03中英文雙語畢設(shè)外文翻譯成品1960–1980年間的纖維藝術(shù)及藝術(shù)與工藝等級研究

1、<p>　　外文標題：Fiber Art and the Hierarchy of Art and Craft, 1960–80</p><p>　　外文作者：Elissa Auther</p><p>　　文獻出處：《Journal of Modern Craft》 , 2008 , 1 (1) :13-33</p><p>　　英文801單詞， 475

2、1字符，中文1417漢字。</p><p>　　此文檔是外文翻譯成品，無需調(diào)整復(fù)雜的格式哦！下載之后直接可用，方便快捷！只需二十多元。</p><p><b>　　原文：</b></p><p>　　Fiber Art and the Hierarchy of Art and Craft, 1960–80</p><p>

3、;　　Elissa Auther</p><p><b>　　Abstract</b></p><p>　　“Fiber Art and the Hierarchy of Art and Craft, 1960– 1980” both explores the artistic, historical, institutional and extra-aestheti

4、c forces affecting the formation of the ?ber movement and evaluates the curatorial strategies of Mildred Constantine and Jack Lenor Larsen to negotiate the hierarchy of art and craft in order to elevate ?ber as a medium

5、of “high art.” The analysis considers the emergence of the category of ?ber art in the 1960s and 1970s, the cultural contexts in which ?ber or textil</p><p>　　Alan Saret’s Untitled (1968) (Figure 1), a work

6、of rope and wire and Alice Adams’s Construction (1966) (Figure 2), of rope and steel cable, share signi?cant formal similarities. Both works are ?oor based, of similar size and shape, and both utilize materials associate

7、d with “craft,” hand labor or industry. Indeed, one could conclude that the same artist made both works. But this is not the case, and the two artists were associated with very different artistic circles in the 1960s: Sa

8、ret was an a</p><p>　　In 1972, Mildred Constantine—a former curator of architecture and design at the Museum of Modern Art (MoMA), New York—reproduced Adams’s Construction in Beyond Craft, the ?rst in-depth

9、study of the emerging ?ber art movement.1 This important text, co-authored with textile designer Jack Lenor Larsen, chronicled the movement’s evolution, de?ned its aesthetic priorities and defended work made of ?ber as “

10、?ne art.” In 1963, Adams’s unorthodox woven works had been included in New York’s Museum of Con</p><p>　　In 1961, with Lenore Tawney’s solo exhibition at the Staten Island Museum, ?ber art as it would be rec

11、ognized in the following two decades made its public debut in a ?ne-art context. The show consisted of forty works produced between 1955 and 1961 in a technique now referred to as open-warp weave: a structure in which la

12、rge parts of the warp are left unwoven. The reception of this and subsequent work demonstrates that from the start ?ber artists experienced considerable resistance from the realm</p><p>　　of both craft and ?

13、ne art for the way their work violated conventions of both practices. Tawney recalled that her early “open-warp weaves ... caused quite a controversy [amongst weavers]. No one had done this kind of weaving ... It’s again

14、st the rules and those people who go by the rules were against it” (Tawney 1978: n.p.).</p><p>　　The ?rst major American exhibition of the new genre of ?ber art was MoMA’s Wall Hangings (Figures 6 and 7), co

15、-curated by Constantine and, at her invitation, Larsen. With this exhibition, the two established themselves as the ?ber movement’s leading experts and also set the canon of vanguard ?ber art (or “Art Fabric,” as they ca

16、lled it). Wall Hangings presented to the American museum-going public the ?rst international survey of primarily large-scale, abstract woven and off-loom work in ?ber.</p><p>　　References </p><p&

17、gt;　　Adamson, Glenn. 2007. Thinking Through Craft. Oxford and New York: Berg.</p><p>　　Albers, Anni. 1940. Hand WeavingToday: Textile Work at Black Mountain College. The Weaver 6(1): 3–7.</p><p>

18、;　　Albers, Anni. 1959. Pictorial Weaves. Cambridge, MA: MIT Press.</p><p>　　Andreae, Christopher. 1970. String and Rope. The Christian Science Monitor, January 23.</p><p>　　Atwater, Mary. 1941.

19、It’s Pretty, But is it Art? The Weaver 6 (3): 13–14, 26.</p><p>　　Battcock, Gregory. 1969. Claire Zeisler. Arts Magazine, 43(6): 65.</p><p>　　Bourgeois, Louise. 1969. The Fabric of Construction.

20、</p><p>　　Craft Horizons 29: 31–5.</p><p>　　Collins, James. 1973. Review. Artforum 11(10): 89–93.</p><p>　　Constantine, Mildred. 1999. Personal interview with the author, February 2

21、3.</p><p>　　Constantine, Mildred and Larsen, Jack Lenor. 1969.</p><p>　　Wall Hangings. New York: Museum of Modern Art.</p><p>　　Constantine, Mildred and Larsen, Jack Lenor. 1972.<

22、;/p><p>　　Beyond Craft:The Art Fabric. New York:Van Nostrand.</p><p><b>　　譯文：</b></p><p>　　1960–1980年間的纖維藝術(shù)及藝術(shù)與工藝等級研究</p><p><b>　　艾麗莎·亞瑟</b>&l

23、t;/p><p><b>　　摘要</b></p><p>　　“1960–1980年間的纖維藝術(shù)及藝術(shù)與工藝等級研究”都探討了藝術(shù)、歷史、制度和外在的美學力量對纖維運動的形成所產(chǎn)生的影響，同時也都評價了米爾德里德·康斯坦丁和杰克·蘭諾·拉森用來衡量藝術(shù)與工藝等級用以作為將纖維提升為“高雅藝術(shù)”媒介的策展者策略。文章分析了20世紀60年代和7

24、0年代的纖維藝術(shù)范疇的出現(xiàn)，該時期內(nèi)纖維或紡織品應(yīng)用的文化背景，超越藝術(shù)和工藝等級的策略，以及其他的定義了纖維在藝術(shù)等級中的邊緣性，并塑造藝術(shù)家、批評家和策展人對美學界限反應(yīng)的支配和從屬關(guān)系。</p><p>　　艾倫·圣瑞德的《無題》（1968）是一幅運用繩子與織線的編制作品（見圖1）， 愛麗絲·亞當斯的《建筑》作品用的是繩子與鋼絲繩，這兩幅作品有及其重大的相似之處。他們都是以平面為基礎(chǔ)，大

25、小和形狀都相似，同時也都使用與“手工藝”，手工勞動或工業(yè)相關(guān)的材料。事實上，人們都認為這兩部作品出自同一位藝術(shù)家之手。但事實并非如此，在20世紀60年代，這兩位藝術(shù)家身處兩個截然不同的藝術(shù)圈：薩雷特是一個反形式的雕塑家，而亞當斯則與所謂的“纖維藝術(shù)運動”聯(lián)系在一起。此外，這些作品的展出和接受度也大有不同。比較這兩個相似作品的不同接受度，不僅可以發(fā)現(xiàn)纖維的出現(xiàn)并作為了一種新的“高雅藝術(shù)”的媒介，而且也揭示了如何從多個領(lǐng)域或位置提升纖維的高

26、度，在20世紀60年代和70年代，每一個纖維在由美國的“工藝”一詞應(yīng)用所主導(dǎo)的復(fù)雜的權(quán)力關(guān)系網(wǎng)絡(luò)內(nèi)都有其獨特位置。</p><p>　　1972年，紐約現(xiàn)代藝術(shù)博物館（MoMA）的前建筑與設(shè)計策展人米爾德里德·康斯坦丁在“超越工藝”展覽中再現(xiàn)了亞當斯的作品《建筑》，這是對新興的纖維藝術(shù)運動的首次深入研究。1 這篇文章是米爾德里德與紡織品設(shè)計師杰克倫納拉爾森共同撰寫的，其記錄了該運動的演變過程，同時定義了

27、纖維的美學優(yōu)先性，并為纖維作品辯護，稱其為“精美的藝術(shù)”，具有非常重要的作用。1963年，亞當斯的非正統(tǒng)的編織作品被收錄進紐約當代工藝博物館編織形式的展覽（見圖3），康斯坦丁和拉森的研究特別指出這一展覽的開創(chuàng)性地位。2</p><p>　　1961年，斯塔頓島博物館舉辦的雷諾爾·塔妮的個人展，在接下來的20年里，該展覽被公認為是纖維藝術(shù)在藝術(shù)背景下的首次公開亮相。該展覽包括了1955年至1961年期間制

28、作的四十幅作品，運用了現(xiàn)在稱作的“開放經(jīng)編”技術(shù)：該技術(shù)運用了一種結(jié)構(gòu)，其中的經(jīng)紗都是未織的。人們對這一作品和后續(xù)作品的接受度表明：從一開始，纖維藝術(shù)家們在工藝與美術(shù)領(lǐng)域都遇到了相當大的阻力，因為他們的作品違反了兩種慣例。塔妮回憶到，她早期的“開放經(jīng)編技術(shù)……”在織工中引起了相當大的爭議。沒有人做過這種編織……因為該編織違反了規(guī)則，那些遵守規(guī)則的人對其表示反對”（塔妮1978:n.p.）。</p><p>　　美

29、國第一個大型的纖維藝術(shù)展覽是在現(xiàn)代藝術(shù)博物館展示的壁掛作品（見圖6和7），該展覽由康斯坦丁以及她邀請的塔妮聯(lián)合策展。在這次展覽中，兩人確立了自己作為纖維運動的主要專家的地位，并確立了先鋒纖維藝術(shù)（或稱其為“藝術(shù)織物”）的標準。在美國博物館的墻上陳列的壁掛作品，是國際上第一個主要的大規(guī)模的，抽象編織和非織布機的纖維編織作品。</p><p><b>　　參考文獻</b></p>

30、<p>　　Adamson, Glenn. 2007. Thinking Through Craft. Oxford and New York: Berg.</p><p>　　Albers, Anni. 1940. Hand WeavingToday: Textile Work at Black Mountain College. The Weaver 6(1): 3–7.</p>&l

31、t;p>　　Albers, Anni. 1959. Pictorial Weaves. Cambridge, MA: MIT Press.</p><p>　　Andreae, Christopher. 1970. String and Rope. The Christian Science Monitor, January 23.</p><p>　　Atwater, Mary.

32、1941. It’s Pretty, But is it Art? The Weaver 6 (3): 13–14, 26.</p><p>　　Battcock, Gregory. 1969. Claire Zeisler. Arts Magazine, 43(6): 65.</p><p>　　Bourgeois, Louise. 1969. The Fabric of Constru

33、ction.</p><p>　　Craft Horizons 29: 31–5.</p><p>　　Collins, James. 1973. Review. Artforum 11(10): 89–93.</p><p>　　Constantine, Mildred. 1999. Personal interview with the author, Febr

34、uary 23.</p><p>　　Constantine, Mildred and Larsen, Jack Lenor. 1969.</p><p>　　Wall Hangings. New York: Museum of Modern Art.</p><p>　　Constantine, Mildred and Larsen, Jack Lenor. 19