视觉艺术家

The Academy of Visual Arts invited renowned ceramicist from the Mainland Mr. Zhu Legeng to deliver a lecture on campus yesterday (24 March). Participating staff, students and guests had the opportunity to learn more about this well-known ceramist and his work.

视觉艺术院昨日邀请了中国著名陶瓷艺术家朱乐耕先生到校主持专题讲座，分享「我的创作：在中国社会发展背景下」，让师生和嘉宾近距离认识这位当代知名艺术家和他的陶瓷作品。

The artist only needs to make the minimum adjustment, but these adjustments are necessary; because this daintiness in formality is not only the requirement for "aestheticism" but it expresses the artist's attitude for traditional culture. Among all, it includes the respect for cultural foundation that has been crucial in his personal growth; and it also shows the dedication that he transforms it to modern visual formality.

艺术家只需要对其进行极简式的调整即可，但这种调整却是必要的，因为这些形式上的考究并不仅仅是一种"审美"的需要，而表明了艺术家对待传统文化的一种态度，其中，既包含着对自我成长中至关重要的文化基础的尊重，亦显示出他将其转化为现代艺术视觉样式的努力。

When concept turns into visual text, it will not just exist in the cultural meanings. So the complicated relationship among visual technique, cultural concept and textuary analysis should also be handled. Thus, artists' ability to control the noumenon of art is in great need.

当观念转化为视觉读本的时候，观念不仅仅存在于文化的含义之中，它同样应处理好视觉技术-文化观念-读本分析三者之间的复杂关系，这就需要艺术家对艺术本体语言的把握能力。

On one hand, he depicts the real urban life in great detail, say, the migrant works busy dismantling and constructing, and view of the streets; on the other hand, the presentation of images are not real, for example, the exhaust pipe does not accord with its real proportion, but forcibly and excludingly occupies the picture.

正基于此，一方面，艺术家对真实的都市场景进行了细致的描绘，注重局部情节的叙事特征，比如，那些工地上忙碌拆与建的民工，道路两旁的街景等等，都是来源于现实生活的视觉经验；但另一方面，艺术家又强化了图像在视觉表达上的不真实感，例如，画面中那些排气管就是经过主观处理了的，它们完全不符合视觉再现的比例，它们的出现无疑也是对画面空间的侵占，它们既是强势的，也是&排它&的。

So the old generation artist devoted themselves into watercolor did a good job.At this exhibition, we can show you many watercolor works whose authors are famous. They are Li Yongsen, Li Jianchen, Guan Guangzhi, Hading, Qin Xuanfu, Zhang Chongren, Dai Bingxin, Yang Tingbao and so on. Wish you enjoy a gorgeous vision.

本次索卡推出中国早期水彩画展，您将看到第一代水彩画大师李咏森、李剑晨，最早参与水彩画教学的关广志、哈定以及第一代留法艺术家秦宣夫、张充仁，留学比利时的艺术家戴秉心以及建筑大师杨廷宝等名家的经典作品，希望在炎热的初夏本次展览会带给广大观者以清爽的视觉享受。

Though compared with the unpredictable and capricious battle of ethics, formalism appears to be much more real and self-disciplined. Nevertheless, the frame of formalism is insufficient to support the present discussion about the vision, for in the end the vision simmers down to the perceived behavior related to our bodies, always drifting among different subjects, thus inevitably tainted with the habits or prejudices of individuals, groups and the society, a point which sensitive artists never fail to catch, along with the relation between the vision and the formalism..

虽然，相较于云谲波诡的道德论战，形式主义自身要显得真实与自律的多，但即使这样，形式主义的框架却依旧难以支撑现在对于视觉的讨论，因为视觉归根结底是与我们身体相关的知觉行为，它始终要在不同的主体间漂移，也不可避免的会沾染上个人、群体与社会的习惯抑或是偏见，而敏感的艺术家从不会放过这一点，其中自然也包括视觉与形式主义存在的&亲缘&关系。

Nevertheless, the frame of formalism is insufficient to support the present discussion about the vision, for in the end the vision simmers down to the perceived behavior related to our bodies, always drifting among different subjects, thus inevitably tainted with the habits or prejudices of individuals, groups and the society, a point which sensitive artists never fail to catch, along with the relation between the vision and the formalism..

虽然，相较于云谲波诡的道德论战，形式主义自身要显得真实与自律的多，但即使这样，形式主义的框架却依旧难以支撑现在对于视觉的讨论，因为视觉归根结底是与我们身体相关的知觉行为，它始终要在不同的主体间漂移，也不可避免的会沾染上个人、群体与社会的习惯抑或是偏见，而敏感的艺术家从不会放过这一点，其中自然也包括视觉与形式主义存在的&亲缘&关系。

It is common knowledge and rather obvious that contemporary art and pop culture have been influencing and mixing up with each other with ever stronger momentum. Generally speaking, such phenomenon is caused by the following factors: first of all, pop culture is an unavoidable existence in the field of the contemporary social culture, especially in urban culture. Elements of pop culture are always employed by artists who attempt to present the modern social life in a critical, ironical or neutral way. But their standpoint and intention of choosing the visual resources are different from that of the mass media and the public.

众所周知，在当代社会中艺术与大众文化的相互渗透、混杂的现象已经明显加剧，造成这种现象的原因大致有这么几点：首先，大众文化是当代社会文化领域，特别是都市文化领域中一个不能回避的问题，不管艺术家是处于批判、反讽或者是不动声色的呈现当代社会生活的时候都涉及到运用大众文化形态的问题，只不过艺术家选择这些视觉资源的时候其出发点及立场与大众传媒和社会公众不同。

Ancient and modern in China and abroad the artist who displays the death theme in the visual art work is too numerous to cite individually, this article attempts from artistic creation main body angle discussion death consciousness the profound influence which brings to the artist as well as they and manifests esthetically in the artistic creation process regarding the death profound understanding.

古今中外在视觉艺术作品中表现死亡题材的艺术家不胜枚举，本文尝试从艺术创作主体的角度探讨死亡意识给艺术家带来的深刻影响以及他们在艺术创作过程中对于死亡的深刻理解和审美体现。

The camera image also provided artists with increased visual evidence that would play out in their painting and sculpture, the same artists Skrebneski holds in high esteem, a mix of Classicists, Cubists, Vorticists, Futurists (in addition to the great Italian masters of the Renais-sance, in particular, Michelangelo).

照相机图像同时为艺术家提供了不断增长的视觉证明，超越了绘画和雕塑，而斯克雷纳斯基则将这样一种方式融合了许多艺术家的经典意识，并且将其发展到了极致。

But we don't care about Battlegrounds.

但我们并不在乎沙场中的显露。

Ah! don't mention it, the butcher's shop is a horror.

啊！不用提了。提到肉，真是糟透了。