2. 外语
  3. If his diaries are any indication, Andy Warhol had little affection for Richard Avedon. In an entry from December 1976, Warhol r

If his diaries are any indication, Andy Warhol had little affection for Richard Avedon. In an entry from December 1976, Warhol r

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问题     If his diaries are any indication, Andy Warhol had little affection for Richard Avedon. In an entry from December 1976, Warhol recalled running into a woman they both knew at a dinner party in New York.
    "We talked about how horrible Avedon is, " Warhol wrote. "She said he gets what he wants out of a person and then drops them. I agreed and then everybody screamed at me that I do the same thing."
    Whatever their animosities, Avedon and Warhol are being posthumously paired in an exhibition at the Gagosian Gallery. The show, which runs through April 23rd, presents 33 Warhol silk-screens and 22 Avedon works (including a single series of 69 portraits) dating from the 1950s to the 1990s.
    At first glance, they form an awkward tandem, as towering figures in separate artistic disciplines. But they had similar backgrounds and early career trajectories. Born five years apart in the 1920s to East European immigrant families, they got their starts in the New York fashion world, both working for Bonwit Teller and Harper’s Bazaar. Although their paths then diverged—Avedon shifting from fashion photography to portraiture and Warhol becoming a painter and filmmaker and a Pop Art stalwart—they moved in the same New York circles, often portraying the same people.
    The Gagosian is illustrating that overlap, eager to present the two men as equals who documented similar themes from different angles, thrusting aside hierarchical distinctions between painting and photography. The exhibition also has a commercial logic: It presents the work of two hugely famous artists, one of whom (Avedon) has the advantage of being relatively affordable.
    The idea for a combined exhibition came up after the Avedon Foundation—a nonprofit organization that owns Avedon’s photographs, negatives and archives and raises money through print sales—made the Gagosian its exclusive representative. The gallery thought of twinning Avedon with an artist "to change people’s ideas about photography and the standing of photography in the world, " said Kara Vander Weg, a director of the Gagosian in New York.
    Donna De Salvo, a deputy director of the Whitney Museum who curated Tate Modern’s 2002 Warhol retrospective, and who is staging one at the Whitney, described Avedon and Warhol as a "provocative pairing" but a valid one, though she had not yet seen the Gagosian show.
    "Avedon’s work to me was always on this fine line between fashion and high art, and that’s the line Warhol walked as well, " Ms. De Salvo said. She noted that the two artists did in fact share a medium: "Warhol would be inconceivable without the photographic image. lt’s so deeply embedded."
    She described Avedon as a "giant" of photography who was a worthy exhibition companion for Warhol. In any event, "nobody can diminish Warhol: You can put him with just about anything, " she said. "He becomes a great foil to play off."
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答案 如果说安迪.沃霍尔(Andy Warhol)的日记能说明什么的话，那就是他对理查德.埃夫登 (Richard Avedon)没有多少好感。在1976年12月的一篇日记中，沃霍尔回忆起在纽约的一次晚宴上碰到一个他和埃夫登都认识的女人。 沃霍尔写道：“我们说到埃夫登有多可恶。她说埃夫登只要一从别人身上得到他想要的东西，就不会再跟他们来往。我表示赞同，然后每个人都冲我大喊，说我也如此。”不管沃霍尔和埃夫登之间充满了多少敌意，在他们死后，高古轩画廊(Gagosian Gallery)将两人的作品放在一起，举办了一场展览。展览呈现了33幅沃霍尔的丝网版画和22幅埃夫登在上世纪50到90年代拍摄的照片(包括69幅系列肖像摄影作品)，展出将持续到4月23日。 乍一看，他们就像来自两个不同艺术领域的顶级大师，将他们组合起来并不合适。但他们有着相似的背景，早期的事业轨迹也类似。两人都于上世纪20年代出生在东欧移民家庭，年龄相差5岁。他们都从纽约时尚圈起步，都曾供职于邦威特.特勒百货公司(Bonwit Teller)和《时尚芭莎》杂志。尽管后来他们走上了不同的人生道路一一埃夫登从时尚摄影转向肖像摄影，沃霍尔则成为了画家、电影制片人和波普艺术的忠实拥趸，但他们进入了同一个纽约艺术圈，描绘记录着同一群人。 高古轩画廊将绘画和摄影之间的层级区别抛到一边，展示两人的相同之处，热切地把他们描绘成从不同角度记录相似主题、具有同等地位的艺术家。而且，将两人的作品放在一起展出合乎商业逻辑，即它呈现了两位非常著名的艺术家创作的作品，其中埃夫登作品的优势在于其相对便宜的价格。 举办联合展览的想法是在埃夫登基金会(Avedon Foundation)选择高古轩画廊为其独家代理后产生的。埃夫登基金会是一个非营利组织，拥有埃夫登的摄影作品、底片和档案材料，并通过销售印刷品获得收入。纽约高古轩画廊的总监卡拉.范德.韦格(Kara Vander Weg)说，该画廊想联合埃夫登与另外一位艺术家的作品。“以改变人们对摄影以及摄影在世界上的地位的看法”。 惠特尼博物馆(Whitney Museum)副馆长唐纳.德.萨尔沃(Donn. a De Salvo)是泰特现代美术馆(Tate Modem)2002年沃霍尔回顾展的策展人。目前正在惠特尼博物馆举办相同的展览。尽管萨尔沃还没看到高古轩画廊的这场展出，但她说，埃夫登和沃霍尔是一对“极具争议的组合”，但仍是可以接受的。 “在我看来，埃夫登的作品总是游走在时尚与高雅艺术之间，沃霍尔也是如此。”德.萨尔沃女士说。她指出，这两位艺术家实际上利用了同一媒介，“如果没有摄影，沃霍尔将无法进行创作。他的作品根植于摄影。”她认为，埃夫登是摄影界的“巨人”，具有与沃霍尔一起展出作品的资格。“无论如何，没有人能拉低沃霍尔。你可以把他和任何东西放在一起，他都会是极好的陪衬。”她说。
解析     1.第1段第二句entry为多义词，有“进入…入口…(日记)一则”等义项。根据本文语境，此处讲述的是沃霍尔日记的内容，故取第3个义项，译为“日记”更为合适。
    2.第1段第二句run into为固定搭配。意思是to meet somebody by chance“偶然遇见某人”。结合本文语境，可译作“碰到”。
    3.第2段第二句drops在此作动词，有多个义项，如“滴落”“下降”“停止”“与某人不再来往”等。根据本义语境，此处是说埃夫登从别人身上获得需要的东西后就不再与其往来，故此处取第4个义项，译为“不再来往”更为合适。
    4.第6段第二句The exhibition also has a commercial logic，若直译为“这场展览还有它的商业逻辑”则显得生硬，在翻译时可将has a commercial logic译为“合乎商业逻辑”，使译文更加流畅。
    5.第7段第一句negatives在此作名词，有多个义项，如“否定”“负数”“底片”等。Negatives在文中与埃夫登的摄影作品、档案材料并列，可推测negatives在此取第3个义项，译为“底片”更为合适。
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