不晚，琐事

来上课的人都给我画一个杯子..

托尼·史密斯 Tony Smith

死亡 Die

1962

'Why didn't you make this work larger, so that it would loom over the observer?' the artist Robert Morris once asked Smith about an early sculpture 'Die' (1967). 'I was not making a monument,' Smith replied. 'Then why didn't you make it smaller,' Morris asked, 'so that the observer could see over the top?' 'I was not making an object,' Smith replied."'  -- James Panero, The Dartmouth Review

以上是罗伯特·莫里斯和托尼·史密斯关于这个作品的问答

问：为什么你不把它做的大一点，可以让恐怖笼罩观者？

答：我不是要做一个纪念碑．

问：那么为什么你不把它做小一点，那么人们可以看到顶部？

答：我不是要做一个物件．

这是一个６英尺乘６英尺乘６英尺的雕塑，底部微微抬起，人们可以看到这个雕塑所有的边线，大多数人们无法看到它的顶部，die在俚语中等同于death，并且有骰子dice的意思。

这是史密斯对死亡的感受，可以说，他成功的将其换算为了一件极少主义作品。

用路易·康的词说，这是一个从“unmeasurable”到“measurable”之间成功的转化。

Paris 1969

In a passage excerpted from a 1972 lecture, Kahn delineates its fundamentality in architecture:

"I have no color applied on the walls in my home. I wouldn't want to disturb the wonder of natural light. The light really does make the room. The changing light according to the time of day and the seasons gives color. Then there are reflections from the floors, the furniture, the materials, all contributing to make my space made by the light, mine. Light is mood. The color of light is very pronounced. We know that a red light will cast a green shadow and green light will cast a red shadow. A blue light will cast a yellow shadow and a yellow light will cast a blue. It's surprising when a sunset is truly a prevailing red, not confused; you will see an inky green shadow. Ever since I knew that to be true, I grew away from painting and depended on the light. The color you get that way is not applied, but simply a surprise."

http://www.artdaily.com/index.asp?int_sec=2&int_new=23204

 

也不写清楚从哪里引的...