Connection and differ

作业要求：
What do they share in common？他们有什么共同点？

在库马尔和我瘸腿的作品中，凯旋的风格，独裁者流行的建筑框架取代了自然框架；人工光取代了自然光；身着“将军”制服的巨大身躯取代了年轻的裸体希腊英雄。绘画作为一种爱的行为仍然存在，但它对意义的转换往往是弗洛伊德“转换”的产物，这完全改变了它的意义；爱已经变成了奉承。苏维埃画家的注释结构就像一个文字游戏，必须用两种不同但互补的方式来解释。第一种是使用前苏联系统艺术家使用的象征性语言：用左手画画或写字，表明他们不相信成品的审美价值，他们的创作不是权宜之计，就是被迫的。第二个暗示更加文学化，或者说更加理性，涉及到知识分子的语言：左手不仅是一个实践“左手”艺术的艺术家，而且是揭示事物真实本质的左手：这里它指的是这个清晰阴影的黑暗、邪恶的一面。

In the works of Kumar and ME lamed, the triumphant style of the triumphant, the architecture frame popular with the dictator replaced the natural frame; the artificial light replaced the natural light; the huge body in the uniform of the "general" replaced the young naked Greek hero. Painting still exists as an act of love, but its conversions of meaning are often the product of Freudian "conversions", which completely change its meaning; love has become fawning. The annotation structure of Soviet painters is like a word game, which must be interpreted in two different but complementary ways. The first uses the symbolic language used by artists of the former Soviet system: drawing or writing with the left hand indicates that they do not believe in the aesthetic value of the finished work, and that their creation is either expedient or forced. The second hint is more literary, or more rational, and involves the language of intellectuals: the left hand is not only an artist practicing the art of the "left", but it is also the left hand that reveals the true nature of things: here it refers to the dark, evil side of this clear-cut shadow.

With the concept of "locality" as the core, Miwok Kwon discusses the possible relationships between works of art and their situations, as well as the aesthetic, critical and ethical issues arising therefrom. Miwok Kwon believed that the word "locality" was not critically absorbed and used by some mainstream cultural institutions, thereby reducing its artistic and political efficacy and becoming a "problem-idea". Artists, curators and critics have criticized and questioned local art, leading to a series of new expressions, such as "art in a particular scene" or "art with a specific audience", thus undermining the stability of the concept of "locality". Miwok Kwon realized that due to the lack of history and theoretical basis and the limitations of the existing art system, local art has become a weak and scattered theoretical research field in the mainstream art research field.

How do they differ?它们有何不同？

KumarandMalamud’s attitude is very ambiguous. In the whole series of "nostalgic socialist realism", almost the same as this work, from the works are very orthodox, classical, rigorous, no pop, no hippy. The work of the Kremlin (View of the Kremlin in a Romantic Landscape, 1981-1982) is more like "sublimation" than "deconstruction." Of course, they also have less serious works, such as this self-portrait of Vincent van Gogh, The Portrait of the World Leader who Cuts His Right Ear (Arles, Portraits of World Leaders with Right Ear Cut Off, 1978)。

In addition, she takes "culture in action" as a case to show the transformation and development of public art from "locality" to "community". The event was held in Chicago in 1993 to propose a new genre of public art that seeks greater participation of urban community residents in (public) art. "Culture in Action" is a typical case showing the contradiction between public art system standards and the public and community. It criticizes the Chicago Sculpture Organization and realizes greater artistic democratization by intervening in public space.Miwon Kwon summed up the three forms of public art, corresponding to the three paradigms of locality. Firstly, the art of public space, that is, the works of famous artists in museums and galleries are enlarged, reproduced and transplanted into public space; secondly, the public space of art, mainly embodied by sculptures of urban furniture; and secondly, the public art of community participation characterized by activities. In fact, public art is often classified by critics as "art of the earth" or "art out of the base". It is more a decoration to beautify urban space than a way to enhance and create urban image or architectural features. In response, the National Arts Foundation incorporates local features into the guidelines of public art creation in order to achieve the urban benefits of public art, requiring artists to pay more attention to the urban environment, design the coherence of urban space, and thus obtain more socially valuable works of art.

Miwok Kwon defined "culture in action" as a community-oriented work of public art, and divided the community into four types. The first is to view the community as a fictional unity. For example, in Suzanne Laci’s Full Circle, the community defined in the work is actually an entire group of women, although the author interprets a particular individual from Chicago. The second is a specific location of the community. Such communities already have clear geographical and cultural attributes, and community residents share common values and lifestyles. Simon Renan and Christopher Operando designed billboards for the International Union of Desserts and Tobacco Unions. The third is a temporary built community. Artistic works are integrated into art education or art activities, so that people can be gathered together to form a community. The fourth is the extension of the third type of community, from a temporary community constructed by works of art to a sustainable community.