一个开放式的问题:h.c.韦斯特曼的《无题》,1962年

IF 0.2 3区 艺术学 0 ART
D. McCarthy
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引用次数: 0

摘要

h·c·韦斯特曼(h.c. Westermann)的《无题》(Untitled)是对问号的三维、多色实现,它本身仍然是一个问题(图1)。如果没有任何这样的符号之前通常的措辞,就不可能知道它在问什么,如果有的话。也许这个谜题更多的是与观众的投射有关,而不是艺术家自己的意图,尽管我的观点是,雕塑的内容是一种信念,即这种不确定性会吸引注意力。在《无题》最初受到欢迎的几个月里确实如此,当时《无题》引起了不同的反应,并被频繁转载。显然,它满足了批评者的需求,他们希望参与美联航的新兴实践
本文章由计算机程序翻译,如有差异,请以英文原文为准。
An Open-Ended Question: H. C. Westermann’s Untitled, 1962
A three-dimensional, polychrome realization of a question mark, H. C. Westermann’s Untitled remains something of a question itself (fig. 1). Without the verbiage normally preceding any such sign it is impossible to know what, if anything, is being asked. Perhaps the riddle posed has more to do with viewer projection than the artist’s own intendedmeaning, although it is my contention that built into the content of the sculpture was a faith that such uncertainty would attract attention. Certainly this was true in the months of its initial reception, when Untitled elicited divergent responses and frequent reproduction. Clearly it met the needs of critics in their desire to engage with emergent practices in United
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CiteScore
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