[2013.02The alchemist

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标题: [2013.02.23] The alchemist 妙手点石成金
作者: 敛刃 时间: 2013-2-26 21:17
标题: [2013.02.23] The alchemist 妙手点石成金
本帖最后由 敛刃 于 2013-2-26 23:21 编辑
Pop art
波普艺术【注1】
The alchemist
妙手点石成金
A lifetime of art about art
为艺术的艺术而倾尽一生
Feb 23rd 2013 |From the print edition
090 Books and arts - Roy Lichtenstein.mp3(779.39 KB, 下载次数: 67)
/forum.php?
mod=attachment&aid=NDk5MDR8NTQwZDc5MDk5NzljYjczMTlkNThkNGJjZmVlOTM4ZGR8MTM2NDAxNDk1Mw%3D%3D&request=yes&_f=.mp3
And with this, he became a big fish
此画问世之后，他声名鹊起
ROY LICHTENSTEIN managed a neat trick. Though his cartoonish canvasses feature the pulpy imagery of
comic strips and advertisements, every work is unmistakably his. He turned worthless visual clichés
into valuable works of art. This mysterious alchemy—when does a mass-market image become something
worthy of a museum?—preoccupied him for his entire career. The fruits of these rather cerebral
labours are now on view at Tate Modern in London, where a big, world-touring retrospective of his
work, co-organised with the Art Institute of Chicago, opens this week.
罗伊•李奇登斯坦【注2】手法高超。

尽管他的卡通创作主要是在廉价连环漫画和广告方面，但每件作品都打上了他
那鲜明的个人印记。

他把毫无价值的陈腐视觉题材变成了珍贵的艺术品。

他的整个事业生涯都献给了这种神奇
的“点石成金之术”——让面向大众的美术作品登上博物馆的殿堂。

本周，伦敦泰特现代艺术馆将和芝加哥艺术学
院将联合举办一场大型环球回顾展，向世人展现了李奇登斯坦绞尽脑汁留下的艺术果实。

Born in New York in 1923, Lichtenstein began working at a time when the important painters were
splattering and swooshing their emotions on canvas. His early abstract paintings bear the vital
brushstrokes of this expressive era, but unmemorably so, and were duly forgotten. His breakthrough
came in 1961 with “Look Mickey” (pictured), a painstaking oil reproduction of an illustration of
Mickey Mouse and Donald Duck, complete with speech balloon and the Ben-Day dots of commercial
printing. The painting is provocative (what makes it art?), but also visually arresting. Like most of Lichtenstein’s later work, this canvas has a seductive, easy appeal. Flat, cool and perfectly
composed, it would look great over the couch.
李奇登斯坦于1923年出生在纽约。

他走上艺术道路的时候，那些名画家正在帆布上挥毫泼墨，抒发自己的情感。

那
是一个富于表现力的时代，李奇登斯坦早期的抽象画带着充满活力的时代笔触，但却缺乏特色，理所当然地被人们
遗忘了。

1961年，李奇登斯坦用油画《看哪，米奇！》（如图）取得了突破。

他把一张《米老鼠和唐老鸭》的插画
精心地用油画形式再现了出来，同时也融入了对话泡泡和商业印刷品中的小点构图。

这幅油画存在一些争议（有人
认为它算不上是艺术），但确实引人注目。

就像李奇登斯坦大部分后期作品一样，这幅帆布油画有一种夺人眼球的
魔力——色调平和清爽、构图精妙，非常适合挂在沙发的上方。

“Is He the Worst Artist in the US?” asked Life magazine in 1964. Some wondered whether he was an
artist at all. But unlike Andy Warhol, his most notorious Pop peer, Lichtenstein was not a fame-
hound. His visual games were playful, not cynical. He worked quietly and contentedly in his New York
studio, creating art about art until he died in 1997. The riddles of life left him inspired, not frustrated. Fittingly, his work still provides more questions than answers.
1964年，《生活》杂志以“李奇登斯坦是不是美国最糟糕的艺术家？”为题，撰文发问。

甚至有人怀疑他根本不算艺术家。

然而，和声名狼藉的波普艺术家安迪•霍沃尔不同，李奇登斯坦并非沽名钓誉之徒。

他的作品带着调侃成份，却没有愤世嫉俗的意味。

他一直在纽约的工作室里静静地、知足地工作，创作“艺术的艺术”，直到1997年辞世为止。

生活充满了未知，他却并没有因此沮丧失意，反而从中汲取了灵感。

确切地说，他的作品留给我们更多的是思考，而不是现成的答案。

From the print edition: Books and arts
译者注：
1.
波普艺术（Pop Art），又称普普艺术，是一个探讨通俗文化与艺术之间关连的艺术运动。

波普艺术试图推翻抽象表现艺术并转向符号，商标等具象的大众文化主题。

波普艺术这个字目前已知的是由1956年英国艺术评论家罗伦斯·艾伟（Laurence Alloway）所提出。

波普艺术同时也是一些讽刺，市侩贪婪本性的沿伸。

简单来说，波普艺术是当今较底层艺术市场的前身。

波普艺术家大量复制印刷的艺术品造成了相当多评论。

早期某些波普艺术家力争博物馆典藏或赞助的机会。

并使用很多廉价颜料创作，作品不久之后就无法保存。

这也引起一些争议。

1960年代，波普艺术的影响力量开始在英国和美国流传，造就了许多当代的艺术家。

后期的波普艺术几乎都在探讨美国的大众文化。

从意识形态和社会发展的背景来看，波普艺术在1960年代来反抗当时的权威文化和架上艺术，不但具有对传统学院派的反抗，也同时具有否定现代主义艺术的成份，虚无主义、无政府主义是波普艺术的精神核心。

波普艺术特殊的地方在于它对于流行时尚有相当特别而且长久的影响力。

不少服装设计，平面设计师都直接或间接的从波普艺术中取得灵感。

2.
Roy Lichtenstein (October 27, 1923 – September 29, 1997) was an American pop artist. During the 1960s, his paintings were exhibited at the Leo Castelli Gallery in New York City and, along with Andy Warhol, Jasper Johns, James Rosenquist, and others. He became a leading figure in the new art movement. His work defined the basic premise of pop art better than any other through parody. Favoring the old-fashioned comic strip as subject matter, Lichtenstein produced hard-edged, precise compositions that documented while it parodied often in a tongue-in-cheek humorous manner. His work was heavily influenced by both popular advertising and the comic book style. He described Pop Art as, "not 'American' painting but actually industrial painting".
作者: _易雪_ 时间: 2013-2-26 22:09
本帖最后由 _易雪_ 于 2013-2-26 22:25 编辑
占座~ @敛刃
1.
worthless
价值不高
是“一点价值都没有”吧~
毫无价值
2.
把李奇登斯坦绞尽脑汁留下的艺术果实公诸于世。

（把……公布于众 感觉是以前藏着 现在公布了 不过……也许……就是“回顾展”而已……）
向世人展现……
3.
when the important painters were splattering and swooshing their emotions on canvas.
那些名画家正在帆布上挥毫泼墨，画着油画。

（挥毫撒墨 我瞬间想到国画……不过后面是油画 ）
那些名画家正在帆布上唰唰画着油画，颜料飞溅，抒发自己的情感。

4.
this canvas has a seductive, easy appeal
这幅帆布油画有一种夺人眼球的魔力
（easy 漏了诶）
这幅帆布油画轻易就俘获了人们的注意力
作者: Yippee 时间: 2013-2-26 22:35
when does a mass-market image become something worthy of a museum?
让畅销的美术作品变得价值连城
这句中，把mass-market理解成“大众艺术”，worthy of a museum译为本意“登上博物馆的殿堂”好些？可以和后面跟着的“马上办展览”呼应上。

韦氏对mass-market解释为：appealing or sold to a general audience，似乎和畅销有点出入。

否则按照现在的译法，前面还有一句“他把价值不高的陈腐视觉题材变成了珍贵的艺术品”，感觉两句差不多意思作者: 敛刃 时间: 2013-2-26 22:48
_易雪_ 发表于 2013-2-26 22:09
占座~ @敛刃
1.
感谢小雪意见
1、2已改
3 抒发情感加上了，挥毫泼墨先保留
4 easy 故意没译的，我觉得 easy appel 译为“魔力”较好
作者: baigoon 时间: 2013-2-26 23:16
感觉这里的flat不是说"画布"平坦,所有的画布都应该是平坦的吧...
是不是在说画的内容或主题？
flat有这样一个意思：lacking the expected range or depth; not designed to give an illusion or depth. "a flat two-dimensional painting"
作者: 敛刃 时间: 2013-2-26 23:20
baigoon 发表于 2013-2-26 23:16
感觉这里的flat不是说"画布"平坦,所有的画布都应该是平坦的吧...
是不是在说画的内容或主题？
flat有这样一 ...
flat: very smooth, with no contrast between light and dark
有可能是指“平和，没有深浅的色差”
作者: yannanchen 时间: 2013-2-27 05:35
creating art about art ?
为什么是art about art？
我们见过 art for art‘s sake， 但是这儿是 art about art
见译者注2:
Favoring the old-fashioned comic strip as subject matter, Lichtenstein produced hard-edged, precise compositions that documented while it parodied often in a tongue-in-cheek humorous manner. （it 不知何指？）
我觉得关键是parodied（滑稽地模仿）别人的作品， 比如唐老鸭和米老鼠是别人的艺术， 他模仿过来用， 创造出新艺术， 这就是art about art了。

作者: yannanchen 时间: 2013-2-27 05:41
本帖最后由 yannanchen 于 2013-2-27 05:43 编辑
Taking a stand against art-about-art-about-art June 27, 2011 - 3:02 PM
This piece on the Venice Bienale, by New York Magazine's Jerry Saltz, gets at what I think is one of the pervading problems of the contemporary art world today: a surfeit of art about art. Too much painting that references other painting, or sculpture that talks about other sculpture, without the addition of much else to sustain our interest. (The best works of art strike a much better balance between historical nods and forward thinking.) Or criticism focused almost exclusively on where an artwork sits in the grand narrative of art history at the expense of understanding what it actually means to us today
这一段引文， 有助于理解 art about art
但是要翻译出art about art 的真正意思， 却仍是一个挑战。

作者: 敛刃 时间: 2013-2-27 13:05
本帖最后由 敛刃 于 2013-2-27 13:07 编辑
yannanchen 发表于 2013-2-27 05:41
Taking a stand against art-about-art-about-artJune 27, 2011 - 3:02 PM
This piece on the Venice Bien ...
感谢陈版提供 art about art 这方面的资料
根据译注2的
while it parodied often in a tongue-in-cheek humorous manner.
和陈版提供的 Taking a stand against art-about-art-about-art
a surfeit of art about art. Too much painting that references other painting, or sculpture
that talks about other sculpture, without the addition of much else to sustain our
interest.
可以看出这篇文章里所说的 art about art 可能是指“在别人现有的艺术基础上加以模仿并融入新元素以创造出自己的艺术”
比如第二段的“a painstaking oil reproduction of an illustration of Mickey Mouse and Donald Duck, complete with speech balloon and the Ben-Day dots of commercial printing. ”
这里我又想了下，或许可以译为“由艺术衍生而来的艺术”
作者: 李修斯 时间: 2013-2-27 17:31
我找了找【Ben-Day dots】的中文翻译，有个先译， 本戴点，一种印刷工艺。

翻译成 小点构图倒是更好理解。

/a/xinwen/2011/1213/154.html
作者: 敛刃 时间: 2013-2-27 17:55
李修斯 发表于 2013-2-27 17:31
我找了找【Ben-Day dots】的中文翻译，有个先译， 本戴点，一种印刷工艺。

翻译成 小点构图倒是更
好理解。

h ...
嗯 这个没有固定的译法
具体的 Ben-day dots （英文维基） 如图：
这个术语是为了纪念 Benjamin Henry Day 而用他的名字命名的。

这里译为“小点构图”而不是根据名字直译
为“本戴点”主要是为了方便读者理解。

作者: z_lee 时间: 2013-2-28 10:16
译得很棒
作者: 赵小攸 时间: 2013-2-28 11:18
请教个问题 第一行的pulpy imager怎么翻译的？
作者: 敛刃 时间: 2013-2-28 12:48
赵小攸 发表于 2013-2-28 11:18
请教个问题 第一行的pulpy imager怎么翻译的？
Pulp magazines (often referred to as "the pulps") are inexpensive fiction magazines published from 1896 through the 1950s. The typical pulp magazine was 7 inches (18 cm) wide by 10 inches (25 cm) high, 0.5 inches (1.3 cm) thick, and 128 pages long. Pulps were printed on cheap paper with ragged, untrimmed edges.
The term pulp derives from the cheap wood pulp paper on which the magazines were printed.
这里的形容词形式 pulpy 应该指的是用这种廉价纸来印刷，所以 the pulpy imagery of comic strips 译为廉价连环漫画。

这也符合本句开头 Though 的让步意味
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