迪肯作业代写 艺术展览
Keywords:迪肯作业代写 艺术展览
我认为萨维尔的艺术展览是非常重要的，因为博物馆和画廊是意识形态的空间，推动着一种特殊的艺术理念。尤其是萨维尔的巨大的艺术作品,它是必不可少的在合适的环境中,一个不带走或转移她的作品的影响,如白立方(像萨奇画廊的布局)是专门为一个自治的艺术经验。我坚持的理论是，为了实现这些作品的全面影响，萨维尔故意让观众看起来很小，让他们意识到自己在文化、历史和当代生活中的角色。有争议的是，萨维尔作品的巨大规模使观众挑战了他们的被动地位，因为他们变得如此意识到自己的渺小。这种不舒服的感觉让观众意识到自己在这样的展览中所扮演的角色，让他们能够为作品赋予不同的意义。我认为，利用这种巨大的规模，成功地实现了萨维尔的目标，即把她的主题塞进画布上他们的空间，以显示他们迫切需要讲述自己的故事。我相信，通过制作这个比例的画布，萨维尔的主题是在说:“我在这里。”这就是我的巨大。跟我对峙，解决问题。”这可能是潜在的压倒性的，感官上和精神上的紧张，然而，萨维尔利用她的区域，给绘画的空间，让他们影响他们的观众，以一种方式，使他们解决自己的思想和感情，从而有助于完成自己的作品。史密斯(Roberta Smith)在1999年为《纽约时报》(the New York Times)撰写的一篇文章中完美地阐述了这一点，他说:“要将墙壁般的巨大气势发挥到极致，身体和画作的表面融为一体。
迪肯作业代写 艺术展览
I would argue that where Saville’s art is displayed is that of importance because museums and galleries are ideological spaces that drive a particular idea of art. For Saville’s enormous art pieces, in particular, it is essential to be in a suitable environment, one that does not take away or distract from the impact of her paintings, such as The White Cube (like that of the layout of Saatchi Gallery) which is specifically made for an autonomous experience of art. I adhere to the theory that to achieve the full impact of these pieces Saville purposely makes the viewer seem small to make them conscious of their role in culture, history and contemporary life. It could be disputed that the massive scale of Saville’s pieces makes the viewer challenge their passive status because they become so aware of their smallness. The feeling of uncomfortableness makes viewers aware of the part they play in an exhibition like this and enables them to contribute varied meanings towards the pieces. Using this momentous scale has, I would argue, successfully accomplished Saville’s aim to crowd her subject into their space on the canvas to show their desperate need to tell their stories. I believe by making the canvases of this scale, Saville’s subjects are saying ‘I am here. This is my hugeness. Confront me and deal with it.’. This could be potentially overwhelming, sensually and mentally intense, however, Saville utilises her area and gives the painting’s space for them to impact their viewers in a way so they tackle their own thoughts and feelings and therefore contribute to the completion of piece themselves. Roberta Smith writing for the New York Times in 1999 puts it perfectly when saying ‘to extremes of imposing wall-like massiveness, where the body’s and the painting’s surface become one
