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(单词翻译:双击或拖选)
NOEL KING, HOST:
Photographs taken over the course of 50 years are on view in Los Angeles. Three different photographers captured stunning1 and shocking and provocative2 images. And then a curator at the Museum of Contemporary Art found connections among the pictures. NPR's special correspondent Susan Stamberg explains.
SUSAN STAMBERG, BYLINE3: We snap a selfie with the tap of a finger. We're used to preserving smiling moments. The MOCA show goes to darker places with the work of three major photographers - Brassai, a French-Hungarian who made his reputation revealing secret Paris nights between the wars, Diane Arbus, American, who said in the '60s, I really believe there are things nobody would see if I didn't photograph them, and Nan Goldin, another American, who stunned4 the 1980s with her series "The Ballad5 Of Sexual Dependency." All three picture takers are revolutionary, photographing with profound intimacy6 the undersides of life.
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STAMBERG: In nighttime Paris, Brassai stalked the underworld - brothels, streetwalkers - but at MOCA, a happy night at an Afro-Caribbean club in Montmartre. Blacks and whites smoke together, sip7 Perrier or stronger stuff, dance.
LANKA TATTERSALL: They're having a great time. And then there's this one woman on the left-hand corner that I just find so striking.
STAMBERG: Curator Lanka Tattersall.
TATTERSALL: She's wearing this white hat that's just off to the side, a kind of kerchief hat, and she's staring directly at the camera. And this is the thing that I find so remarkable8 in this image. It's taken in 1932. She's looking at Brassai, and she's very aware of her image being taken by this photographer.
STAMBERG: It didn't happen that much in those days, people roaming around unannounced, taking your picture.
TATTERSALL: She's probably thinking, you know, this scene is being preserved. I think that's what makes this photograph absolutely contemporary, is an awareness9 of what it is to be photographed and to really think about having your image distributed across time and space.
STAMBERG: Thirty years later, American photographer Diane Arbus inherited Brassai's vision. We were used to having our pictures taken by the 1960s, but Arbus' focus was new. In black and white, she documented people on the fringes - giants, bearded ladies, also...
TATTERSALL: People with mental disabilities, people who may have been in institutions, people whose bodies or sexual identities didn't conform with kind of mainstream10 narrative11 of what it was to be an American.
STAMBERG: She was accused of voyeurism12, going after what were then called freak shows. But the MOCA curator says Arbus forged relationships with her subjects. Lanka Tattersall sees empathy in these pictures.
TATTERSALL: To me, she's photographing these remarkable individuals who want to be photographed.
STAMBERG: There's an amazing 1969 photo Arbus called "Transvestite At Her Birthday Party."
TATTERSALL: And it's just this, you know, person lying alone on a bed. She's got some balloons tacked13 up on the wall. It might just be a two-person birthday party. It might just be Arbus and this one woman. They're having a fabulous14 time.
STAMBERG: Transgender people also intrigue15 photographer Nan Goldin. Twenty years after Arbus, Goldin photographs them and gays, lesbians. Hers are the most provocative pictures in the MOCA exhibit. She shows people having sex - friends who let her photograph them having sex. Her camera is part of their scene. Are the pictures invasive?
TATTERSALL: I think they're voracious16.
STAMBERG: She's exploring relationships - what happens in love and when love goes very wrong. Her self-portrait, "Nan After Being Battered17 (ph)," 1984, shows the damage Goldin's lover did to her - dark bruises18 under her eyes, the left eye bloody19 in her swollen20 face. She looks right at us. The look is uncompromising.
What do you see in that face? Is it anger, revenge?
TATTERSALL: I think there's a chilling way in which she's saying, this is what it looks like to be battered, but this is also what it looks like to take control of your own image.
STAMBERG: Nan Goldin was 31 years old in that photo. One battered eye was nearly blind, but - and - she's painted her lips carefully a bright, bright red.
TATTERSALL: Even if that moment of abuse is one of victimization, there's a way in which she's saying, I am taking my own agency back in this image.
STAMBERG: A lot of rough stuff in this exhibition at the Museum of Contemporary Art, Los Angeles - images and ideas that linger long after you've left the building. They trace how great photographers have used their cameras to make us see, understand or recoil21 in the course of half a century. In California, I'm Susan Stamberg, NPR News.
1 stunning | |
adj.极好的;使人晕倒的 | |
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2 provocative | |
adj.挑衅的,煽动的,刺激的,挑逗的 | |
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3 byline | |
n.署名;v.署名 | |
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4 stunned | |
adj. 震惊的,惊讶的 动词stun的过去式和过去分词 | |
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5 ballad | |
n.歌谣,民谣,流行爱情歌曲 | |
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6 intimacy | |
n.熟悉,亲密,密切关系,亲昵的言行 | |
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7 sip | |
v.小口地喝,抿,呷;n.一小口的量 | |
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8 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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9 awareness | |
n.意识,觉悟,懂事,明智 | |
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10 mainstream | |
n.(思想或行为的)主流;adj.主流的 | |
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11 narrative | |
n.叙述,故事;adj.叙事的,故事体的 | |
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12 voyeurism | |
n.窥阴癖者 | |
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13 tacked | |
用平头钉钉( tack的过去式和过去分词 ); 附加,增补; 帆船抢风行驶,用粗线脚缝 | |
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14 fabulous | |
adj.极好的;极为巨大的;寓言中的,传说中的 | |
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15 intrigue | |
vt.激起兴趣,迷住;vi.耍阴谋;n.阴谋,密谋 | |
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16 voracious | |
adj.狼吞虎咽的,贪婪的 | |
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17 battered | |
adj.磨损的;v.连续猛击;磨损 | |
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18 bruises | |
n.瘀伤,伤痕,擦伤( bruise的名词复数 ) | |
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19 bloody | |
adj.非常的的;流血的;残忍的;adv.很;vt.血染 | |
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20 swollen | |
adj.肿大的,水涨的;v.使变大,肿胀 | |
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21 recoil | |
vi.退却,退缩,畏缩 | |
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