[{"img":"1611/01/e114b5c85e59323b9a698cf8c0449a1b.jpg","width":850,"height":565,"content":"","text":""},{"img":"1611/01/6f0807ec3cbf30f6be3331bd250109ad.jpg","width":736,"height":552,"content":"","text":""},{"img":"1611/01/8b49a41d664d3525bd928b1bd7a37c4e.jpg","width":900,"height":577,"content":"","text":""},{"img":"1611/01/394d6ebd9b3e3d6c85ae13543125366f.jpg","width":736,"height":586,"content":"","text":""},{"img":"1611/01/59741050ea333c7e8372a139765450fb.jpg","width":660,"height":430,"content":"","text":""},{"img":"1611/01/2653b636f6a531d7a4dd8c240933d96e.jpg","width":615,"height":461,"content":"","text":""},{"img":"1611/01/d9cfe030ed383bcaa2be3ef173e6b6e7.jpg","width":1600,"height":1187,"content":"","text":""},{"img":"1611/01/e9e712dd88623087b3ac2a9a3006e7ce.jpg","width":4000,"height":3065,"content":"","text":""},{"img":"1611/01/726ad0beb7173d9c86639b266b723c24.jpg","width":700,"height":490,"content":"","text":""},{"img":"1611/01/f9ec2e209a9e32bb89ec99ac9a263b53.jpg","width":600,"height":399,"content":"","text":""},{"img":"1611/01/8b5fa3d1d1dd36dc89b49617b4bffc4d.jpg","width":660,"height":971,"content":"","text":""},{"img":"1611/01/da09bab64cd63e6a8b4fb50bff76a4aa.jpg","width":660,"height":436,"content":"","text":""},{"img":"1611/01/39aeda63cb9f346696585e5df6a53851.jpg","width":1600,"height":1043,"content":"","text":""},{"img":"1611/01/bea568dfbfdc3f16a23a90d22c07e45c.jpg","width":5472,"height":3648,"content":"","text":""}]
英国艺术家理查德·文特沃思 | Richard Wentworth (1947年-今)是新英国雕塑运动里的一名领军成员。除了真的舞弄制作雕塑外,他也热衷以摄影寻觅"现成"雕塑,它们的形态和与空间的对话方式正如一件独立的艺术品。
城市公共环境里的人类废弃消费品,体现流行与庸俗的日常物件,以色彩和幽默感来玩味呈现,从而探索我们习以为常物件的意义边界。
查理德的摄影作品单抽一张出来,平淡无奇;当这些我们制造的废品成千张地展出时,我们会看到一副更庞大的关于我们社会与生活形态的画面,满屏的人的痕迹,而始作俑者人类却公然缺席。
《Making do and getting by》
评论 2 :
tre
百云社