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时至今日,如果仍有艺术家在画作内部为观众设置观看的视角,并粗暴地在展厅地面上标注欣赏画作的最佳位置,那么这种手段若非拙劣,即为反讽的。简策在“大幻影”中的布置显然属于后者。在“导览”系列中,简策临摹了一些名画的网络图片,并依据单眼视觉的原则在画面中为观者设立了观看位置——唯有在这一定点上,观众才被视为“领受”了画面规定的欣赏效果。实际上,组画中的《导览·丢勒》揭示出该系列的内在逻辑一这件作品临摹丢勒作于16世纪的《量度四书》中的插图,简策通过
To this day, if there are still artists who provide a viewing perspective within the painting for the audience and roughly indicate the best place to enjoy painting on the floor of the exhibition hall, such means are ironic if not clumsy. Simple policy in the “Big Phantasm” in the arrangement clearly belongs to the latter. In the “Guided Tour” series, Jane copied a few pictures of famous paintings and set the viewing position for the viewer in the picture according to the principle of monocular vision - only at this point was the viewer To “accept” the provisions of the screen to enjoy the effect. In fact, Guidul Dührer in the group reveals the inner logic of the series. A copy of this work is illustrated by Dürer as an illustration of the 16th century “Four Sights”