艺术家

Personality is perhaps essential to many artists; however to ADO, it is less important in a team work practice. They prefer collaboration to individualism. A response to surroundings is more crucial than a domination of the entire environment. Having a complementary view to space, ADO considers art as transformations without damaging existing elements or characteristics of a particular place.

个人色彩对许多艺术家来说非常重要，然而，对於ADO他们，创作并非单求强调个人，他们重视群体合作和配合，不喜欢以纯粹感性作为创作手段；个人色彩固然是每件艺术品的灵魂，以公共艺术而言，更重要是创作人对环境的回应，如何以不破坏原有结构的原则下，对空间再创造，因此，他们对整体性的追求，不祗限於群体合作，亦显示於其艺术个体与整体环境的互补融合，这点表明了他们从「补足」的意念来看公共艺术。

They target key individuals like civil servants, academics, and artists in order to ensure their complicity or silence.

他们的目标放在关键的个人喜欢公务员，学者和艺术家，以确保他们的同谋或沉默。

The artist utilizes the massive state and the fan-shaped composition displays by a series of naked images the time and the spatial tendency in a picture.

艺术家运用块状的型态和扇形构图以一系列裸体形象把时间与空间的动态都表现在一张画面上。

Some books were published unsigned due to the unexpected death of the artist before publication, as happened with the The Arabian Nights illustrated by Arthur Szyk, Comus illustrated by Edmund Dulac, and the Arthur Rackham illustrated Wind In The Willows.

一些未签名的书籍出版了因意外死亡的艺术家出版前，就发生这样的天方夜谭说明阿瑟Szyk ，灯台说明埃德蒙杜拉克，和阿瑟拉克姆说明风柳树。

When printing works, the artist should skillfully combine the expressing modes of lines and coloring with the special texture, concavo convex, depth and thickness of Tibetan paper, thus enhancing the artistic expression of the prints and rendering the works of "Zangzuxiangba" with unique characteristics.

艺术家们在印制作品时，将线条和着色表现方法与藏纸特有的肌理、凹凸、深浅、厚薄巧妙的结合，增添了版画的艺术表现力，使"藏族祥巴"作品独具特色。

That is the reason why performance art needs new concept of art and the meaning of becoming artist.

这就是为什么表演艺术需要新的概念和艺术成为艺术家的意义。

Although I have done some 3D work, the bulk of my work has been concept art and illustration.

因为我做过一些3D的作品，这对于我后来成为插画家和概念艺术家来说是很好的经验。

Perhaps this is because the arrangement of images, whilst direct is not complete enough, for the artist; he therefore attempts to have his paintings reflect further visual curiosities and realize modern conceptualism at the same time.

也许对于艺术家来说，现成图像的拼贴在具有直接性的同时似乎还不够彻底，他试图让自己的绘画在能够提供当代的观念性的同时，也能够提供更多的视觉乐趣。

As a pioneer of Chinese Conceptual Art, Gu Dexin played a significant role in the early conceptualist "New Analysts Group". Since his 1989 participation in "Les Magiciens de la Terre" at Center Georges Pompidou in Paris, Gu has been included in several major national and international exhibitions.

作为中国观念艺术的先驱，顾德新是早期概念主义团体"新刻度小组"的重要成员，早在1989年就是巴黎蓬皮杜艺术中心"大地魔术师"国际大展的参展艺术家，历年来参加过国内外多个重要艺术展览。

Come eighth grade he joined Midwest Young Artists' orchestras, playing concertmaster in their Concert and Symphony orchestras by ninth and twelfth grades, respectively.

取得八级后，他加入了中西部青年艺术家弦乐团，分别作为第九和第十二级别的首席小提琴手参加音乐会和弦乐园的演出。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。