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一 1960年代初,当我在澳大利亚还是个初出茅庐的批评家时.遥远的纽约似乎已建立起一种真正的帝国文化,它继承了罗马和巴黎的地位,为世界上的一切艺术规定了评论的标准.这种帝国的角色(以及它在世界各地引起的反响)的意义,不久以后概括在欧文·桑德勒论抽象表现主义的名著的标题之中,《美国绘画的胜利》。 在1945年到1970年之间.目睹纽约画派的兴起和繁荣的四分之一世纪,三代著各的画家和雕塑家看来已甩
In the early 1960s, when I was a fledgling critic in Australia, distant New York seemed to have built up a true imperial culture that inherited the status of Rome and Paris and provided a commentary on all the world’s art The significance of this imperial role (and its reverberations around the world), shortly afterwards, is epitomized by Irving Sandler in the title of abstract expressionism, The Victory of American Painting. Between 1945 and 1970. A quarter of a century from the rise and prosperity of the New York School of Painting, three generations of painters and sculptors