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乔纳森·博罗夫斯基(JonathanBorofsky)在1970、80年代将一些废弃的材料和物件进行组装,并有力而巧妙地将它们置入空间。但90年代以后,他却离开了曾带给他巨大声誉的画廊墙壁和博物馆走廊,全力以赴地投身到大型的户外公共委托项目上。从此,行走的人、奔跑的人、舞蹈的人、分子人、火柴人,一个个巨大的角色开始在全球各地树立。其中《锤打者》、《走向天空》、《梦到我能飞翔》更成为他个人成就的标志。博罗夫斯基认为,艺术中的一切都是自我的表达。然而他那些规模惊人的形象却有着广泛的吸引力,并唤醒了各种层次的含义,它们通过庞大的体量,成为思想的载体。
Jonathan Borofsky assembled some of his discarded materials and objects in the 1970s and 80s and empowered them neatly and skillfully into space. However, after the 90s, he left the gallery walls and museum corridors that had given him a great reputation and devoted himself to the large-scale outdoor public commissioned projects. Since then, walking people, running people, dance people, people, Stickman, a huge role began to set up around the world. Among them, “Hammer,” “towards the sky,” “Dream I can fly” has become a sign of his personal achievements. Borowski argues that everything in art is self-expression. His spectacular images, however, have a wide range of appeal and have awakened to various levels of meanings, which, through their enormous mass, have become the carriers of thought.