面向未来的雕塑
Monuments are critical tools in shaping the values and identity of society.
纪念碑是塑造社会价值和身份的重要工具。
Most of what we know about many ancient cultures -- Egypt, Great Zimbabwe, Greece, Rome -- are through public monuments.
我们对许多古代文化的了解——埃及、大津巴布韦、希腊、罗马——大部分都是通过公共纪念碑得来的。
So we have to imagine that much of what future generations will know about us is through the monuments we choose to put up and preserve.
所以我们也不得不想象，未来的人们会通过我们选择建造和保护的纪念碑来了解我们。
There isn't that much public space dedicated to contemplation.
现在也许没有那么多的公共空间用于让人沉思。
Many of the images and objects we see outside are advertisements that are directing us to buy something rather than asking us to reflect on something.
我们在外面看到的许多图像和物品都是广告，是在引导我们去买东西，而不是让我们去思考。
In two of the public sculptures that I've created, "Unity," of an arm pointing skyward, at the foot of the Brooklyn Bridge in New York City; and the forthcoming work, "The Embrace," a tribute to Martin Luther King, Jr. and Coretta Scott King, in Boston, I referenced incredibly common gestures that personify all of us.
在我创作的两个公共雕塑中，“团结”，一只指向天空的手臂，在纽约市的布鲁克林大桥脚下;在即将出版的作品《拥抱》中，我引用了一些极为常见的手势，这些手势代表了我们所有人，《拥抱》是为了向波士顿的小马丁·路德·金和科雷塔·斯科特·金致敬。
With "Unity," my studio and I took a scan of the arm of an African immigrant athlete, Joel Embiid.
在创作《团结》时，我和工作室对非洲移民运动员乔尔恩比德的手臂进行了扫描。
There's poetry and a potency to a 22.5-foot-tall bronze arm of an immigrant pointing to the sky, echoing the gesture of the city's most famous monument, the Statue of Liberty.
这位移民高22.5英尺的青铜手臂指向天空，呼应着这座城市最著名的纪念碑自由女神像的姿态。
I hope it has a depth to it that will take greater meaning over time.
我希望它有深度，随着时间的推移会有更大的意义。
At their best, monuments become a locus -- a point around which people can gather and commune.
在它们的黄金年代，纪念碑可以成为一个场所——人们可以围绕它聚集和交流。
I think many of the best public monuments we have in the United States are our rallying points.
我认为美国许多最好的公共纪念碑都是我们的集会点。
I went to high school in Washington D.C. and I remember being able to walk up to the Lincoln Memorial at one in the morning.
我是在华盛顿上的高中，我记得我可以在早上一点时步行到林肯纪念堂。
I also grew up in New York City and my friends and I would meet up by "Alamo," -- a sculpture also known as "The Cube," in Astor Place, which has become a space to congregate since it was created in the 1960s.
我也是在纽约长大的，我和朋友们会在阿斯特广场的“阿拉莫”见面，这座雕塑也被称为“立方体”，自20世纪60年代创建以来，它已成为一个聚集的空间。
In particular, I've always admired the sculptures of Swedish-American artist Claes Oldenburg, who could take any quotidian object, such as a garden spade or badminton birdie, and monumentalize it.
尤其是，我一直很欣赏瑞典裔美国艺术家克拉斯·奥尔登堡的雕塑，他可以把任何日常物件，比如花园铲或羽毛球小鸟，都刻成纪念碑。
In Philadelphia, where my mother is from, he made a colossal clothespin that sits outside of City Hall.
在我母亲的家乡费城，他做了一个巨大的晒衣夹，放在市政厅外面。
But, his sculptures tend to be of Western, American, middle-class iconography.
但是，他的雕塑往往是西方的，美国的，中产阶级的肖像。
When I designed "All Power to All People," of an afro pick with a raised fist, I wanted to make an object that spoke specifically to African Americans.
当我设计“给所有人的权力”——一个举着拳头的卷发梳——时，我想做一个专门针对非裔美国人的物品。
In Philadelphia, where it exhibited for nine weeks in 2017, the black community has always been there, but it is rarely acknowledged and appreciated.
2017年，它在费城展出了九个星期，黑人社区一直在那里，但很少得到认可和赞赏。
The work is a symbol of unity, pride and self-care.
这个作品是团结、自豪和自我照顾的象征。
That work also sat just feet away from one of the most contentious statues in Philadelphia, of discriminatory former mayor and police commissioner Frank Rizzo.
而这座雕像距离费城最具争议的雕像之一只有几步之遥，那座雕像是具有歧视性的前市长兼警察局长弗兰克·里佐的雕像。
After 22 years, it was recently removed after protesters targeted it.
22年过去了，最近由于抗议者将其作为攻击目标而被移除。
The demands of the citizens were finally heard.
市民的要求终于被听到了。
When I created "All Power to All People," I wanted it to offer an alternative to Rizzo's likeness, to show a design that celebrates community rather than killing it.
当我创作“给所有人所有的权力”时，我想给里佐的形象提供另一种选择，展示一种赞美而不是贬低黑人社区的设计。
As we've watched monuments come down worldwide -- Confederate leader Jefferson Davis removed in Richmond, Virginia; Christopher Columbus statues beheaded and dismantled across the United States; slave trader Edward Colston toppled in Bristol, UK -- you can see what the public can do by just coming together and making a decision.
我们看到世界各地的纪念碑纷纷倒塌——南方联盟领导人杰斐逊·戴维斯在弗吉尼亚州里士满被移走;美国各地的克里斯托弗·哥伦布雕像被斩首和拆除;奴隶贩子爱德华·科斯顿在英国布里斯托尔被推翻——你可以看到公众团结起来做出决定能带来的改变。
We saw that with the Berlin Wall: People had had enough.
我们看到了柏林墙被推倒:人们已经受够了。
I think that it's necessary to make that space for anger and frustration, but, as we move forward, rational reconsideration is really important, too.
我认为有必要为愤怒和沮丧腾出空间，但随着我们的前进，理性的反思也很重要。
Britain's imperialist monuments face a bitter reckoning amid Black Lives Matter protests.
在“黑人的命也是命”的抗议活动中，英国的帝国主义纪念碑面临着痛苦的清算。
Who are we today?
我们到底是谁？
What do we value today, as opposed to 200 years ago?
与200年前相比，我们今天看重的是什么？
We should give thought to not only what to do with the statues we take down -- in Budapest, for example, they have a park of disposed Communist-era statues -- but the lifespan of the new statues that we erect.
我们不仅应该考虑如何处理被拆除的雕像——比如在布达佩斯，他们有一个废弃的共产主义时代雕像公园——还应该考虑我们新建的雕像的寿命。
We have limited public space as it is; maybe areas like Columbus Circle in Manhattan should be reimagined every so often.
我们的公共空间有限;或许像曼哈顿的哥伦布环岛这样的地区应该经常重新设计。
For the Colston statue in Bristol, over a century was long enough.
对于布里斯托尔的科尔斯顿雕像来说，一个多世纪已经足够长了。
There are other people, out of the billions who have been born since then, that we could celebrate in that square.
在那之后诞生的数十亿人中，还有其他人，我们可以在那个广场上庆祝。
Maybe we have to stop thinking that statues need to be forever.
也许我们就不应该认为雕像应该是永恒的。
问题
文中提到《团结》雕塑是在呼应哪一座著名雕塑的姿态？
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