2023半岛星空体育·(中国)官方网站英语：《经济学人》中英读译Day223

As for the later hoods themselves: Guston delighted in telling stories with them, and in the expressions he could conjure in their almost blank visages.At bottom, though, they were -- and are -- a reproach.They are terrible in their ordinariness, surrounded with everyday bric-a-brac, glimpsed smoking or riding in a boxy car.In "The Studio" one sketches a self-portrait, blood on his hand and costume.The stitching in the hoods matches and merges with the window slits in the buildings Guston painted.His hoods are knitted into society.They are everywhere.These works are an indictment of racism, glaring or insidious, not a case of it.But it appeared today's viewers might not get a chance to see that for themselves.

译文
至于后来画的那些兜帽人：古斯顿喜欢跟他们讲故事，喜欢从他们几乎空白的脸上想象出他们的表情。不过从根本上说，他们过去是——现在也是——一种耻辱。他们的平凡是可怕的，被一些日常的小摆设所围绕，偶尔吸烟或坐在四四方方的汽车里。在《画室》中，一个兜帽人在画一幅自画像，手上和衣服上都是血。兜帽上的缝线与古斯顿画的那些建筑的窗线相互匹配融合。他的兜帽与社会缝在一起。这样的人到处都是。这些作品是对种族主义的控诉，明里或暗里，而不是种族主义的实例。但今天的观众可能没有机会亲眼看到它了。

In 2020 the exhibition (already hit by the pandemic) was postponed by the four museums involved in it, initially until 2024.Opponents of censorship protested, as did many artists.Some thought the delay smelled like a cancellation, and that "Philip Guston Now", the show's title, might become Philip Guston Never.They were wrong.Ahead of the mooted schedule, it opens on May 1st at the Museum of Fine Arts (MFA) in Boston, and will be adapted in Houston, Washington and London.It is a magnificent exhibition and -- at a febrile, polarised time -- an important one.The MFA brought in African-American curators and has carefully laid out the political context of Guston's life and work.Visitors can avoid the hoods if they choose to: they can make up their own minds.But with a few forgivable exceptions, the intended artworks are there; Guston's vision is honoured and explained.

译文
2020年，参与展览的四家博物馆推迟了该展览（本已受到疫情的影响），起初决定推迟到2024年。审查制度的反对者和许多艺术家表示抗议。一些人认为，推迟听起来意味着取消，而且展览的名字“现在的菲利普·古斯顿”可能会变成“再也见不到的菲利普·古斯顿”。他们错了。展览将于5月1日提前在波士顿美术馆开幕，并将被转至休斯顿、华盛顿和伦敦展出。这是一场宏伟的展览——在一个狂热的、两极化的时代——也是一场重要的展览。波士顿美术馆请来了非裔美国策展人，小心地安排陈列了古斯顿生活和创作的政治背景。参观者可以选择避开兜帽人：他们可以自己做决定。但除了几个情有可原的例外，预期展出的艺术品都摆在那里；古斯顿的构想得到了尊重和理解。

The format gives consideration to those who might be offended, but not a veto.It affirms and accommodates art's power to provoke, and its right to.Lots of cultural skirmishes end in shouty hostility or shabby retreat.Here is a wiser sort of resolution, relying on a mix of principle, reflection and what you might call tact, or good manners.Besides the hoods, other themes and motifs recur.Red was the main colour in Guston's palette, bleeding into pink.He was always influenced by the Italian Renaissance masters, especially their gorgeous visions of the apocalypse and the damned.Heaven was dull, he noted, but "when they're going to hell the painter really goes to town".The same is true of him, and of the new show: they draw art from anguish and force you to think.

译文
这种设计安排照顾了那些可能被冒犯的人，但没有完全否决作品。展览肯定并包容了艺术挑衅的力量，以及它挑衅的权利。许多文化冲突都以激烈的敌意或狼狈的撤退告终。而这是一种更明智的解决方案，它依赖于一种原则、反思以及你可能称之为得体或礼貌的东西的结合。除了兜帽，还有其他反复出现的主题和图案。在古斯顿的调色板上，红色是主色，融进粉色。他一直受到意大利文艺复兴时期大师们的影响，尤其是他们对天启和地狱的华丽想象。他曾写道，天堂是枯燥的，但“当他们下地狱时，画家才真正有了创作的热忱”。他和这场新展览也是如此：它们从痛苦中汲取艺术，迫使你去思考。