The Legacy of Warhol Undergoes Rethinking
重新省視安迪沃荷的成就
By Blake Gopnik

PITTSBURGH, Pennsylvania – Andy Warhol was, chronologically and by his own description, a nose picker, a pimp and a water guzzler. He was also one of the most complex and impressive talents the art world has produced. All those claims can be confirmed by a visit to the Andy Warhol Museum here in his hometown. In honor of its 20th anniversary, the museum has been rethought from top to bottom.
如以年表及自述為準，安迪沃荷經常以手挖鼻孔，是皮條客，喝水如牛飲。他也是藝術界中，最複雜且最令人印象深刻的天才之一。走一趟他老家匹茲堡的安迪沃荷博物館，就能印證這種種說法。為了紀念啟用20周年，館方最近從頭到尾重新設計。

“We want people to know that there’s much more to Andy Warhol than Campbell’s soup cans and Marilyns,” said Eric Shiner, the museum’s director. Curators set out to show how life and art were perhaps more closely entwined for Warhol than for any other artist.
館長辛納說：「我們希望人們明白，安迪沃荷絕非只與康寶湯罐和瑪麗蓮夢露有關。」策展人希望參觀者看到的是，安迪沃荷生命與藝術糾結的程度可能比其他藝術家都深。

The museum have been reconceived as an orderly survey of just about everything that Warhol got up to, from the 1950s as a leading commercial artist to his work as an impresario with the Velvet Underground in the later ’60s to his landmark films right through to his place deep within MTV culture in the 1980s. Warhol plunged right in and became part of that culture.
經過重新構思後，博物館依序檢視安迪沃荷的生命歷程，從1950年代身為一名主要的商業藝術家，其後60年代擔任美國另類樂團「地下絲絨」演出者的作品，個人的重要影片，以至他1980年代在MTV文化中的地位。安迪沃荷一頭栽入，最後成為這種文化的一部分。

To understand the true greatness of Andy Warhol (1928-87), there are two early images by and of him. The rethought galleries now feature a little-known student painting from 1948 in which Warhol uses the latest in expressionist brushwork to portray himself, nude, with a finger stuck up his nose, pushing past the limits of good taste and fine art even while still in college. Near that artwork hangs a rare family snapshot that includes a baby-bonneted Andy, maybe 2 years old, also with his finger in his nose.
為了讓參觀者領會安迪沃荷（1928-87）的真正偉大，館方特別展出出自他與別人之手的早期個人影像作品。再思考之後推出的畫廊如今展出一件鮮為人知的安迪沃荷1948年學生時期畫作。他以當時最新的印象派畫法呈現自己：裸體，一根手指插入鼻孔。雖然他當時還只是個大學生，這已經跨越得體與美術的極限。在這件畫作旁懸有另一幅罕見的安迪沃荷家族快照。照片中戴著帽子的安迪沃荷可能只有兩歲，同樣把一根手指伸進鼻孔。

The one Warhol persona that is slighted in the new installation is his presence as one of the first notably gay artists to reach mass attention. The museum is open about Warhol’s homosexuality, displaying his “Studies for a Boy Book,” a series of drawings from the 1950s, and mentioning boyfriends. But it never digs into how important he was for the history of gay culture.
新的裝置展中，安迪沃荷有個身分被淡化了：他是第一批引起大眾注意的知名同志藝術家之一。博物館不隱瞞他的同志身分，展示他1950年代開始的系列素描「一本男孩書的研究」，同時提到他的一些男朋友，但完全沒有探討他在同志文化歷史中有多重要。

If anything, recent stratospheric auction prices have focused public attention away from Warhol the man and onto his salable “masterpieces”: The catalog for Christie’s latest contemporary art auction in New York featured a “White Marilyn” from 1962 on its cover, as oligarch bait.
作品最近創下天文數字拍賣價，導致各界將矚目焦點自安迪沃荷本人身上轉移至他可以賣錢的「巨作」。佳士得公司最近在紐約舉行現代藝術作品拍賣會，目錄封面是1962年的「白色瑪麗蓮」，用以吸引買家的注意。

Mr. Shiner doesn’t deny the instant appeal of the paintings. An immense 1963 silk-screened canvas of Elvis Presley called “Elvis 11 Times,” now given its own wall.
辛納不否認這些畫對觀賞者具有立即的吸引力。一幅名為「貓王乘以11」的巨大1963年絲屏貓王油畫擁有個別的展出牆面。

Nearly five decades ago, Warhol became the first artist to make video art. One of the rehang’s highlights is a fourth-floor media gallery where the public is offered uncut access to about 130 of Warhol’s films, videos and TV programs, mostly unfindable until now.
將近50年前，安迪沃荷成為第一位創作錄像藝術的藝術家。重新推出的重點之一是四樓的媒體畫廊。在這裡，參觀者可以看到大約130件原貌呈現的安迪沃荷影片、錄影帶與電視節目。在此之前，它們大多不曾面世。

Matt Wrbican, chief archivist, said there are over 500,000 items in his care, with many only now being put on display. The archives contain a wealth of information – the fact, for instance, that after being shot by Valerie Solanas in 1968, Warhol, either short on cash or simply cheap, had hoped to trade paintings for his doctors’ services.
首席檔案管理員魏爾比坎說，他保管的物品超過50萬件，其中許多直到現在才展出。檔案包含大量可貴資料，下列事實即為一例：1968年被華蕾莉‧索拉納斯開槍擊傷後，安迪沃荷可能因為沒錢或小氣而想以畫作抵充醫藥費。

“He always kept everything,” recalled the illustrator James Warhola, a nephew of Warhol. “His whole life’s work was made to order for a museum.”
安迪沃荷的姪子詹姆士．沃荷拉（安迪沃荷本姓為沃荷拉）說：「他總是留著一切。他畢生作品全是為一座博物館準備的。」

原文參照：
http://www.nytimes.com/2014/05/18/arts/design/rearranging-warhols-legacy.html

2014-06-03聯合報/G9版/UNITEDDAILYNEWS 馮克芸譯 原文參見紐時週報十版上