Smithson, Spiral Jetty발음듣기
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Smithson, Spiral Jetty
40문장
100% 한국어
번역 2명 참여
출처 : 칸아카데미
Smithson, Spiral Jetty
[music playing] Voiceover : We're looking at a work by Robert Smithson, and it dates to 1970, and it's called "The Spiral Jetty."
This is a photograph showing it.
It must have been taken from a helicopter, and it's what you call a work of environmental art or land art.
It's essentially a bunch of dirt and rubble that has been pushed out into the spiral form into a lake, into this salt lake in Utah.
Voiceover : It exists in this one place and this one time.
Could we say it is site specific?
Voiceover : Right, exactly.
We call it site specific. One of the things that Smithson wanted to emphasize was a kind of a distinction between, you know, the site of the work of art,
and the traditional site of the work, which would be a gallery or a museum or private home and kind of breaking down barriers, saying, is a work of art only to be contained by museum or can we also find it elsewhere?
And so he is part of a larger movement of artists who are specifically locating or situating their work in the land, and oftentimes the works have these very, very large proportions.
Like this juts out 1500 feet into the water.
Voiceover : And can you walk through it?
Voiceover : You can usually walk on it.
Well, not necessarily. It depends on the height of the water itself.
So sometimes it is submerged. So this photograph shows that there are some people out on the jetty.
Voiceover : Yeah, I see.
Voiceover : But it has been slightly covered by water.
Sometimes it's lower or higher. It depends on the depth of the water in Utah at the time, and it's very a salty lake.
So it's a work that really is certainly part of the environment, but also interacts and changes the environment in important ways.
So you could also maybe categorize it under the category of process art because it is something that is forever changing.
You know, he had one idea of it, but then there are things that act upon it and will change it for, you know, for as long as it is there.
Voiceover : It is made of things that are so durable, though.
One gets a sense of existing beyond human life.
Voiceover : Right.
And it has such a basic shape as well.
He is interested in some ancient examples of prehistoric land art, mounds that have been found in America and elsewhere, and it is sort of inspired by that somewhat abstract quality of a lot of those.
The idea that your vision of it right now as you see it as a totality.
When you are in it of course, you are only experiencing it, and it is a very, very different way of seeing partial aspects of it.
Voiceover : What interests me is that you can go into it and walk through it.
Voiceover : Right, usually you are not supposed to touch the art.
Voiceover : No, right. I like that idea of touching it and being inside it.
Voiceover : He liked it, too. Yeah, and - Voiceover : - it is fun.
It makes it fun. Voiceover : Yeah, and he had to use a lot of construction tools, massive trucks to drive the rubble down and also to employ a lot of people.
So it really destabilizes our idea that the artist is an individual, a single person who is the mastermind.
Of course he did come up with the scheme, but he never could have realized this alone.
Voiceover : Right.
Voiceover : And that is such an important idea now.
Things can be made by groups of people, by factories, people that the artist can employ.
Voiceover : Right. And maybe he is going back also to what he thinks ancient art was like, that it was not done by a single genius artist but rather was a communal thing and then was sort of left open for everyone to interact with.
번역
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[music playing] Voiceover : We're looking at a work by Robert Smithson, and it dates to 1970, and it's called "The Spiral Jetty."발음듣기
대기중
It must have been taken from a helicopter, and it's what you call a work of environmental art or land art.발음듣기
대기중
It's essentially a bunch of dirt and rubble that has been pushed out into the spiral form into a lake, into this salt lake in Utah.발음듣기
대기중
We call it site specific. One of the things that Smithson wanted to emphasize was a kind of a distinction between, you know, the site of the work of art,발음듣기
대기중
and the traditional site of the work, which would be a gallery or a museum or private home and kind of breaking down barriers, saying, is a work of art only to be contained by museum or can we also find it elsewhere?발음듣기
대기중
And so he is part of a larger movement of artists who are specifically locating or situating their work in the land, and oftentimes the works have these very, very large proportions.발음듣기
대기중
So sometimes it is submerged. So this photograph shows that there are some people out on the jetty.발음듣기
대기중
Sometimes it's lower or higher. It depends on the depth of the water in Utah at the time, and it's very a salty lake.발음듣기
대기중
So it's a work that really is certainly part of the environment, but also interacts and changes the environment in important ways.발음듣기
대기중
So you could also maybe categorize it under the category of process art because it is something that is forever changing.발음듣기
대기중
You know, he had one idea of it, but then there are things that act upon it and will change it for, you know, for as long as it is there.발음듣기
대기중
He is interested in some ancient examples of prehistoric land art, mounds that have been found in America and elsewhere, and it is sort of inspired by that somewhat abstract quality of a lot of those.발음듣기
대기중
When you are in it of course, you are only experiencing it, and it is a very, very different way of seeing partial aspects of it.발음듣기
대기중
It makes it fun. Voiceover : Yeah, and he had to use a lot of construction tools, massive trucks to drive the rubble down and also to employ a lot of people.발음듣기
대기중
So it really destabilizes our idea that the artist is an individual, a single person who is the mastermind.발음듣기
대기중
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