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显而易见,乔治·西格尔最近的这次作品展没有显示出其雕塑中那种神秘的力量有任何减少的迹象。当观者一进人展厅,直接面对的便是他那特有的生命符号——个个真人般大小、缚着一层层绷带的石膏人形,他们每人正各自走向不同的方向,事实上又毫无方向可言。作为一种文化或是一种疾病的体现者,无论如何,它们较60年代的那种无忧无虑的状态看似更适合于当代生活,而那时,西格尔正以一颗波普艺术之星出现。
It is obvious that the recent work by George Siegel shows no sign of any diminishing mystical power in the sculpture. As soon as the viewer enters the exhibition hall, he is directly confronted with his unique symbol of life - a life-size figure with plaster casts in layers of bandages, each of whom is moving in a different direction, in fact There is no direction at all. In any case, as a manifestation of a culture or a disease, they appear to be better suited to contemporary life than the carefree ones of the 1960s, when Siegel, meanwhile, Art Star appears.