據(jù)紐約style file報(bào)道，盡管天氣悶熱，7月28號(hào)，藝術(shù)愛(ài)好者們因?yàn)镾COPE藝術(shù)博覽會(huì)而聚集在漢普敦。為了為期四天的博覽會(huì)，East Hampton Studios變成了來(lái)自15個(gè)國(guó)家40多家畫(huà)廊藝術(shù)展示的場(chǎng)地。博覽會(huì)的其中一個(gè)亮點(diǎn)是英國(guó)南安普敦的Keszler Gallery所展出的Fame + Shame展覽，其中展示了一系列英裔美籍藝術(shù)家Russell Young的瑪利蓮夢(mèng)露裝置，作品靈感源自於Andy Warhol普普藝術(shù)中大量採(cǎi)用的絹版印刷技法。但是東漢普敦本周最引人注目的是來(lái)自中國(guó)的藝術(shù)家鐘飆，參觀者走到ChinaSquare的展位都會(huì)對(duì)他新現(xiàn)實(shí)主義的雙拼畫(huà)“祖母的天空”行注目禮，這幅畫(huà)以現(xiàn)代的形態(tài)意指了被遺忘了的中國(guó)。
Muggy weather notwithstanding, art lovers flocked to the Hamptons by the Jitney-loads this weekend to attend the SCOPE Art Fair. For four art-filled days, East Hampton Studios was transformed into a spacious arrangement of stalls featuring more than 40 galleries from 15 countries. Highlights included the Keszler Gallery (Southampton) booth, which exhibited a fabulous Marilyn Monroe installment from its current exhibition,“Fame + Shame” (the title refers to images of real celebrity mug shots), a series of Andy Warhol-inspired silk-screens by the British-American artist Russell Young. But one of the most eye-catching pieces on the East End this weekend came from Chinese artist Zhong Biao. Art goers practically gawked at his neo-realist diptych, “Grandma’s Sky,” at the ChinaSquare booth, which juxtaposes a contemporary figure with references to a forgotten China.
【編輯：霍春常】
