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  3. Cindy Sherman is a strangely elusive artist. Her face has become famous thro

Cindy Sherman is a strangely elusive artist. Her face has become famous thro

游客2023-12-28  15
问题     Cindy Sherman is a strangely elusive artist. Her face has become famous through the photographs she takes of herself, but her work is not autobiographical. Coveted by collectors and extolled by critics, her images explore raw human emotion and common artifice— without revealing who she really is.
    A retrospective at the Museum of Modern Art (MoMA) in New York demonstrates that although the 58-year-old American may be her own model, she is not her own muse. Her ninth-floor Manhattan studio also offers clues. Pinned to the walls are magazine cuttings and computer printouts of people in what she calls "preposterous" positions. It is here that Ms Sherman mutates into the objects of her fascination.
    Why does the photographer appear in most of her work? One reason is shyness. Disguises can be liberating and delegating can be arduous; she tried hiring models once, but found she hated it. Ms Sherman enjoys working alone and doing everything herself. She has also experimented with still lifes in which she does not appear. These images appeal to her hard-core fans but they lack the life, literally, of her other work. They are also hard to sell. When collectors buy a Sherman photograph, they want her. Last year one of the "Centrefold" series made $3.9 million, then a record for a photograph at auction. Bemused by how much collectors want her in the frame, the artist mimics a male voice: "Is she behind that mask? I only want it if she is in there!"
    Ms Sherman broke into the art world with "Untitled Film Stills", a series of 69 black-and-white images. A fictional archive of publicity shots in which she poses as characters in films from the 1950s and 1960s, the work was an immediate hit. Its exploration of media culture took Pop Art beyond celebratory consumerism into a more critical vein. And its satire of female stereotypes was subtly feminist—so subtle, in fact, that a feminist art historian advised the young Ms Sherman to superimpose text on the works to bring out the irony.
    Ambiguity is a characteristic of Ms Sherman’s work. One is never quite sure where the artist stands in relation to her characters, and they in turn are often difficult to define. The "Centrefold" series of 12 colour photos in which the artist shot herself from above with fearful or pensive expressions added a layer of anxiety to the uncertainty.
    Among Ms Sherman’s most celebrated later works are her "Clowns". Eva Respini, who has curated the MoMA show, believes that the clown is a "stand-in" for the artist. In one picture, the name Cindy is embroidered on the jacket of a heavily made-up clown with prosthetic cheeks and nose. It is typical of Ms Sherman’s style that she would be disguised beyond all recognition, looking sad and ugly, in a work that flirts with self-portraiture.
    Ms Sherman is a kind of actor-director of still pictures who delves into the representation of women—and occasionally men—in Western society. When she first embarked on this artistic path, few would have predicted that she could make so many compelling bodies of work through depicting herself. But much like a character actor who takes pleasure in nailing a bit part, Ms Sherman takes a detailed interest in others while mastering the art of making it up.
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答案     辛迪.舍曼(Cindy Sherman)是一位难以挺摸的艺术家。她的容貌因为她的自拍作品而广为人知，但她的创作却无关自传。舍曼的作品受到收藏家的追捧和评论家的赞扬，这些作品探索了人类的真实情感和常用的表达方式，但她并没有向公众展示真实的自己。
    纽约现代艺术博物馆(MOMA)的一场回顾展说明，尽管这位58岁的美国人可能是自己作品的模特，但她本身并不是创作灵感的来源。她在曼哈顿(Manhattan)九楼的工作室也印证了这一点。
    墙上钉着从杂志剪下来或从电脑打印出来的图片。图片中的人摆着她称之为可笑的姿势。正是在这里，舍曼扮作这些令自己着迷的对象。
    为什么舍曼会出现在自己的大部分作品中?其中一个原因是害羞。虽然进行乔装打扮可以随心所欲，但分配工作却十分耗费精力。她曾试着雇用模特，但发现自己并不喜欢这么做，她更乐于独自工作。舍曼尝试过拍摄静物照片。这些照片同样吸引着她的铁杆粉丝，但缺乏她其他作品的生命力。也不够畅销。当收藏家购买舍曼的作品时，他们希望她能出现在照片中。去年，《杂志插页》 (Centrefold)系列作品中的一幅以390万美元拍出，创下当时单张照片的最高拍卖纪录。她不解为什么收藏家那么希望她出现在作品中，于是她模仿了一位男性的声音说：“那伪装下的是她吗?是的话我才买这张照片!”
    舍曼凭借《无题电影剧照》(Untitled Film Stills)一组69张黑白照片闯入艺术界。她在其中扮演20世纪50年代到60年代的电影角色，这一系列类似电影剧照的作品令她一举成名。它对媒体文化的探索，使波普艺术不再局限于赞美消费主义，变得更具批判精神。它对女性刻板印象的讽刺带有微妙的女权主义色彩。事实上，这种讽刺是如此微妙，以至于一位女权主义艺术史学家建议年轻的舍曼为作品附上文字，以突显讽刺意味。
    模棱两可是舍曼作品的特点。人们很难确定她和角色的关系，而这些角色本身也很难被定义。在《杂志插页》系列的12张彩色照片中，舍曼从上往下拍摄自己，脸上带着恐惧或哀愁的表情，使得这种不确定状态又多了些许焦虑。
    舍曼后期最著名的作品是《小丑》(Clowns)。纽约现代艺术博物馆策展人埃娃.瑞斯皮妮 (Eva Respini)认为小丑是舍曼的“替身”。在其中一张照片中，一个浓妆艳抹的小丑戴着脸颊和鼻子假体，其夹克上绣着这位艺术家的名字“辛迪”。这是舍曼的典型风格，她将自己伪装起来，让人无从辨认，在她这些类似“自画像”的作品中看起来悲伤、丑陋。
    舍曼既是静态照片的演员，亦是导演。她深入研究西方社会中女性(有时是男性)的形象。当她第一次踏上艺术之路时，几乎没有人能预料到她能通过拍摄自己创作出如此多引人注目的作品。不过，舍曼就像一个成功演绎不同角色的性格演员，在掌握伪装艺术的同时，对外界观察入微。
解析     1.第1段第三句artifice原义为“施计，巧计”，而文中指的是舍曼通过扮演不同的角色来探讨不同社会环境下女性的情感表达，因此，译为“常用的表现手法”更为合适。
    2.第2段第二句若直译为“她在曼哈顿九楼的工作室也提供了一些线索，”则显得生硬，在翻译时可对原文意思进行解释说明，译为“她在曼哈顿九楼的工作室也印证了这一点。”，使译文更加流畅自然。
    3.第2段第四句mutate into为固定搭配，意思是to change into a new form“变成一种新的形式”。结合本文语境，该段提及舍曼扮演不同角色，因此，mutates into译为“扮作”更为合适。
    4.第4段第一句break into为固定搭配，意思是to be successful when you get involved something“成功参与某事”。结合本文语境，该段提及舍曼初入艺术界的作品，故此处译为“闯入”更为合适。
    5.第4段第三句形容词celebratory意为“庆祝的”，在翻译时可进行词性转换，将其译作动词“赞美”。
    6.第7段第三句part为多义词，有“部分”“角色”“零件”等义项。根据本文语境，该段提及舍曼如性格演员一般扮演了许多不同角色，因此，此处取第2个义项，译作“角色”。
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