艺术家

It is however with Sewing into Walking that the bottari first appear not as constructed sculpture but as a sculptural situation, defining a ground or field through which the viewer could weave while the artist's body moved through the cloths in the video projection.

正是在Sewing into Walking，"布条"第一次不止是雕塑的物质材料，而成为一种雕塑的状态，它划定一个地面或一片区域，观者可以通过它来进行纺织，同时在影像中，艺术家的身体在布条上运动。

At Manet's funeral, his artist friend degas summed up the course of his life in a single sentence.

在他的葬礼上，马奈的艺术家朋友德迦用简单一句话总结了他的生命历程："我们没有一个人能想象到他有多么伟大。"

Just as Delacroix (1798-1863) said,"To an artist, imagination is the most sublime quality he should own; to an art lover, it is also indispensable."

正如德拉克洛瓦（1798-1863）所说："想象，对于一个艺术家来说，这是他所应具备的最崇高的品质；对于一个艺术爱好者来说，这一点同样不可缺少。"

Eugene Delacroix, a 19th century French painter declared,"A picture is nothing but a bridge between the soul of the artist and that of the spectator." We should take time to cross that bridge.

德拉克洛瓦，一位19世纪的法国画师宣称，"一幅画作不仅是艺术家的心灵与观众之间的桥梁"我们需花费时间来跨越这座桥梁。

The world art history told us that any accomplished artist, such as Rubens, Velasquez, Rembrandt, Delacroix, Repin and Suricov all gave a great emphasis to the practice of skills.

世界艺术历史告诉了我们任何的完成艺术家，像是鲁本， Velasquez ，伦勃朗， Delacroix ，再大头针和 Suricov 全部把很棒的强调给技术的练习。

What moves men of genius, or rather what inspires their work, is not new ideas, but their obsession with the idea that what has already been said is still not enough---Eug ne Delacroix,French Romantic artist.

驱动天才或者说赋予他们灵感的不是什么新想法，而是令他们痴迷的一个观点：已经说过的东西远远不够---尤金。德拉克罗马，法国浪漫主义艺术家。

If both popular custom and modern political practice have conspired to destroy of denude the self, would not the task of the artist be to find it and give it place?

如果说是社会习俗和现代政治手段联手扼杀和剥夺了自我，那么艺术家的使命不就是要找到自我并给它定位吗？

In Joyce's opinion, the artist, who wants to reach the highest stage and to gain the insights necessary for the creation of dramatic art, should rise to the position of a godlike objectivity; he should have the complete conscious control over the creative process and depersonalize his own emotion in the artistic creation.

在乔伊斯看来，艺术家而要达到的最高阶段，赢得必要的真知灼见戏剧艺术创作、要崛起为一个神圣的客观性；他应该彻底自觉控制自己情绪的创作过程和人格化的艺术创作。

Artists such as Willie Doherty, who as a child growing up in Derry, in Northern Ireland, during the 1960s and 1970's and witnessing atrocities and their effects on his community on a regular basis, have certainly responded to their situation by making art about it but their artwork is not contained or defined by that context.

比如象威利·杜赫提这样的艺术家，其孩提时代（20世纪60和70年代）在北爱尔兰的德里度过，频频目睹残酷的暴行及对他所在社区的影响。他们自然而然的会通过艺术作品对自身状况予以回应，但是他们的作品并不拘泥于这种场景。

How to introduce more artists of this kind to audiences home and abroad is the original desirability of this exhibition.

如何将当代概念通过更多的重庆艺术家群体介绍给全中国和全世界，这也是我们这个展览的一种最原初的诉求。

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。