计策展人米尔德里德·康斯坦丁在“超越工艺”展览中再现了亚当斯的作品《建筑》,这是对新兴的纤维艺术运动的首次深入研究。1 这篇文章是米尔德里德与纺织品设计师杰克伦纳拉尔森共同撰写的,其记录了该运动的演变过程,同时定义了纤维的美学优先性,并为纤维作品辩护,称其为“精美的艺术”,具有非常重要的作用。1963年,亚当斯的非正统的编织作品被收录进纽约当代工艺博物馆编织形式的展览(见图3),康斯坦丁和拉森的研究特别指出这一展览的开创性地位。21961年,斯塔顿岛博物馆举办的雷诺尔·塔妮的个人展,在接下来的20年里,该展览被公认为是纤维艺术在艺术背景下的首次公开亮相。该展览包括了1955年至1961年期间制作的四十幅作品,运用了现在称作的“开放经编”技术:该技术运用了一种结构,其中的经纱都是未织的。人们对这一作品和后续作品的接受度表明:从一开始,纤维艺术家们在工艺与美术领域都遇到了相当大的阻力,因为他们的作品违反了两种惯例。塔妮回忆到,她早期的“开放经编技术……”在织工中引起了相当大的争议。没有人做过这种编织……因为该编织违反了规则,那些遵守规则的人对其表示反对”(塔妮1978:n.p.)。美国第一个大型的纤维艺术展览是在现代艺术博物馆展示的壁挂作品(见图6和7),该展览由康斯坦丁以及她邀请的塔妮联合策展。在这次展览中,两人确立了自己作为纤维运动的主要专家的地位,并确立了先锋纤维艺术(或称其为“艺术织物”)的标准。在美国博物馆的墙上陈列的壁挂作品,是国际上第一个主要的大规模的,抽象编织和非织布机的纤维编织作品。参考文献Adamson, Glenn. 2007. Thinking Through Craft. Oxford and New York: Berg.Albers, Anni. 1940. Hand WeavingToday: Textile Work at Black Mountain College. The Weaver 6(1): 3–7.Albers, Anni. 1959. Pictorial Weaves. Cambridge, MA: MIT Press.Andreae, Christopher. 1970. String and Rope. The Christian Science Monitor, January 23.Atwater, Mary. 1941. It’s Pretty, But is it Art? The Weaver 6 (3): 13–14, 26.Battcock, Gregory. 1969. Claire Zeisler. Arts Magazine, 43(6): 65.Bourgeois, Louise. 1969. The Fabric of Construction.Craft Horizons 29: 31–5.Collins, James. 1973. Review. Artforum 11(10): 89–93.Constantine, Mildred. 1999. Personal interview with the author, February 23.Constantine, Mildred and Larsen, Jack Lenor. 1969.Wall Hangings. New York: Museum of Modern Art.Constantine, Mildred and Larsen, Jack Lenor. 1972.Beyond Craft:The Art Fabric. New York:Van Nostrand.
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