Part B: Matching Information (2014)
Emerging in the late Sixties and reaching a peak in the Seventies, Land Art was one of a range of new forms, including Body Art, Performance Art, Action Art and Installation Art, which pushed art beyond the traditional confines of the studio and gallery. Rather than portraying landscape, land artists used the physical substance of the land itself as their medium.
The British land art, typified by Richard Long’s piece, was not only more domestically scaled, but a lot quirkier than its American counterpart. Indeed, while you might assume that an exhibition of Land Art would consist only of records of works rather than the works themselves, Long’s photograph of his work is the work. Since his “action” is in the past the photograph is its sole embodiment.
That might seem rather an obscure point, but it sets the tone for an exhibition that contains a lot of black-and-white photographs and relatively few natural objects.
41
Long is Britain’s best-known Land Artist and his Stone Circle, a perfect ring of purplish rocks from Portishead beach laid out on the gallery floor, represents the elegant, rarefied side of the form.
42
The Boyle Family, on the other hand, stand for its dirty, urban aspect. Comprising artists Mark Boyle and Joan Hills and their children, they recreated random sections of the British landscape on gallery walls. Their Olaf Street Study, a square of brick-strewn waste ground, is one of the few works here to embrace the commonplaceness that characterizes most of our experience of the landscape most of the time.
43
Parks feature, particularly in the earlier works, such as John Hilliard’s very funny Across the Park, in which a long-haired stroller is variously smiled at by a pretty girl and unwittingly assaulted in a sequence of images that turn out to be different parts of the same photograph.
44
Generally however British land artists preferred to get away from towns, gravitating towards landscapes that are traditionally considered beautiful such as the Lake District or the Wiltshire Downs. While it probably wasn’t apparent at the time, much of this work is permeated by a spirit of romantic escapism that the likes of Wordsworth would have readily understood. Derek Jarman’s yellow-tinted film Towards Avebury, a collection of long, mostly still shots of the Wiltshire landscape, evokes a tradition of English landscape painting stretching from Samuel Palmer to Paul Nash.
45
In the case of Hamish Fulton, you can’t help feeling that the Scottish artist has simply found a way of making his love of walking pay. A typical work, such as Seven Days, consists of a single beautiful black-and-white photograph taken on an epic walk, with the mileage and number of days taken listed beneath. British Land Art as shown in this well selected, but relatively modestly scaled exhibition wasn’t about imposing on the landscape, more a kind of landscape-orientated light conceptual art created passing through. It had its origins in the great outdoors, but the results were as gallery-bound as the paintings of Turner and Constable.
Matching Options
41. Stone Circle
42. Olaf Street Study
43. Across the Park
44. Towards Avebury
45. Seven Days
全文翻译
大地艺术出现于六十年代末，在七十年代达到顶峰，是包括身体艺术、行为艺术、行动艺术和装置艺术在内的一系列新艺术形式之一，这些形式将艺术推向了工作室和画廊的传统局限之外。大地艺术家不是描绘风景，而是使用土地本身的物理物质作为他们的媒介。
以理查德·朗的作品为代表的英国大地艺术，不仅规模上更贴近国内，而且比美国同类作品要怪异得多。事实上，虽然你可能会认为大地艺术展应该只包含作品的记录而非作品本身，但朗为他作品拍摄的照片就是作品本身。既然他的"行动"已成为过去，照片就是其唯一的体现。
这似乎是一个相当晦涩的观点，但它为一场包含大量黑白照片和相对较少自然物体的展览奠定了基调。
朗是英国最知名的大地艺术家，他的《石圈》——一个由波特舍德海滩的紫色石头组成的完美圆环，摆放在画廊地板上——代表了这种艺术形式优雅、精致的一面。
另一方面，博伊尔家族则代表其肮脏、城市化的一面。由艺术家马克·博伊尔和琼·希尔斯及其子女组成，他们在画廊墙壁上重新创造了英国景观的随机片段。他们的《奥拉夫街研究》，一块布满砖石的废弃土地，是这里少数几件拥抱平庸性的作品之一，这种平庸性是我们大多数时候对景观体验的特征。
公园也有出现，尤其是在早期作品中，如约翰·希利亚德非常有趣的《穿过公园》，其中一位长发散步者被一个漂亮女孩以不同方式微笑，又在一系列影像中不知不觉地遭到攻击，而这些影像结果竟是同一张照片的不同部分。
然而总的来说，英国大地艺术家更喜欢远离城镇，倾向于传统上被认为美丽的景观，如湖区或威尔特丘陵。虽然当时可能并不明显，但许多作品弥漫着一种浪漫的逃避主义精神，华兹华斯之辈会很容易理解。德里克·贾曼的黄色调电影《走向埃夫伯里》，是一组对威尔特景观的漫长、大部分为静止镜头的集合，唤起了从塞缪尔·帕尔默到保罗·纳什的英国风景画传统。
就哈米什·富尔顿而言，你忍不住会觉得这位苏格兰艺术家只是找到了一种让他对步行的热爱获利的方式。一件典型作品，如《七天》，由一张在一次史诗般步行中拍摄的美丽黑白照片组成，下方列有里程和花费的天数。正如这次精心挑选但规模相对适中的展览所展示的，英国大地艺术不是要将自己强加于景观之上，而更像是一种以景观为导向的、在穿行中产生的轻概念艺术。它起源于广阔的大自然，但结果却像透纳和康斯特布尔的画作一样受限于画廊。
答案解析 (Answers & Analysis)
41. [D] represents the elegance of the British land art.
解析：定位第4段关于 Richard Long 的 Stone Circle。文中明确指出：“represents the elegant, rarefied side of the form”。“elegant” 直接对应选项 [D] 中的 “elegance”。
42. [E] depicts the ordinary side of the British land art.
解析：定位第4段关于 Boyle Family 的 Olaf Street Study。文中指出它是少数几个去拥抱“commonplaceness（平凡/普通）”的作品。选项 [E] 中的 “ordinary side（平凡的一面）” 是对 “commonplaceness” 的同义替换。
43. [G] contains images from different parts of the same photograph.
解析：定位第5段关于 John Hilliard 的 Across the Park。段末原话提到：“in a sequence of images that turn out to be different parts of the same photograph”。这与选项 [G] 几乎字面完全一致。
44. [C] reminds people of the English landscape painting tradition.
解析：定位第6段关于 Derek Jarman 的电影 Towards Avebury。文中指出它“evokes a tradition of English landscape painting”。“evokes（唤起）”对应选项 [C] 中的 “reminds people of（提醒人们想起）”。
45. [A] originates from a long walk that the artist took.
解析：定位最后一段关于 Hamish Fulton 的 Seven Days。文中描述它是“taken on an epic walk”。选项 [A] 中的 “long walk” 是对 “epic walk” 的通俗解释。
【干扰项排除】
[B] 提到了 “light conceptual art”，这是全文最后一段对整个英国大地艺术的总结，而非某一特定作品的描述。
[F] 提到了 “romantic escape into the Scottish outdoors”，虽然文中有 “romantic escapism”，但作者在第6段是用它形容这类作品的整体精神，并非特指某一作品。