Gallagher之魂

　　2015复习正是强化复习阶段，在考研英语中占了40分，所以考研英语阅读是英语科目中重要的一项。名师老师曾建议过考研生需要坚持每天泛读10-15分钟的英文原刊。强烈推荐了杂志《经济学人》.杂志中的文章也是考研英语的主要材料来源.希望考研考生认真阅读，快速提高考研英语阅读水平。 　　Gallagher s ghosts 　　Gallagher之魂 　　Art inspired by myth and stories 　　源于神话的艺术 　　ELLEN GALLAGHER was born in 1965 in RhodeIsland, the daughter of an African-American fatherwith ties to Cape Verde in West Africa and anAmerican-Irish mother. Now she divides her timebetween New York and Rotterdam. Ms Gallagher mines sci-fi, marine biology and blackhistory for her art, variously making use of cut-up paper, pencil, plasticine, printed matter,rubber, gold leaf and photogravure. It is out of this rich interbreeding of method andmaterials that her astonishing work arises. 　　ELLEN GALLAGHER，1965年出生于罗德岛，父亲是非洲裔美国人，曾居于西非佛得角，母亲则是爱尔兰裔美国人。如今她多往来于纽约和鹿特丹港市。Gallagher的艺术灵感多源于科幻、海洋生物学以及黑人历史。利用剪纸、铅笔、粘土、印刷品、橡胶、金箔、凹版印刷等各式各样的材料工具，她独创出了令人叹为观止的作品。 　　This summer two new Gallagher exhibitions will open, one on each side of the Atlantic. Asubstantial survey at Tate Modern in London will be followed by a 20-year retrospectiveat the New Museum in New York. 　　今夏在大西洋两岸将各举办一场Gallagher的新作展览会。伦敦泰特现代美术馆所做的大量探索研究将继续由纽约当代艺术馆以20年回顾展的名义进行。 　　The first room at the Tate Modern show has been covered with ruled writing paper, areminder of the importance that the line and the grid play in Ms Gallagher s work and of theinspiration of minimalist artists such as Agnes Martin and Sol LeWitt. This humble paperingprovides a formal background for her work and helps steer it away from pomposity. Butthere is much more to Ms Gallagher s work than linear scaffoldingmuch to be read into itand much to be resisted, especially easy clichs about race or gender. 　　泰特现代展览的第一间陈览室里挂满方格纸作品，可见Gallagher颇为青睐横格线条，并从Agnes Martin、Sol LeWitt等极简抽象派艺术家那获得颇多的灵感。这种极简贴纸展现出匀称的布局，避免浮夸。但Gallagher的作品并不仅仅是组建线条，还有更多发人深省的隐藏讯息，类似于种族性别这种常谈之事。 　　Early works from the 1990s, such as Untitled, 1992, for instance, play with the red lips andwhite-ringed eyes that recall black and white minstrels. An abstract pattern emerges, thendisembodied golliwog smiles. Negroes Ask for German Coloniestakes its title from aphrase in an article that was written in 1919 by a Harlem radical, Hubert Harrison, andwhich Ms Gallagher cuts into paper. Above the words is a grid of 20 female wig models withblack, white and brown faces. The wigs, one named Innocence and another Coquette, aremade from elaborately cut white paper. Pink plasticine curls emerge from the models eyes.It is exquisitely constructed and at the same time funny to behold, alluding to the rise ofAmerican black consciousness and poking at the covert racism of so much consumeradvertising. 　　Gallagher 在其90年代的早期作品Untitled, 1992中，利用红唇与白环状眼眸的搭配唤起人们对纯粹的游吟诗人的回忆。先是抽象图案，再是出人意料的灵肉分离式的怪诞微笑。2002年的作品Negroes Askfor German Colonies得名于一篇文章中的短语，该文由Harlem radical, Hubert Harrison于1919年撰写。Gallagher将其刻于纸上。那是一组20位黑、白、棕面色的假发女郎方格图。名为天真无邪和卖弄风情的假发均由白色剪纸精心拼贴而成。女郎的双眸浮现出粉色的彩泥卷发。该作构思精巧，新潮逗趣，并意指美国黑人思潮运动的兴起，剑戳众多消费广告中暗涌的种族歧视。 　　The works Ms Gallagher calls the Yellow paintingswhich include Falls and Flips from 2001and Double Natural from the year after, as well as Pomp-Bang, which Ms Gallagherpainted in 2003take this theme further . Each one is a monumentalgrid of 396 advertisements for wigs and other items, such as hair grease or skin-whiteningcream, as well as illustrated articles from black magazines of the 1950s and 1960s, such asEbony, Our World, or Black Stars. Each face wears an elaborate, fantastical yellow plasticinewig. What could be dry social history becomes exuberant art-making. 　　Gallagher的Yellow paintings系列包括2001年的Falls and Flips、2002年的Double Natural和2003年的Pomp-Bang继续深入该种族的主题。每一格都是对396支假发、发胶、美白面霜等产品广告的纪念，是对五六十年代Ebony，Our World，或Black Stars等黑人杂志中插图的致敬。每一张面孔都戴着梦幻而精致的金色彩泥假发。谁能想到枯燥的社会史也能成为生机勃勃的艺术作品呢。 　　Ms Gallagher often folds historical characters into her work, including Peg Leg Bates, aone-legged tap dancer, and Eunice Rivers, a nurse who was implicated in the notoriousTuskegee syphilis experiment carried out on black Alabamans between 1932 and 1972. At theage of 20, sponsored by the Sea Education Association, Ms Gallagher spent some time aboardan oceanographic research vessel collecting, studying and drawing pteropodsmicroscopicwing-footed snails. This experience has combined with her interest in the myth of Drexciya,an underwater country peopled with the unborn babies of pregnant African slave womenthrown overboard mid-Atlantic. It has generated an extraordinary body of work collectivelyentitled Watery Ecstatic. Detailed drawing, intricate paper cutting, and dreamy waterycolour, together create a universe of strange sea creatures. They suggest an imaginationgripped equally by precision and fluidity, by science and poetry, and a mind that feeds onthe beauty of nature while being haunted at the same time by the many layers of humanhistory. 　　Gallagher常在其作品中融入一些历史人物，包括Peg Leg Bates，一位独腿踢踏舞者;1932年至1972年，以阿拉巴马州的黑人为对象进行了臭名昭著的塔斯基吉梅毒实验，名为Eunice Rivers的护士卷入其中。通过海教协会的赞助，Gallagher 20岁时得以在海外学习海洋学，集舰，研究绘制翼足目动物微小的翼足蜗牛。这一经历更是和她感兴趣的水城Drexciya，一群被推下甲板的怀有身孕的非洲奴隶居住在大西洋中央的传说，水乳交融。由此诞生了一组名为Watery Ecstatic的非凡佳作。细致入微的刻画，错综复杂的拼剪，梦幻的水彩色，共同造就了海洋生物的奇幻世界。精细性与流动性、科学性与诗意同时抓住人们的想象力，思绪浸食自然之美的同时又被人类历史的复杂多样困扰着。 　　Bird in Hand, the great 2006 work on paper that is owned by the Tate, also draws on thesepreoccupations, generating out of myth and marine biology the startling figure of aone-legged pirate standing at the bottom of the ocean. His hair floats upwards in the waterin a baroque confection of seaweed made from card and paper, all painstakingly cut byhand. His stump has sprouted seaweed. His black face is occluded by a white mask. This isa work that indulges in patterned beauty even as it freezes the spirit. 　　2006年的Bird in Hand，一幅所有权归泰特美术馆的杰作，同样利用这些勾魂摄魄的元素刻画出传奇的海洋生物、出人意料的人物形象，一个站在海底的独腿海盗。他的头发，以一团精细的巴洛克式纸片海藻的姿态漂浮在水面。这全是Gallagher煞费苦心的手工拼贴。他的假肢也萌生出一撮撮水藻。白色面具紧紧咬合他黑色的面孔。即使寒从心起这也是一幅令人沉溺于精美纹路的作品。 　　Many of the works exhibited, including the films she has made with her longtimecollaborator, Edgar Cleijne, and the double-sided paintings called Morphia, reveal adetermination to express complexity through an elaborate process of making. Canvassesare built up in collaged layers. Mysterious, balletic animations are projected alongsidearchival film that has been doctored to produce strange new narratives. The paper MsGallagher uses is meticulously drawn on, painted, cut, stuck, pierced, both on the front andthe back, and then hung in glass boxes. Her works are dense with thought, but thoughttransformed by intensive creative workmanship into something rich and strange. 　　被展出的众多作品中，还有她与长期合作伙伴Edgar Cleijne共同拍摄的影片，及双面画作Morphia，这幅作品力图通过精巧错综的创作过程揭露其复杂性。多层抽象拼贴的效果极具说服力。神秘莫测的芭蕾舞式动画制作与剪辑过的档案电影共同创造出了新异的故事。Gallagher所选纸张的正反面均经过精心绘制、裁剪、拼接，最后才挂上玻璃画框。她的作品寓意繁多，通过别出心裁的手工将那些思想付诸于天马行空的画作。 　　Ellen Gallagher: AxME is at Tate Modern in London until September 1st. It will travel to theSara Hildn Art Museum in Tampere, Finland, in the autumn and to the Haus der Kunst inMunich, Germany, in 2014. Don t Axe Me will be at the New Museum in New York from June19th until September 15th. 　　Ellen Gallaghe：AxME正于伦敦泰特现代美术馆展出，9月1日截止。秋季展将在芬兰坦佩雷的SaraHildn 美术馆举办。2014年在德国慕尼黑的Haus der Kunst展出。Don t Axe Me将于六月19日至9月15日在纽约New Museum展出。 　　词语解释 　　1.make use of 使用，利用;假借 　　Unfortunately, most companies lack the ability toreconfigure and make use of such resources. 　　可惜，大多数公司都缺乏重新调配、利用这类资源的能力。 　　To make use of this electrical current, the teamconnected tiny electrodes to the protocells. 　　为了利用这种电流，研究组将一个小电极连到原细胞上。 　　2.cover with 用遮盖住，用填满 　　This point is too important to cover with a few anecdotes. 　　这个问题太重要了，不能仅用一些逸闻趣事来论证。 　　Just rub tiger balm on the chest and cover with a warm towel. 　　因此把老虎油涂抹在胸膛时应该盖上一块热毛巾。 　　3.such as 例如 　　Fragile things, such as big banks or debt-laden consumers, tend to break under stress. 　　脆弱的事物，例如大银行和负债的消费者，面临压力时倾向崩溃。 　　Ancillary businesses such as derivatives have thrived. 　　一些配套的业务如金融衍生品已经蓬勃发展了。 　　4.emerge from 露出;浮现 　　Simmons hopes to emerge from bankruptcy in the hands of two new private equity firms. 　　席梦思公司希望依靠两家新兴的私募股权公司从破产中重新站起来。 　　They are a classic form of stimulus that could help the economy emerge from the housinghangover. 　　这是一个刺激经济，帮助其从住房危机中复苏的经典方式。