劳申伯格与物质化的图像(1974)

Rauschenberg and the Materialized Image

在《劳申伯格与物质化的图像》的开篇,克劳斯写下了与一位朋友的谈话轶事。她的同事认为主流审美效果的变革必须予以杰作的明证,而劳申伯格却并有产生这种东西。但克劳斯却赞同列奥·施坦伯格的观点,认为“混合物”(the Combines)代表了艺术实践中的一个彻底转变。克劳斯认为,“物质化的图像”是劳申伯格艺术中出现的完全独创性的东西,这种独创性将他区别于先前所出现的任何平面性图像。劳申伯格的图像不只是物体的转译,它还是对物体的重置。劳申伯格赋予图像一种真实的物理抗性,它是我们在日常经验中从物体或行动那里才能得到的感受,他给图像一种必须在时间内被人接受的感觉。通过这个方法,图像回到了一种完全持续的经验,一种事关记忆、反思、叙事、命题那样的经验。最后,克劳斯认为劳申伯格的作品是一种将物体从商品的命运中救赎而出的创造。

In the opening paragraph of "Rauschenberg and the Materialized Image," Krauss writes anecdotally of a conversation with a friend. The response of her colleague believes that a change of major aesthetic consequence must be proffered in the form of masterpieces, something that Rauschenberg had not produced. Siding with Steinberg in his contention that the "Combines" represented a radical change in artistic practice. Krauss argues, the materialized image is entirely original in Rauschenberg’s art, something that separates him from any use of the surface-related image before him. The image of Rauschenberg was more than just a translation of the object;it was a relocation of it. Giving to images the property of actual physical resistance that objects or actions have in our daily experience, Rauschenberg endows them with a sense of having to be encountered through time. In this way they are returned to an experience that is fully durational, an experience that is about memory,reflection, narration, and proposition. Finally, Krauss sees Rauschenberg’s work as the creation that redeems objects from the fate of commodities.