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几块略加雕凿的石材,一些体量巨大、焊接而成的金属构件,使人辨别不出具体物象的几何形体的构成模样,反射着四周的摩天建筑,反射着四周的广场、草坪,也反射着二十世纪社会生活的进步与繁荣,欢乐与迷惑。人们或许匆匆走过它们的身边,或许流连、驻足于其间,喜欢就多看几眼,不喜欢就不看,爱什么是什么——这,就是典型的“现代雕塑作品”。 也许它的不事喧嚣与它的同胞兄弟绘画相比更少成为现代艺术发展史中的热点而不那么为评论家们所关注。但勿庸置疑的是,毕竟它已经在我们的现代社会中悄然而坚决地生根开花了。
A few slightly carved stone, a number of huge, welded metal components, people can not tell the shape of the concrete object of the body shape, reflecting the surrounding skyscrapers, reflecting the surrounding squares, lawns, It also reflects the progress, prosperity, joy and confusion of social life in the twentieth century. People may hurried past their side, maybe linger, stop in the meantime, like to see more than glances, do not like do not see, what is love - this is a typical “modern sculpture.” Perhaps its no-go noisy has become less of a hot spot in the history of the development of modern art than its fellow-brothers, and less so for critics. But undoubtedly, after all, it has quietly and firmly taken root in our modern society.