19 POINTS pourriez vous traduire ce texte svp, MERCI D'AVANCE Koons’s Rabbit began as an inflatable, store-bought, plastic toy. Its transformation started when
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19 POINTS pourriez vous traduire ce texte svp, MERCI D'AVANCE
Koons’s Rabbit began as an inflatable, store-bought, plastic toy. Its transformation started when Koons bought it, blew it up, and had it cast in highly polished stainless steel. It has crinkled ears like an inflatable toy, a spherical head, and bulbous appendages, yet its face is blank. Employing a cliché, Koons has depicted a rabbit eating a carrot. While it appears to be a whimsical work of art, it also raises serious questions about what constitutes art. In its finished state it visually challenges the viewer on several levels. While it appears to be a shiny, lightweight, Mylar balloon, it is actually quite heavy and hard. Its mirrorlike surface also seduces the viewer, much as shiny silver in a jewelry store window would. As such, Rabbit addresses the heyday of luxury and consumerism in the 1980s. Rabbit’s surface also calls to mind the use of shiny metals in both historical and social contexts. According to Koons, “Polished objects have often been displayed by the church and by wealthy people to set a stage of both material security and enlightenment of spiritual nature; the stainless steel is a fake reflection of that stage.”
Koons’s Rabbit began as an inflatable, store-bought, plastic toy. Its transformation started when Koons bought it, blew it up, and had it cast in highly polished stainless steel. It has crinkled ears like an inflatable toy, a spherical head, and bulbous appendages, yet its face is blank. Employing a cliché, Koons has depicted a rabbit eating a carrot. While it appears to be a whimsical work of art, it also raises serious questions about what constitutes art. In its finished state it visually challenges the viewer on several levels. While it appears to be a shiny, lightweight, Mylar balloon, it is actually quite heavy and hard. Its mirrorlike surface also seduces the viewer, much as shiny silver in a jewelry store window would. As such, Rabbit addresses the heyday of luxury and consumerism in the 1980s. Rabbit’s surface also calls to mind the use of shiny metals in both historical and social contexts. According to Koons, “Polished objects have often been displayed by the church and by wealthy people to set a stage of both material security and enlightenment of spiritual nature; the stainless steel is a fake reflection of that stage.”
1 Réponse
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1. Réponse minelova
" Le lapin de Koons a commencé comme un jouet gonflable, acheté en magasin, en plastique. Sa transformation a commencé quand Koons l'a acheté, l'a fait sauter et le faisait jeter dans l'acier inoxydable fortement poli. Il s'est plissé les oreilles comme un jouet gonflable, une tête sphérique et des appendices proéminents, pourtant son visage sont blanches. En employant un cliché, Koons a dépeint un lapin mangeant une carotte. Tandis qu'il semble être une oeuvre d'art étrange, il soulève aussi des questions sérieuses à propos de ce qui constitue l'art. Dans son état fini il défie visuellement le visionneur sur plusieurs niveaux. Tandis qu'il semble être un ballon brillant, léger, Mylar, c'est en réalité tout à fait lourd et dur. Sa surface semblable au miroir séduit aussi le visionneur, beaucoup comme l'argent brillant dans une fenêtre de bijouterie. En tant que tel, le Lapin adresse l'âge d'or de luxe et le consumérisme dans les années 1980. La surface du Lapin souvient aussi de l'utilisation de métaux brillants dans des contextes tant historiques que sociaux.Selon Koons, "les objets Polis souvent étaient montrés par l'église et par les gens riches pour mettre une étape tant de sécurité matérielle que de l'éclaircissement de nature spirituelle; l'acier inoxydable est une réflexion fausse de cette étape. "