Sam Taylor-Wood, a contemporary of British artists like Damien Hirst and Jake Chapman, called the footage a "reverential and vulnerable image".

萨姆·泰勒·伍德，这位与戴蒙·赫斯特斯·查普曼同时代的英国艺术家，把这部录像片称之为一个“可敬的、弱的形象”。

They tend to point to the colourful Pop aesthetics of artists such as Jeff Koons and Takashi Murakami and the rigorous seriality of Damien Hirst.

他们倾向于关注如杰夫•昆斯、村上隆色彩缤纷的波普美米安•赫斯特严苛的连续性。

Sam Taylor-Wood, a contemporary of British artists like Damien Hirst and Jake Chapman, called the footage a "reverential and vulnerable image".

萨姆·泰勒·伍德，这蒙·赫斯和狄奴斯·查普曼同时代的英国艺术家，把这部录像片称之为一个“可敬的、弱的形象”。

They tend to point to the colourful Pop aesthetics of artists such as Jeff Koons and Takashi Murakami and the rigorous seriality of Damien Hirst.

他们倾向于关注如杰夫•昆斯、村上隆色彩缤纷的波普美学和达米安•赫斯的连续性。

Sam Taylor-Wood, a contemporary of British artists like Damien Hirst and Jake Chapman, called the footage a "reverential and vulnerable image".

·泰勒·伍德，这位与戴蒙·赫斯特和狄奴斯·查普曼同时代的英国艺术家，把这部录像片称之为一个“可敬的、弱的形象”。

They tend to point to the colourful Pop aesthetics of artists such as Jeff Koons and Takashi Murakami and the rigorous seriality of Damien Hirst.

他们倾向于关注如杰夫•昆斯、村隆色彩缤纷的波普美学和达米安•赫斯特严苛的连续性。

Sam Taylor-Wood, a contemporary of British artists like Damien Hirst and Jake Chapman, called the footage a "reverential and vulnerable image".

萨姆·泰勒·伍德，戴蒙·赫斯特和狄奴斯·查普曼同时代英国艺术家，把部录像片称之为一个“可敬、弱形象”。

They tend to point to the colourful Pop aesthetics of artists such as Jeff Koons and Takashi Murakami and the rigorous seriality of Damien Hirst.

他们倾向于关注如杰夫•昆斯、村上隆色彩缤纷波普美学和达米安•赫斯特连续性。

Sam Taylor-Wood, a contemporary of British artists like Damien Hirst and Jake Chapman, called the footage a "reverential and vulnerable image".

·泰勒·伍德，这位与戴蒙·赫斯特和狄奴斯·查普曼同时代的英国艺术家，把这部录像片称之为一个“可敬的、弱的形象”。

They tend to point to the colourful Pop aesthetics of artists such as Jeff Koons and Takashi Murakami and the rigorous seriality of Damien Hirst.

他们倾向于关注如杰夫•昆斯、村隆色彩缤纷的波普美学和达米安•赫斯特严苛的连续性。

Sam Taylor-Wood, a contemporary of British artists like Damien Hirst and Jake Chapman, called the footage a "reverential and vulnerable image".

萨姆·泰勒·伍德，这位与戴蒙·赫斯特和狄奴斯·查普曼同时代的英国艺术家，把这部录像片称之为“敬的、弱的”。

They tend to point to the colourful Pop aesthetics of artists such as Jeff Koons and Takashi Murakami and the rigorous seriality of Damien Hirst.

们倾向于关注如杰夫•昆斯、村上隆色彩缤纷的波普美学和达米安•赫斯特严苛的连续性。

Sam Taylor-Wood, a contemporary of British artists like Damien Hirst and Jake Chapman, called the footage a "reverential and vulnerable image".

萨姆·泰勒·伍德，这位与戴蒙·赫斯特和狄奴斯·查普曼同英国艺术家，把这部录像片称之为一个“可敬、弱形象”。

They tend to point to the colourful Pop aesthetics of artists such as Jeff Koons and Takashi Murakami and the rigorous seriality of Damien Hirst.

他们倾向于关注如杰夫•昆斯、村上隆纷波普美学和达米安•赫斯特严苛连续性。

Sam Taylor-Wood, a contemporary of British artists like Damien Hirst and Jake Chapman, called the footage a "reverential and vulnerable image".

萨姆·泰勒·伍德，这位与戴蒙·赫狄奴·查普曼同时代的英国艺术家，把这部录像片称之为一个“可敬的、弱的形象”。

They tend to point to the colourful Pop aesthetics of artists such as Jeff Koons and Takashi Murakami and the rigorous seriality of Damien Hirst.

他们倾向于关注如杰夫•昆、村上隆色彩缤纷的波普美学•赫严苛的连续性。

Sam Taylor-Wood, a contemporary of British artists like Damien Hirst and Jake Chapman, called the footage a "reverential and vulnerable image".

萨姆·泰勒·伍德，这位与戴蒙·赫斯特和狄奴斯·查普曼同时代的英国艺术家，把这部录像片称之为一个“可敬的、弱的形象”。

They tend to point to the colourful Pop aesthetics of artists such as Jeff Koons and Takashi Murakami and the rigorous seriality of Damien Hirst.

他们倾向于关注如杰夫•昆斯、村上隆色彩缤纷的波普美学和达米安•赫斯特严苛的连续性。

Sam Taylor-Wood, a contemporary of British artists like Damien Hirst and Jake Chapman, called the footage a "reverential and vulnerable image".

萨姆·泰勒·伍德，这位与戴蒙·赫斯特和狄奴斯·查普曼同时代英国艺术家，把这部录像片称之为一个“可、形象”。

They tend to point to the colourful Pop aesthetics of artists such as Jeff Koons and Takashi Murakami and the rigorous seriality of Damien Hirst.

他们倾向于关注如杰夫•昆斯、村上隆色彩缤纷波普美学和达米安•赫斯特严苛连续性。