2021年翻譯資格三級筆譯強化習題（十一）

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把高雅藝術變成品牌的安迪·沃霍爾 Andy Warhol:Turn High Art into a Brand

By the mid-1950s, Andy’s career in commercial illustration was really taking off. But what he wanted more than ever was to become a famous artist.

到了上世紀五十年代中期的時候，安迪商業(yè)插畫的職業(yè)生涯真正起步。但那個時候他卻比任何時候都更想成為一名知 名藝術家。

Andy’s first illustration after leaving Pittsburgh for this article “Success is a job in New York,” now seems incredibly apt ’cause within a couple of years he’d become one of the city’s hottest commercial artists. His work had appeared in Glamour, Vogue, Harper’s Bazaar. He did record sleeves and book jackets and dressed windows for department stores. By the time he was 27, he was already making more than $100,000 a year, which was big money in the 50s. But he still dreamt of being a real artist.

安迪當年離開匹茲堡后的第一份工作是為文章《在紐約，成功是一份職業(yè)》配圖。這件事如今來看再恰當不過了，因為幾年之后，他就會成為這座城市里最炙手可熱的商業(yè)藝術家之一。他的作品出現(xiàn)于《Glamour》、《Vogue》和《Harper’s Bazaar》雜志，他也做唱片封套以及圖書軟封設計，還為百貨商店設計布置櫥窗。他27歲的時候，每年的收入已經(jīng)超過十萬美元。在上世紀五十年代，那可是筆大數(shù)目!可他依然夢想著成為真正意義上的藝術家。

For his work to be taken seriously as art rather than just illustrations, it had to be about something. It had to comment on the world around him and make people look at it differently. And the world that Andy saw was “boom-time America.” This poor kid who’d grown up during the 1)Great Depression was obsessed by the 50s consumer revolution: the 2)glossy commercials for shiny cars, the new supermarkets crammed with undreamt of varieties of food. He loved this mass-produced world of plenty, and, with his commercial background, Andy thought he could create art that reflected it.

安迪·沃霍爾創(chuàng)作了許多明星畫，而最出名的莫過于夢露像了。那一連串看似呆板的重復讓夢露給人一種從照片上無法體會的感覺。如果他要讓自己的作品被看成嚴肅的藝術，而非僅僅是插畫，那么作品必須能傳達出一些東西，必須傳達出對周遭世界的態(tài)度和觀點，讓人刮目相看。而安迪當時看到的正是繁榮的美國。這個窮苦人家的孩子是在大蕭條時期長大的，此刻他正著迷于上世紀五十年代的消費革命：光紙印刷的閃閃發(fā)亮的汽車廣告，超市里堆滿了做夢都想不到的種類繁多的食品。他熱愛這個通過工業(yè)化大批量生產(chǎn)創(chuàng)造的豐富物質(zhì)世界，結(jié)合他自己已有的商業(yè)設計經(jīng)驗，安迪認為他可以創(chuàng)造出反映這一現(xiàn)象的作品。

Andy loved Coca-Cola that he thought “Why shouldn’t a bottle of Coke be a work of art?” And the next thing he did was so crucial in his development as an artist because he created this. And look, you can tell at once that suddenly here’s a much stronger, bolder style that’s all his own. It might not seem like much, but deciding to 3)depict a commercial object on the canvass, and deciding to present it in this very clean and graphic, very mechanical mode, well, it was a huge deal in the art world at the time. And this turned Andy into the champion of a new movement called “pop art.”

安迪愛喝可口可樂，他想到，“為什么可樂瓶子不能成為一件藝術作品呢?”他接下來做的事在他成為藝術家的道路上具有決定性意義，因為他創(chuàng)造出了這個。你瞧，你能很快判斷出這幅作品的處理方式更強烈，輪廓鮮明，這就是他獨有的風格。表面上看似乎沒有什么大不了的，但是選擇在畫布上畫一個商品，而且以如此整潔、圖形化、機械的方式將其呈現(xiàn)，在當時的藝術界，這都屬顛覆性的做法。而這些則讓安迪成了一場新的藝術運動——波普藝術運動——的倡導者。

Artists have always painted things from their everyday lives, like hay carts, vases of flowers, bowls of fruit. What “pop art” said was that stuff from the commercial world and popular culture could also be art. And that’s how 32 cans of soup made onto the walls of America’s most important modern art museum. And these paintings are among the most famous modern art pictures in the world.

藝術家以往也一直在畫一些他們?nèi)粘Ｉ钪械氖挛铮热绺刹蒈?、插著花的花瓶、盛著水果的碗等。波普藝術則告訴人們，商品世界以及流行文化同樣可以成為藝術。這就是為什么32個濃湯罐頭能夠在美國最重要的現(xiàn)代藝術博物館中占據(jù)一整面墻，而這些繪畫作品也因此成為世界上最為知 名的現(xiàn)代藝術作品之一。

With these soup cans Andy finally managed to break into the fine art world, with a landmark solo exhibition in 1962.

通過這些濃湯罐頭，安迪最終以1962年里程碑式的個展打入了現(xiàn)代藝術殿堂。

Now when they were first shown, most people thought they were a joke, but they really mark Andy’s coming of age as a pop painter. The bright colours, the crisp, mechanical technique, the presentation of a series of nearly identical images: they were all things that Andy would play with again and again. Like so much of his later work, these paintings were about capitalism; they’re about the consumer society. Really they’re about us.

當這些罐頭作品第一次被展出的時候，多數(shù)人都以為這不過是個玩笑，但是它們的確是安迪作為成熟波普畫家的標志。明快的色調(diào)，輕快的感覺，冷酷的畫風，這一系列幾近一模一樣的圖像被同時呈現(xiàn)。這些都是安迪會一玩再玩的元素。就像他晚期大量的作品一樣，這些繪畫作品是關于資本主義和消費社會的。實際上，它們與我們息息相關。

Andy had begun a revolution, and what could now be classified as art would never be the same again.

安迪掀起了一場革命，從此，藝術領域?qū)⑴c此前大不相同。

Like it or not, we’ve Andy Warhol to thank for today’s artists, they’re obsessed with consumer culture and everyday objects. Now artists can take anything ordinary—cola cans, designer trainers, Japanese cartoons—stick ’em in a gallery and declare it art.

無論你是否喜歡，今天著迷于消費文化以及日常生活用品的藝術家們都要感謝安迪·沃霍爾。如今，他們可以隨便把一件司空見慣的物品，比如可樂罐、設計師設計的運動鞋、日本卡通，作為創(chuàng)作對象，把它們放在畫廊中，并宣稱這是藝術。

Today, nearly 50 years after his glory days as a pop artist, his work has moved out of the gallery and into our everyday lives. It’s so strong, so reproducible, that it appears everywhere. With Andy Warhol, high art became a brand. His art about modern consumer culture had become part of it.

今天，安迪作為一名波普藝術家的輝煌時期已經(jīng)過去將近五十年了。他的作品已經(jīng)被搬出了畫廊，也出現(xiàn)在我們?nèi)粘Ｉ钪小Ｋ淖髌啡绱藦姾?，如此容易被復制，以至于隨處可見。因為有了安迪·沃霍爾，高雅藝術變成了一種品牌，他那些關于現(xiàn)代消費文化的作品已經(jīng)成為消費文化的一部分。

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