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TheGaobrothersandtheirstatusasinternationaliconssubstantiatestheclaimthatmostWesterna...
The Gao brothers and their status as international icons substantiates the claim that most Western artists have become as reckless and despicable as the hedge funder managers purchasing their overpriced works with money “earned” as the economic health of the country gave way to an Ebola-like implosion. Unlike the jaded factory art productions by artists such as Damien Hirst, the Gao brothers’ works possess a depth and emotional catalyst that is devoid in most of the efforts of western artists. Although rampantly cliché, art does require a torrent of emotions and a deep engagement with current happenings to produce anything of worth. Many artists have lost the essential characteristic of being bound to the realities of daily life. In similar fashion to the bloated economic markets of the 2000’s artists grew lazy and fell victim to avarice. Works streamed out of their studios at unprecedented levels as artists did little but sign their name on guaranteed paychecks while Pratt graduates worked feverishly.
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The Gao brothers and their status as international icons substantiates the claim that most Western artists have become as reckless and despicable as the hedge funder managers purchasing their overpriced works with money “earned” as the economic health of the country gave way to an Ebola-like implosion.
高式兄弟和他们的社会地位,作为国际形象证实了这样一个说法:在国家经济像埃博拉病毒蔓延一样的迅速膨胀之时,基金经理用“挣来”的钱购买他们的昂贵艺术品,导致大多数西方艺术家变得越来越像障壁一样蛮横粗俗。
Unlike the jaded factory art productions by artists such as Damien Hirst, the Gao brothers’ works possess a depth and emotional catalyst that is devoid in most of the efforts of western artists.
与 D·Hirst 等艺术家那种疲劳生产的艺术作品不同,高氏兄弟的工艺品有深度和感染力,在大多数西方艺术家的努力中往往缺乏这种元素。
Although rampantly cliché, art does require a torrent of emotions and a deep engagement with current happenings to produce anything of worth.
虽然是陈词滥调,在创造任何有价值的艺术品的时候,艺术确实需要大量的激情和狂热才会进行下去。
Many artists have lost the essential characteristic of being bound to the realities of daily life.
很多艺术家已经忘记了艺术的本质特征,那就是不超越日常生活的现实。
In similar fashion to the bloated economic markets of the 2000’s artists grew lazy and fell victim to avarice.
在21世纪膨胀的经济市场相似的潮流中,艺术家也开始变得懒惰且自食其果。
Works streamed out of their studios at unprecedented levels as artists did little but sign their name on guaranteed paychecks while Pratt graduates worked feverishly.
当Pratt 的应届生疯狂地创作时,那些所谓的艺术家们什么都没付出却理所应当地领取薪水。这时有人的工作室中前所未有地涌出大批大批的作品。
高式兄弟和他们的社会地位,作为国际形象证实了这样一个说法:在国家经济像埃博拉病毒蔓延一样的迅速膨胀之时,基金经理用“挣来”的钱购买他们的昂贵艺术品,导致大多数西方艺术家变得越来越像障壁一样蛮横粗俗。
Unlike the jaded factory art productions by artists such as Damien Hirst, the Gao brothers’ works possess a depth and emotional catalyst that is devoid in most of the efforts of western artists.
与 D·Hirst 等艺术家那种疲劳生产的艺术作品不同,高氏兄弟的工艺品有深度和感染力,在大多数西方艺术家的努力中往往缺乏这种元素。
Although rampantly cliché, art does require a torrent of emotions and a deep engagement with current happenings to produce anything of worth.
虽然是陈词滥调,在创造任何有价值的艺术品的时候,艺术确实需要大量的激情和狂热才会进行下去。
Many artists have lost the essential characteristic of being bound to the realities of daily life.
很多艺术家已经忘记了艺术的本质特征,那就是不超越日常生活的现实。
In similar fashion to the bloated economic markets of the 2000’s artists grew lazy and fell victim to avarice.
在21世纪膨胀的经济市场相似的潮流中,艺术家也开始变得懒惰且自食其果。
Works streamed out of their studios at unprecedented levels as artists did little but sign their name on guaranteed paychecks while Pratt graduates worked feverishly.
当Pratt 的应届生疯狂地创作时,那些所谓的艺术家们什么都没付出却理所应当地领取薪水。这时有人的工作室中前所未有地涌出大批大批的作品。
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姓高的兄弟和企业法人国际性象徵substantiates声称大多数西方艺术家已经成为鲁莽和卑鄙的对冲资金购买他们定价过高的作品管理者的获得“钱”这个国家经济的健康Ebola-like让位给一个破裂。与厌倦工厂等艺术家创作作品赫斯达,高兄弟的作品具有深度和情感催化剂,在大多数是缺乏的努力,西方艺术家的风格。虽然陈腔滥调,艺术也需要带有的一片情绪,深层投入与当前事件产生任何价值。许多艺术家已经失去了根本的特征为现实绑带日常生活中。在厚实的相似,在2000年的经济市场增长的艺术家的受害者,懒惰和贪婪。他们的工作室流泻而出作品以前所未有的水平,作为艺术家并没有签上他们的名字,但保证工资工作时狂热者毕业生。
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