英语翻译The development of abstract art during the late nineteen

英语翻译
The development of abstract art during the late nineteenth and early twentieth centuries engendered a new aesthetic,which in turn gave impetus for the art show to be part of that experience.Early modernist exhibition space was to have a resonance with the work-rather than be a place for its cataloguing:the taxonometric procedures for display of the nineteenth century were usurped by individual aesthetic judgement on the part of the curator and designer.The aesthetic,first set out by art historian and Director Alfred Barr in the early years of the Museum of Modern Art,New York,has come to represent the conventional and MArketable display environment.The white-walled space is familiar and can be relied upon.Its autonomy and dominant miniMAlist details accordingly determine much of contemporary installation practice,creating a kind of aesthetic chamber,a place which seeks to transcend specificity of time and location.For MAny of us the designed air of the modern art gallery or museum space still represents a kind of elitism,designed to accommodate the prejudices and enhance the self iMAge of the upper middle classes.The carefully tuned details of the inward-looking gallery interior-wooden floors (mostly polished),miniMAl surfaces,single blocks of color (predominantly shades of white,or lately,black)and shadow gaps,are now endlessly mirrored in up-MArket retail spaces.The commonality of the language communicates a shared ground:art is turned into goods,consumer products are displayed with the allure of a rare art object.Audiences now perceive art,fashion,film,architecture and design as a much more connected world of iMAgery.Technologies now transfer between film and theatre and display environments.Techniques of digital and media projection or large-scale,specialized screens are commonly used in contemporary exhibition and retail environments as a means to connect with a public in a way that is familiar.Projections and screenings (as long as the associated sound interference can be dealt with)can transform an interior,since the body of the space itself is thrown into darkness.A simulated or fictive environment can be created with a controlled use of light color,sound and moving iMAges.The draMA of such an effect was felt in Jean Nouvel’s installation at the Pompidou Centre of his own work in 2001-2002.Here banks of sMAller screens played against other vast projects to create an immersive environment of color and form,quite remote from the familiar interior of the Pompidou itself.Such cineMAtic presentation MAkes for engaging viewing,and even in a gallery environment the film room showing biographical MAterial will invariably be one of the busiest spaces.

在抽象艺术在19世纪末和20世纪初的发展产生了新的美学,从而使该艺术展,成为该体验的一部分动力.早期现代主义的展览面积是有共鸣的工作,而不是成为其编目地点：19世纪显示taxonometric程序窃取个人对设计人员馆长和审美.审美,第一组由历史学家和艺术总监阿尔弗雷德巴尔在现代艺术,纽约,博物馆的最初几年所代表的传统和销售显示环境.白色壁熟悉的空间可以依靠.它的自主权和相应的优势简约细节决定当代安装实践的速度,创造了一种审美室,一个地方的目的,是超越时间和地点的特殊性.对我们许多的现代艺术画廊或博物馆空间设计的空气仍然是一个旨在适应的偏见和加强中上层精英的自我形象,实物.对内向型画廊内部的仔细调整细节（主要是抛光）木地板,极小曲面,单块的颜色（白色为主色调,或最近,黑色）和阴影的差距,现在不断地反映在了市场零售空格.语言的共性传达了一种共同的理由：艺术是为产品打开,消费类产品与一种罕见的艺术品的魅力展示.观众也认为这是在图像更互联世界的艺术,时尚,电影,建筑和设计.现在的技术之间传输电影和戏剧,并显示环境.数字和媒体的投影或大规模,专业化的屏幕通常在当代展览和零售环境中使用的技术作为一种手段,与公众联系的方式也很熟悉.预测和放映（只要相关的声音干扰,可处理）,能够把一个内部,由于本身是引发陷入黑暗空间机构.阿模拟或虚拟的环境,可以用颜色的光,声音和运动控制的使用而创建的图像.这种戏剧性的效果感到他自己的工作,蓬皮杜艺术中心在2001-2002年的让努维尔的安装.对其他大项目发挥了小屏幕在此,银行创造一种身临其境的颜色和外形的环境,不少从自己熟悉的蓬皮杜内部遥远.这种聘请观看电影演示文稿制作,并在画廊空间环境中的电影传记材料显示,甚至将永远成为最繁忙的场所之一.