参考译文：

罗伯特.劳森伯格(1925-2008)

他的创意和充满激情的作品为现代艺术作出了新的定义

今天，我们来向你介绍罗伯特.劳森伯格，他是被公认的二十世纪后半期最有影响力的艺术家之一。纵观他的一生，劳森伯格在绘画、雕刻、版画，甚至舞蹈表演等领域进行了深入的探索，他的创意和他那大胆的作品给世界艺术带来了革命性的变化。有一位艺术评论家说，美国艺术领域还没有任何一件艺术品能够与罗伯特.劳森伯格的创意相比。

1925年，他出生在米尔顿.欧内斯特.劳森伯格家，他在德克萨斯州亚瑟港小镇的一个基督教家庭成长，他在德克萨斯大学学了一段时间的药理学，这是一门配药和用药的科学，但他没有取得学位。在二十世纪四十年代的第二次世界大战期间，他参加了海军，并在加州的一家医院工作。正是在那，他在当地的一家艺术博物馆第一次看到了油画。尽管他从来就没有学习过，然而劳森伯格意识到他要成为一名艺术家。二战结束后，他在堪萨斯城市艺术学院学习艺术，随后又到法国的巴黎学习艺术。劳森伯格将他的名字改为罗伯特，因为他认为这样听起来更像是一位艺术家。在此期间，他遇到了艺术家苏珊.威尔，后来他们结婚了，婚姻持续了两年，并有了一个儿子。

劳森伯格在北卡罗莱纳州的黑山学院继续他的学业，在那，他遇到了一伙人，是这些人帮助他重新定义了现代艺术和现代表演。他成了舞蹈教练莫西.坎宁安和音乐家约翰.凯奇的好朋友。他还受到他的老师的影响，他的老师是一位艺术家，他的老师叫约瑟夫.阿尔伯斯。劳森伯格说阿尔伯斯是一位不可理喻的人，但他说，阿尔伯斯教他如何形成他自己独有的视觉，而且这位老师鼓励他的学生去探索使用各种不同的材料来创作他们的艺术。

1949年，劳森伯格来到了纽约市，这里是世界激情艺术的一部分。他创作了一系列纯白色的绘画，随后，他又创作了一系列纯黑色的绘画。他想探索油画在不同光线下变化的方法，或者探索取景器在他的作品前投影所留下的影子。到了二十世纪五十年代中期，劳森伯格正在创作他的第一幅“综合作品”，这是一件大型的艺术作品，它将绘画和雕刻结合在一起，这些试验性作品打破了以往都是两件独立的艺术作品的模式，这些作品包括箱子、书本和收音机等，这些都是这位艺术家在纽约市的大街上找来的。1955年的综合作品叫“床”成为他最著名作品中的一件，这幅“床”上覆盖着一幅床单、棉被和枕头。

这幅“床”的绘画风格很像抽象表现派画家，如杰克逊.波洛克的作品，他是当时非常活跃的画家。这些抽象派油画要表现的是动作和颜色，而并不表现作品的主题。但劳森伯格想要通过包括日常生活用品在内的他的综合作品来突破抽象表现派的风格。后来，波普艺术运动的成员将这种普通的物品的含义向更深层次的挖掘。在1959年，劳森伯格创作了另一件著名的综合作品，这件作品叫“Monogram”，这件作品是一头死山羊，其中间套着橡皮圈，这只套着橡皮圈的死山羊站在一幅油画上，在这油画的表面还有一些他所找到的东西，如一只鞋的一部分和一只网球。

劳森伯格曾经说过，有人认为他的作品像是丑陋的肥皂碟、镜子，或可乐瓶等，对此他觉得很遗憾，他说，这些人肯定很不愉快，因为他们整天被这些东西所包围着。劳森伯格在他的作品中向人们表现的是，一些意想不到的东西，如果一个人能够用心去观测的话，也会变得很美丽的。

随着时间的流逝，罗伯特.劳森伯格继续探索和组合各种不同的艺术形式。他发明了一种画图方式：他用化学药品将印刷好的图象和文字覆盖起来，然后用铅笔将其转画在纸上。他还创作了更加大胆的平版画，这为平版画得到人们新的尊重起到了很大的帮助，同时也引起人们对版画艺术的关注。

在他1964年的作品“影子”中，劳森伯格将编辑、版画和雕刻结合在一起，他在塑料被单上印上黑白图像，这被单可以叠成书页而成为一个盒子，一束阳光射进被单，使得这幅作品变成了一本书的新的版本。他的1967年的作品“Booster”，这是当时所创作的最大的手拉画。劳森伯格的作品打破了不同艺术方法的界线。

到二十世纪六十年代，劳森伯格已经成为世界上著名的艺术家。1964年他成为获得意大利威尼斯巴纳尼尔艺术展(Venice Biennale art show)大奖的现代美国第一人。但名声并没有使劳森伯格放慢追寻他新想法的脚步，他在一张很大的帆布上用丝网印刷把一些已经印刷好的图像组合在一起。他还创作了许多其他系列印刷品，包括1974年的“白霜系列”。为了这些作品，劳森伯格在薄薄的平滑的丝绸和平纹丝织品上印上图像。另外，在他的“纸板系列”中，劳森伯格采用扁平的纸箱组合成有趣的墙雕。罗伯特.劳森伯格说，他朝一个方向努力，一直到知道如何去创作为止。他说，一旦他觉得无聊，或者他已经明白了什么，那么另一个问题也随之产生了。

罗伯特.劳森伯格坚定地认为必须和其他一些艺术家共同创作。在二十世纪五十年代初，他和他的妻子苏珊.威尔合作，他们通过将灯光照射在一个正躺在一张特殊的蓝图纸上创作了大印刷系列。他在舞蹈教练莫西.坎宁安和其他一些舞蹈教练的指导下还设计了舞台道具和舞蹈服装。他和艺术家乔斯普.约翰斯密切合作，并相互交流思想。而且，他还和塔迪纳.格罗斯曼这样的印刷专家合作，他们在她位于纽约的环球版画艺术工作室里一起创作。

劳森伯格和来自贝尔技术实验室的一名工程师共同帮助创建了一个非赢利组织，这个组织叫艺术和技术试验组织，这个组织支持艺术家和科学家们相互合作。成立这样一个组织的想法来自于1966年在纽约市举办的九场系列演出，在这些演出中，工程师和艺术家们在试验节目中将技术与艺术结合在一起。另外，在1985年，他发起了ROCI，即劳森伯格海外文化交流，它的目的是为了找到一条通过艺术语言和其他国家进行交流的途径。劳森伯格出访了二十多个国家，包括到了中国、西藏(注：美国向来把西藏与中国并列，这是严重侵犯我国主权的。本文之所以直译，就是要揭穿美国的险恶用心。读者看到时，也要看清美国在西藏问题上的真面目!)、乌兹别克斯坦、古巴和苏联。他在每一个国家都和艺术家们一起创作艺术品，随后，这些艺术品在所在国的博物馆与来自世界其他一些地区的艺术品一起展出。1991年，这个项目在华盛顿特区国家艺术走廊举办的来自每一个国家的艺术品展览后结束。

罗伯特.劳森伯格的作品已经在许多主要的博物馆中展出，这些展览包括1981年在法国巴黎的蓬皮杜艺术中心举办的展览和1997年在纽约古根海姆博物馆举办的展览。在2005年，纽约大都会博物馆举办了一次罗伯特.劳森伯格的综合作品展览。2007年，他的作品还在华盛顿国家艺术走廊展出。在他职业生涯的后期，劳森伯格把越来越多的时间放在了家里，他家位于佛罗里达海岸之外的卡普堤瓦岛，在那，他有一个很大的画室，在这个画室里，他在创作大型的作品。在2002年，劳森伯格遭受到一次打击，他的右手不能动了，他知道他只能用左手来创作了。在他的助手的帮助下，他继续在创作他的艺术品。罗伯特.劳森伯格于2008年在佛罗里达他的家里去逝，享年82岁。他那富有创意的现代艺术品将继续影响着未来几代的艺术家和艺术爱好者们。

简评：

这篇文章很难翻译，因为我对绘画这门艺术一巧不通，文中许多术语我无法理解，因此，在本文中出现了许多错误，在此恳请大家帮我指正，在此先谢谢了!

艺术无禁忌!这应该是艺术创作的最高原则，因为如果在艺术创作方面还有这样或那样的限制的话，那么艺术也必将会随着这些限制而枯萎。

劳森伯格就充分体现了“艺术无禁忌”这一最高原则，大胆地想，大胆地创作，想别人所未想的，做别人所未做的，这样的艺术才会有生命力!我虽然不懂艺术，但我绝对欣赏艺术创作的最高原则，我也衷心希望我们国家的艺术家们在进行艺术创作时，也能遵循艺术无禁忌这一最高原则，给我们中国人带来更多更不可思议的艺术品，彻底开阔我们中国人的眼界和思维。

Robert Rauschenberg, 1925-2008: His Inventive and Energetic Works Redefined Modern Art 

Today we tell about Robert Rauschenberg. He is widely considered one of the most influential artists of the past half-century. Throughout his long career, Rauschenberg explored painting, sculpture, printmaking and even dance performance.  His inventive ideas and bold work made him a revolutionary presence in the art world. One art critic said that there has never been anything in American art to match the energy of Robert Rauschenberg’s imagination. 

He was born Milton Ernest Rauschenberg in nineteen twenty-five. He grew up in a Christian religious family in the small town of Port Arthur, Texas. He studied pharmacology, the science of preparing and using medicine, at the University of Texas for a short time. But he did not complete his degree. He joined the Navy during World War Two in the nineteen forties and worked in hospitals in California. It was there that he saw paintings in an art museum for the first time.  Though he had no training, Rauschenberg realized then that he wanted to be an artist. After the war, he studied art at the Kansas City Art Institute as well as in Paris, France. Rauschenberg changed his first name to Robert because he thought it sounded more like the name of an artist. During this time, Rauschenberg met the artist Susan Weil. They later were married for two years and had a son. 

Rauschenberg continued his studies at Black Mountain College in North Carolina. There, he met a group of people who would help redefine modern art and performance. He became good friends with the dance choreographer Merce Cunningham and the musician John Cage. He was also influenced by his teacher, the artist Josef Albers. Rauschenberg said that Albers was an impossible person. But he said Albers taught him how to develop his own personal sense of looking. And, this teacher urged students to explore many kinds of materials to make their art. 

In nineteen forty-nine, Rauschenberg moved to New York City to be part of its energetic art world. He made a series of all-white paintings. Then, he made a series of all-black paintings. He wanted to explore the way the paintings changed in different lighting conditions, or as the shadow of a viewer passed in front of the work.  By the mid nineteen fifties, Rauschenberg was making his first “combines," large works of art that were both paintings and sculptures. These experimental works broke down what usually were two very separate art forms. These works included objects such as boxes, books and radios that the artist found in the streets of New York. The nineteen fifty-five combine called “Bed became one of his most famous works. It includes a bed sheet, quilt and pillow covered in paint. 

The thrown paint on “Bed was similar to the work of Abstract Expressionist painters like Jackson Pollock who were active at the time. These abstract paintings were meant to show action and color instead of representing a subject matter.  But Rauschenberg went beyond Abstract Expressionism by including objects from everyday life in his combines.  Later, members of the Pop Art movement would further develop this inclusion of common objects.  In nineteen fifty-nine, Rauschenberg made another famous combine, called “Monogram. This work includes a dead goat with a rubber tire around its middle. The work stands on a painted surface with other "found" objects like part of a shoe and a tennis ball.

Rauschenberg once said that he felt sorry for people who consider things like soap dishes, mirrors or Coke bottles to be ugly. He said these people must be very unhappy because they are surrounded by these objects all day long. Rauschenberg showed in his work that unexpected things can be beautiful if a person takes time to look.

Over the years, Robert Rauschenberg continued exploring and combining different forms of art. He developed a method of drawing in which he covered printed images and words in chemicals, then transferred them onto paper using a pencil. He also made boldly inventive lithographs that helped bring a new level of respect and attention to the art of printmaking.

In his nineteen sixty-four work called “Shade, Rauschenberg combined bookmaking, printmaking and sculpture into one artwork. He printed black and white images onto plastic sheets, which could be placed like pages into a box. A light shining through the sheets made the work into a redefined version of a book. His nineteen sixty-seven print, “Booster, was at the time the largest hand-pulled lithograph ever made. Rauschenberg’s work broke down the boundaries between different artistic methods.

 By the nineteen sixties, Rauschenberg had become famous in the art world. In nineteen sixty-four he became the first modern American to win the international grand prize at the Venice Biennale art show in Italy. But fame did not cause Rauschenberg to slow down his flow of new ideas. He worked on putting combinations of printed images onto large canvases using screen-printing. He made many series of other prints, including a "Hoarfrost Series" in nineteen seventy-four. For these works, Rauschenberg printed images onto thin pieces of flowing silk and taffeta fabrics. And, in his "Cardboard Series," Rauschenberg created interesting wall sculptures using combinations of flattened paper boxes. Robert Rauschenberg once said that he worked in a direction until he knew how to do it, then he stopped. He said that once he became bored or he understood, another question had formed.

Robert Rauschenberg strongly believed in working on projects with other artists. In the early nineteen fifties, he worked with his wife, Susan Weil.  They made a series of large prints by shining a lamp over a person lying on special blueprint paper. He also designed stage sets and costumes for dance productions by Merce Cunningham and other choreographers. He exchanged ideas and worked closely with the artist Jasper Johns. And, he worked with printing experts like Tatyana Grossman in her workshop, Universal Limited Art Editions, in New York.  

Rauschenberg helped start a nonprofit group called Experiments in Art and Technology with an engineer from Bell Telephone Laboratories. This group supported joint projects by artists and scientists.  The idea for the organization came out of a series of nine performances held in nineteen sixty-six in New York City. At these events, engineers and artists combined art and technology in experimental performances. And, in nineteen eighty-five, he started ROCI which stands for Rauschenberg Overseas Cultural Interchange. Its aim was to find a way to communicate with other countries through the language of art. Rauschenberg traveled to twenty-two countries including China, Tibet, Uzbekistan, Cuba and the Soviet Union. He worked with artists in each country to create pieces of art. They were then exhibited in a museum in that country along with works made in other parts of the world. In nineteen ninety-one, the project ended at the National Gallery of Art in Washington, D.C. with an exhibit of art from each country. 

Robert Rauschenberg's work has been in many major museum exhibits. These include shows at the Pompidou Center in Paris, France in nineteen eighty-one and the Guggenheim Museum in New York in nineteen ninety-seven.  In two thousand five, the Metropolitan Museum in New York opened an exhibit on Robert Rauschenberg’s combines. His work was also shown at the National Gallery in Washington in two thousand seven. Later in his career, Rauschenberg started spending more and more time at his home on Captiva Island, off the coast of Florida. There, he had a large studio in which he could work on huge projects. In two thousand two, Rauschenberg suffered a stroke that left him unable to use his right side. He learned to work with his left hand. And, with the help of assistants, he kept making art.  Robert Rauschenberg died in two thousand eight at his home in Florida. He was eighty-two years old. His inventive examples of modern art will continue to influence future generations of artists and art lovers.

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