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今年秋天,纽约艺术家洛克西·佩恩(Roxy Paine)将前往芝加哥,展出他用桦木按实际尺寸雕刻的一家快餐店的立体模型,精细到吸管都能看清。在巴黎,德国艺术家乔治·巴泽利茨(Georg Baselitz)为他那些12英尺(约3.66米)高的女性铜像展览揭幕。马修·戴·杰克逊(Matthew Day Jackson)在纽约推出他的最新作品:一台13英尺(约四米)长的跑车,由杰克逊的舅舅设计、他的表哥建造,并由他的工作人员在新泽西州一条赛道上临时拆解。先别去博物馆找这些艺术品。随着国际艺术品市场的复苏,一些全球顶级的艺术品经纪商备感振奋,纷纷把工厂、溜冰场和飞机库改造为当代艺术品的展览厅,掀起了一股修建新画廊的浪潮。因此,本季某些备受期待的展览很有可能是在画廊而非博物馆举行。


This fall, New York artist Roxy Paine is heading to Chicago to exhibit his life-size diorama of a fast-food restaurant carved from birch wood, down to the straws. In Paris, German artist Georg Baselitz is about to unveil his show of 12-foot-tall bronze women. Next week in New York, Matthew Day Jackson will roll out his latest creation -- a 13-foot-long roadster designed by his uncle, built by his cousin and wrecked, temporarily, by his crew on a New Jersey track.


一个越来越常见的情况是,参展艺术品跟画廊一样庞大,展出的时候得动用起重机和工人。过去常常只有博物馆有望购买这种填满整个房间的作品,但在最近10年,世界各地的富裕收藏家已经开始购买越来越大的艺术品。这一切促使经纪人去寻找那些作品够笨重、远远看去就能脱颍而出的艺术家。据经纪人说,这种以尺寸定优劣的现象在过去几代人中是从来没有过的。


Just don't look for any of this art in a museum -- yet. Thanks to a resurgent global-art market, some of the world's top dealers are feeling flush and fueling a new gallery building boom -- transforming factories, roller rinks and airplane hangars into showrooms for contemporary art. As a result, some of the most highly anticipated shows of the season are set to open in galleries, not museums.


将近两年前,白立方(White Cube)在伦敦南部一处5.8万平方英尺(约5,388平方米)的画廊开张,面积比足球场还要大,引起了不小的轰动。今年1月份,瑞士豪瑟&沃斯画廊(Hauser & Wirth)将纽约切尔西区的一个溜冰场兼夜总会改造成一个2.47万平方英尺(约2,295平方米)的画廊。画廊附带一个由艺术家设计的吧台,周末提供免费咖啡。画廊总监马克·帕约特(Marc Payot)说:“我们不需要卖咖啡。”


Increasingly, the artworks on display are just as enormous, requiring cranes and teams of workers to display. Museums were once the only potential buyers for such room-filling pieces, but over the past decade an influx of wealthy collectors around the world has started buying ever-larger art trophies. All of it has prompted dealers to seek out artists whose work is hefty enough to stand out from afar -- a prioritizing by size that never occurred in past generations, dealers say.


奥地利经纪人萨迪乌斯·侯巴克(Thaddaeus Ropac)去年10月将巴黎市郊的八座厂房改造为一处五万平方英尺(约4,645平方米)的艺术综合体,是全世界第二大的画廊。这个造价1,000万美元的画廊使得他能够划出一些区域用于行为艺术表演,并为安塞尔姆·基弗(Anselm Kiefer)等到访艺术家配备一些公寓房。但最近侯巴克意识到,艺术家们因为担心引人围观,都不想使用综合体内的工作室,所以他在几个街区开外又租了一些地方。他说:“我不想让艺术家感觉是在动物园里一样。”


White Cube caused a stir nearly two years ago when it opened a 58,000 square-foot gallery in south London. That's bigger than a football field. In January, Swiss gallery Hauser & Wirth converted a former roller rink and nightclub in New York's Chelsea neighborhood into a 24,700 square-foot gallery -- complete with an artist-designed bar serving free coffee on weekends. 'We don't need to sell coffee,' said director Marc Payot.


与博物馆一样,某些画廊现在也有礼堂、放映室、屋顶花园和书店。十几家最大画廊的展览常常提前两年规划,布展有时候要花一个月以上。布展好了之后,艺术品也有可能一次展出几个月供人参观。这样的时长对于博物馆来说很正常,但对于更习惯于每月开办新展览的画廊来说,却是一种全新的时间安排。


Austrian dealer Thaddaeus Ropac opened the world's second-largest gallery last October when he transformed a group of eight factory buildings on Paris's outskirts into a 50,000 square-foot art complex. The $10 million space has allowed him to carve up areas for performance art and outfit several apartments for visiting artists like Anselm Kiefer. But recently, Mr. Ropac realized that his artists didn't want to use the complex's studio for fear of attracting onlookers, so he's rented even more space a few blocks away. 'I don't want my artists to feel like they're in a zoo,' he said


纽约经纪人拉里·高古轩(Larry Gagosian)是第一批倡导这种超大画廊模式的人之一,同时也以展览巨型艺术品以匹配这种模式而知名。他在纽约最大的两个画廊将在接下来六个星期闭馆(正好是今秋展览季的开幕时期),因为雕塑家理查德·塞拉(Richard Serra)需要用这么多时间来为10月26日的展览布展。塞拉以创作巨型钢铁雕塑而闻名,很多雕塑的弯曲形状和铁锈色彩都让人联想到船体。塞拉说,这次某些40英尺(约12米)长的钢铁展品一点也不弯曲,而是一些呈锐角设置的独立盘片。他说:“这对我来说是一种新的形状。”塞拉说,为确保这些作品放得进高古轩的画廊,他在新泽西州租了一处长宽高差不多的仓库,然后他将每件作品的木质版本移了进去,结果全都放得下。


Like museums, some gallery spaces now boast auditoriums, screening rooms, roof gardens and bookstores. Shows at the dozen biggest galleries are often planned two years in advance and can take more than a month to install. Once up, the art may also stay on view for several months at a time, a typical time frame for a museum exhibit but a fresh stretch for a gallerysetting more accustomed to opening new shows monthly.


塞拉说:“你总不能在不知道目的地是什么样子的情况下,就把367吨重的铁家伙搬进去吧。”


New York dealer Larry Gagosian, among the first to champion this supersize-gallery model, is also known for showing big artworks to match. His two biggest galleries in New York are closed for the next six weeks -- right through the opening of the fall season -- because one of his artists, sculptor Richard Serra, requires that much time just to install his show opening Oct. 26. Mr. Serra is known for creating enormous steel sculptures, many of them so curved and rust-colored they evoke ship hulls. This time around, Mr. Serra said some of his 40-foot-long steel pieces for the coming show don't curve at all and are instead free-standing plates set at sharp angles, 'a new shape for me,' he said. To make sure these pieces would fit into Gagosian's galleries, the artist said he rented a warehouse with similar dimensions in New Jersey. Then he slid in wooden versions of each piece. They all fit.


这些超大画廊所体现的,可能是市场行情带来的一种自负,但建筑师和经纪人说,它们可能也只是说明当代画廊的外观进入了一个新的进化阶段。不管怎样,这些画廊都正在改变着我们参观、选购艺术品的方式。100年前,从纽约到伦敦再到其他地方的画廊都采用与其烫金画框一样华丽的装潢,力图让人联想到那种俱乐部似的联排房屋。经过第二次世界大战的破坏,画廊洗尽了奢华的装饰,不在艺术家肆意挥 的抽象作品面前喧宾夺主。画作尺幅变得更宽,雕塑变得稍稍笨重了些,但基本上所有展览作品都还是放得进一间挑高九英尺(约2.7米)的公寓房的。20世纪60年代,随着画廊开始集结在纽约的Soho区,并装有高高的铸铁平开窗、锡质天花板和木质地板,这一切都变了。


'You don't bring in 367 tons of steel without knowing what you're getting into,' Mr. Serra added.


loft式的外观成为主流,经纪人们开始在艺术家从事创作的工厂式空间向买家展示艺术品——这种协同带来了体积越来越大、在开阔房屋里面显得最为搭配的艺术品。到80年代,纽约经纪人已经转移到附近切尔西区更大的车库和仓库里面。在这段时期至少设计了40家画廊的建筑师理查德·格鲁克曼(Richard Gluckman)说,切尔西形成的画廊外观已经成为今天的行业标准。走进世界上任何地方的任何一家画廊,都可以找到它的标志性元素:混凝土地面,白色 壁,天窗,以及可以容纳笨重艺术品的开放式布局。


These mega-galleries could be a sign of market-fueled hubris -- but they may simply represent the next evolutionary step in the look of a modern-day art gallery, architects and dealers say. Either way, these spaces are changing the way we see, and shop for, art. A century ago, art galleries from New York to London and beyond sought to evoke a clubby townhouse with decor as ornate as their paintings' gilded frames. After the devastation of World War II, galleries removed their lavish adornments so as not to compete with their artists' wildly splattered abstractions. Canvases got wider and sculptures got a little bulkier, but just about everything on offer could still fit within the confines of an apartment with a 9-foot ceiling. All that changed in the 1960s as galleries began clustering in the New York neighborhood of Soho with its tall, cast-iron window casements, tin ceilings and wooden floors.


经纪人说,他们之所以需要扩张画廊,是因为艺术家要求他们提供更大的空间来展览宏大的作品。芝加哥凯威·古普塔画廊(Kavi Gupta Gallery)的总监伊曼纽尔·阿圭勒(Emanuel Aguilar)说,为保持竞争力,也为防止艺术家投奔竞争对手,经纪人别无选择,只有保持扩张速度。正是因为这个原因,阿圭勒的画廊将于9月20日在芝加哥西环(West Loop)原来的位置附近开张面积8,000平方英尺(约743平方米)的第二个画廊。开业展览上的作品是佩恩的桦木餐馆,以及一个核电厂控制室的全尺寸金属复制品。两件作品在展出的时候都将用玻璃罩住。


The loft-style look took over, and for the first time, dealers began presenting art to buyers in the same kind of industrial spaces where artists were also producing it -- a syncing up that resulted in even-larger pieces that looked best in wide-open rooms to match. By the 1980s, New York dealers had migrated to the bigger garages and depots of nearby Chelsea and the gallery look formed there has become today's industry standard, said architect Richard Gluckman, who has designed at least 40 galleries over that span. Walk into any galleryanywhere in the world, and look for its telltale markers: Concrete floors, white walls, skylights and an open-plan layout that can accommodate unwieldy pieces.


白立方(White Cube)总监蒂姆·马洛(Tim Marlow)说,上述现象是“艺术家带动、市场追随”。


For their part, dealers say they had to expand their gallery footprints because their artists asked for more room to display ambitious pieces. To remain competitive -- and keep their stars from defecting to rivals -- dealers had little choice but to keep pace, said Emanuel Aguilar, a director at Chicago's Kavi Gupta Gallery. That's the main reason why his gallery will open a second, 8,000 square-foot gallery on Sept. 20 near its original space in Chicago's West Loop. The opening show is Mr. Paine's birch eaterie, plus a life-size metal replica of a control room at a nuclear power plant, both to be shown under glass.


就像鸡生蛋还是蛋生鸡的老话题一样,有些艺术家说,对于新增的空间,他们可以接受或者不予理会,但他们的经纪人正在拓展空间以吸引更多的艺术家以及收藏家。前述创作跑车作品的艺术家杰克逊说,他并没有要求豪瑟&沃斯画廊提供更多空间,但切尔西2.47万平方英尺画廊带来的那种灵活性确实让他喜欢。


Tim Marlow, a director at White Cube, says the phenomenon is 'artist-led, and the market is following.'


对于下周的展览,杰克逊决定在豪瑟&沃斯画廊主画廊里面用板 建几个从地板一直封到天花板的隔断间,相互之间隔开,距离长短不一,从而将他的大型雕塑和油画隔开。除了那辆跑车之外,他还将展出一系列以一些雕塑的照片为参照、按原作尺寸制作的雕塑。作为参照的雕塑原作有米开朗其罗的《 殇》(Pieta),即 母玛丽亚怀抱被钉死的基督的经典雕塑,还有奥古斯特·罗丹(Auguste Rodin)1889年的《加莱义民》(Burghers of Calais)。




上周在杰克逊的作品正在安装的时候,他的经纪人帕约特在画廊主厅走了一圈。隔断间已经树起,装上了 素的木质壁板,但工人们还在等待那些数吨重的雕塑和那辆跑车运进来。没有它们,长长的带天窗的房屋就像空荡荡的超市一样庞大。


In classic chicken-or-the-egg fashion, some artists said they could take or leave the extra room but said their dealers were opening bigger spaces to enticeadditional artists -- and collectors. Mr. Jackson, the artist working on the race car, said he didn't ask for more room from Hauser & Wirth, but he does like the flexibility that its 24,700 square-foot gallery in Chelsea offers.


迈阿密收藏家丹尼斯·肖勒(Dennis Scholl)说,他最近看过一些商业画廊的展览,这些展览会让任何一位博物馆总监垂涎,但那种在温馨空间里漫步的“亲密”感也没了。他说:“超大空间投射出它们需要投射出的东西——某种程度的力量和威严。”


For next week's show, Mr. Jackson chose to build several floor-to-ceiling, drywall partitions spaced at various intervals along its main gallery to serve as dividers between his larger sculptures and paintings. In addition to the car, he's unveiling a series of life-size sculptures based on snapshots of Michelangelo's Pieta, an iconic statue of Mary holding a crucified Christ, and Auguste Rodin's 1889 scene of 'Burghers of Calais.'


对大尺寸艺术品的侧重,可能会给艺术品的价值带来持久的潜在影响。直到最近,上流艺术品收藏家看重的还是巴勃罗·毕加索(Pablo Picasso)早年“蓝色时期”的小尺寸油画,而不是他后来尺寸更大的“火枪手”系列。而今天,一位艺术家尺寸最大的作品可能也是其在拍卖会上卖得最贵的作品,而不管这件作品算不算其从艺生涯中的里程碑之作。在上个市场周期的鼎盛时期,俄罗斯收藏家罗曼·阿布拉莫维奇(Roman Abramovich)向苏富比(Sotheby's)付出创纪录的8,630万美元,买下弗朗西斯·培根(Francis Bacon)的作品《三联画1976》(Triptych, 1976)。这幅作品包括三个海绿色的幅面,每一幅面的高度都超过六英尺(约1.8米)。


Last week, his dealer Mr. Payot took a walk through the main hall of the gallery as Mr. Jackson's installation got under way. The partitions were already up and covered in plain, wooden siding, but workers were still waiting for the multi-ton sculptures and the car to be delivered. Without them, the long, skylit room looked as big as an empty supermarket.


苏富比专家亚历克斯·罗特(Alex Rotter)说,他认为这些“超级画廊”有利于劝说新收藏家购买超大件作品。罗特是苏富比自有画廊“S2”的管理者之一。他说,根据他的一手经验,有些艺术品在开阔的混凝土环境中比其他作品更好看,也卖得更好。他说:“对于理查德·塞拉来说,填满某个空间并不困难。但如果你把面积5,000平方英尺的空间拿去给另外某个人,某些作品可能就像是填充物一样——并不是所有作品都好看。”


Miami collector Dennis Scholl said he has seen shows in commercial spaces lately that would make any museum director salivate, but the 'intimate' feeling of strolling through a cozy space is also gone. Instead, Mr. Scholl said, 'The mega spaces project what they need to -- a level of power and gravitas.'


塞拉也是这么认为。他说:“人人都有不同的需求,但画廊不应该把扩张当成一条原则来执行,那就太蠢了。大本身并非就是美。”


The emphasis on large-scale art could have long-lasting implications on art values. Until recently, the art elite placed a premium on Pablo Picasso's small, early Blue Period paintings over his larger, and later, musketeers. Today, an artist's biggest work may also be his priciest at auction -- whether or not that particular piece amounts to a career milestone. At the height of the last market cycle, Russian collector Roman Abramovich paid Sotheby's a record-setting $86.3 million for a Francis Bacon 'Triptych, 1976' that included three sea-green panels, each over 6-feet tall.


多大才算太大呢?这是当前画廊界闲聊时常问的问题,回答起来并不容易。目前正在为豪瑟&沃斯画廊修建新的洛杉矶画廊打探地盘的帕约特说,一万平方英尺(约930平方米)以下的他都不要。但很多中小经纪商正在思考扩大面积是否值当、是否可行的问题。经纪人凯西·卡普兰(Casey Kaplan)以代理利亚姆·吉利克(Liam Gillick)等艺术家而闻名,在过去的20年里,他已将其画廊规模从纽约Soho区一间400平方英尺(约37平方米)的房间稳步扩张到目前切尔西一套5,000平方英尺(约465平方米)的底商。但卡普兰上个星期说,他准备在2015年租约到期的时候搬出切尔西。至于到时候租一个更大的地方还是缩小面积,他还没有确定下来。


Sotheby's specialist Alex Rotter said he credits the 'super galleries' for convincing newer collectors to buy extra-large art. Mr. Rotter, who helps oversee Sotheby's in-house galleries S2, said he's also learning firsthand that some artworks look, and fare, better in vast concrete surroundings than others. 'For Richard Serra, it's not hard to fill a space,' he said, 'but if you give 5,000 square feet to someone else, there's a chance some of it will feel like filler -- not all of it is good.'


卡普兰说,他厌烦了切尔西对房地产话题的“着迷”,心想如果是到更偏远的地方(比如哈勒姆(Harlem))租房子,谈论的话题是不是就会回到艺术上来。他说:“现在人们进来就不想谈艺术,只想谈某个画廊有多大,或者是我要不要授权加盟。这种变化我不喜欢。”


Mr. Serra concurs. 'Everyone has different needs, but galleries shouldn't be expanding as a rule, that's silly,' he said. 'Bigness in itself isn't a virtue.'


在某些情况下,超大画廊现象正在强化艺术带动的社区高档化现象与房地产开发之间的紧密联系。在加利福尼亚州的卡尔弗城(Culver City),大画廊Blum & Poe在2009年搬到Washington大街和La Cienega大街交叉口,面积扩大到2.2万平方英尺(约2,044平方米)。在它的鼓励下,一大群更年轻的画廊在附近开张。但在切尔西这样的成熟艺术中心,寻求扩张的大画廊可能需要把两旁的小画廊挤走几家。


How big is too big? That's the parlor-game question of the gallery world right now, and there is no easy answer. Mr. Payot, who is now scouting spaces for another Hauser & Wirth outpost in Los Angeles, said he doesn't want anything less than 10,000 square feet. But plenty of small to midsize dealers are wrestling with the wisdom and feasibility of taking on more space. Casey Kaplan, a dealer known for representing artists like Liam Gillick, has steadily expanded his gallery's footprint over the past two decades from a 400 square-foot room in Soho to his current 5,000 square-foot ground-floor space in Chelsea. But last week, Mr. Kaplan said he is planning to move out of the neighborhood when his lease runs out in 2015 -- and he isn't sure whether he will lease somewhere larger or scale back.


事实上,超大画廊表示,他们已经开始尝试提高现有空间的吸引力。豪瑟&沃斯画廊去年搬到切尔西之后保留了它的老家(上东区的一处联排房屋),以便能够在那里举办一些在画廊集中区可能显得不够突出的展览。接下来要办的就是一场反映巴西建构主义艺术的历史展览,其中很大一部分作品都是几何素描和油画。


Mr. Kaplan said he has wearied of Chelsea's 'obsession' with real-estate issues and wonders if the shoptalk will swivel back to art if he rents farther afield, say Harlem. 'People come in now and they don't want to talk about art-they want to talk about how big some gallery is or whether I'm going to franchise,' he said. 'It's a shift I'm not into.'


马洛表示,他所在的白立方画廊不会后悔做大。伦敦那个足球场大小的画廊去年开张之后,吸引了13万人前来参观,超过它在伦敦另两个小画廊所吸引参观者的总和。


In some instances, oversize galleries are accelerating the long-standing pas de deux between art-led gentrification and real estate development. In Culver City, Calif., the 2009 expansion of powerhouse gallery Blum & Poe into a 22,000-square foot space on the corner of Washington and La Cienega Boulevards encouraged a cluster of younger galleries to open nearby. In an established hub like Chelsea, though, a behemoth gallery seeking to expand may need to push out a few smaller ones on either side.


有些艺术家准备反其道而行之。下个星期,差不多在为其跑车展揭幕的同一时候,杰克逊准备开张他自己的一个名叫“掩体259”(Bunker 259)的非营利画廊。它位于杰克逊布鲁克林工作室所在的那栋大楼。他说,开这个画廊的想法是一次只展览一名艺术家的一件作品,并为游客提供咖啡和零食。杰克逊这间画廊面积约为160平方英尺(约15平方米),据他说差不多就是“一间客厅的面积”。


In fact, the mega-galleries say they have already started experimenting with ways to make their own spaces more inviting. After Hauser & Wirth moved to Chelsea last year, the gallery kept its former home-a townhouse on the Upper East Side-so it can mount shows there that might appear drowned out downtown. Next up: An historical show of Brazilian Constructivist art, much of it geometrical drawings and paintings.


Kelly Crow
  • exhibit [ig´zibit] 移动到这儿单词发声  vt.展出 n.展览品   (初中英语单词)
  • restaurant [´restərɔnt] 移动到这儿单词发声  n.饭店,菜馆   (初中英语单词)
  • creation [kri´eiʃən] 移动到这儿单词发声  n.创作;作品;创造   (初中英语单词)
  • jersey [´dʒə:zi] 移动到这儿单词发声  n.毛织运动衫;毛线衫   (初中英语单词)
  • gallery [´gæləri] 移动到这儿单词发声  n.画廊;美术馆;长廊   (初中英语单词)
  • enormous [i´nɔ:məs] 移动到这儿单词发声  a.巨大地,很,极   (初中英语单词)
  • wealthy [´welθi] 移动到这儿单词发声  a.富有的;丰富的   (初中英语单词)
  • neighborhood [´neibəhud] 移动到这儿单词发声  n.邻居;邻近;附近   (初中英语单词)
  • director [di´rektə] 移动到这儿单词发声  n.指导者;….长;导演   (初中英语单词)
  • dealer [´di:lə] 移动到这儿单词发声  n.商人   (初中英语单词)
  • complex [´kɔmpleks] 移动到这儿单词发声  a.复杂的 n.综合企业   (初中英语单词)
  • performance [pə´fɔ:məns] 移动到这儿单词发声  n.履行;行为;工作   (初中英语单词)
  • opening [´əupəniŋ] 移动到这儿单词发声  n.开放;开端 a.开始的   (初中英语单词)
  • champion [´tʃæmpiən] 移动到这儿单词发声  n.冠军 vt.拥护   (初中英语单词)
  • wooden [´wudn] 移动到这儿单词发声  a.木制的;呆板的   (初中英语单词)
  • knowing [´nəuiŋ] 移动到这儿单词发声  a.会意的,心照不宣的   (初中英语单词)
  • compete [kəm´pi:t] 移动到这儿单词发声  v.比赛,竞争,对抗   (初中英语单词)
  • apartment [ə´pɑ:tmənt] 移动到这儿单词发声  n.一套房间   (初中英语单词)
  • industrial [in´dʌstriəl] 移动到这儿单词发声  a.工业的,产业的   (初中英语单词)
  • anywhere [´eniweə] 移动到这儿单词发声  ad.无论何处;任何地方   (初中英语单词)
  • ambitious [æm´biʃəs] 移动到这儿单词发声  a.有雄心的;热望的   (初中英语单词)
  • additional [ə´diʃənəl] 移动到这儿单词发声  a.附加的,额外的   (初中英语单词)
  • working [´wə:kiŋ] 移动到这儿单词发声  a.工人的;劳动的   (初中英语单词)
  • addition [ə´diʃən] 移动到这儿单词发声  n.加;加法;附加物   (初中英语单词)
  • series [´siəri:z] 移动到这儿单词发声  n.连续;系列;丛书   (初中英语单词)
  • statue [´stætʃu:] 移动到这儿单词发声  n.塑像,雕像   (初中英语单词)
  • christ [kraist] 移动到这儿单词发声  n.基督 int.天啊!   (初中英语单词)
  • waiting [´weitiŋ] 移动到这儿单词发声  n.等候;伺候   (初中英语单词)
  • commercial [kə´mə:ʃəl] 移动到这儿单词发声  a.商业的 n.广告节目   (初中英语单词)
  • lately [´leitli] 移动到这儿单词发声  ad.近来,不久前   (初中英语单词)
  • project [prə´dʒekt, ´prɔdʒekt] 移动到这儿单词发声  v.设计;投掷 n.计划   (初中英语单词)
  • career [kə´riə] 移动到这儿单词发声  n.经历;生涯;职业   (初中英语单词)
  • height [hait] 移动到这儿单词发声  n.高度;顶点;卓越   (初中英语单词)
  • learning [´lə:niŋ] 移动到这儿单词发声  n.学习;学问;知识   (初中英语单词)
  • wisdom [´wizdəm] 移动到这儿单词发声  n.智慧,聪明,才智   (初中英语单词)
  • steadily [´stedili] 移动到这儿单词发声  ad.坚定地;不断地   (初中英语单词)
  • estate [i´steit] 移动到这儿单词发声  n.财产;庄园;等级   (初中英语单词)
  • cluster [´klʌstə] 移动到这儿单词发声  n.一串 v.群集;丛生   (初中英语单词)
  • bronze [brɔnz] 移动到这儿单词发声  n.青铜(器)   (高中英语单词)
  • roller [´rəulə] 移动到这儿单词发声  n.打滚的人;滚柱   (高中英语单词)
  • contemporary [kən´tempərəri] 移动到这儿单词发声  a.&n.同时代的(人)   (高中英语单词)
  • potential [pə´tenʃəl] 移动到这儿单词发声  n.&a.潜在的;可能的   (高中英语单词)
  • decade [´dekeid] 移动到这儿单词发声  n.十年(间)   (高中英语单词)
  • outfit [´aut,fit] 移动到这儿单词发声  n.装备 vt.供给;装备   (高中英语单词)
  • studio [´stju:diəu] 移动到这儿单词发声  n.画室;照相室   (高中英语单词)
  • install [in´stɔ:l] 移动到这儿单词发声  vt.任命;装置;安置   (高中英语单词)
  • typical [´tipikəl] 移动到这儿单词发声  a.典型的;象征的   (高中英语单词)
  • monthly [´mʌnθli] 移动到这儿单词发声  a.每月(的) n.月刊   (高中英语单词)
  • architect [´ɑ:kitekt] 移动到这儿单词发声  n.建筑师   (高中英语单词)
  • concrete [´kɔŋkri:t] 移动到这儿单词发声  a.具体的 n.混凝土   (高中英语单词)
  • accommodate [ə´kɔmədeit] 移动到这儿单词发声  vt.供应;容纳;调节   (高中英语单词)
  • expand [ik´spænd] 移动到这儿单词发声  vt.张开;膨胀;扩大   (高中英语单词)
  • phenomenon [fi´nɔminən] 移动到这儿单词发声  n.现象;奇迹;珍品   (高中英语单词)
  • classic [´klæsik] 移动到这儿单词发声  a.第一流的 n.杰作   (高中英语单词)
  • emphasis [´emfəsis] 移动到这儿单词发声  n.强调;重点   (高中英语单词)
  • expansion [ik´spænʃən] 移动到这儿单词发声  n.扩大;膨胀;发展   (高中英语单词)
  • historical [his´tɔrikəl] 移动到这儿单词发声  a.历史(上)的   (高中英语单词)
  • chicago [ʃi´kɑ:gəu] 移动到这儿单词发声  n.芝加哥   (英语四级单词)
  • temporarily [´tempərərili] 移动到这儿单词发声  ad.暂时地   (英语四级单词)
  • increasingly [in´kri:siŋli] 移动到这儿单词发声  ad.日益,愈加   (英语四级单词)
  • setting [´setiŋ] 移动到这儿单词发声  n.安装;排字;布景   (英语四级单词)
  • sculptor [´skʌlptə] 移动到这儿单词发声  n.雕刻家,雕刻家   (英语四级单词)
  • warehouse [´weəhaus] 移动到这儿单词发声  n.仓库 v.存入仓库   (英语四级单词)
  • lavish [´læviʃ] 移动到这儿单词发声  a.慷慨的;浪费的   (英语四级单词)
  • competitive [kəm´petitiv] 移动到这儿单词发声  a.竞争的,比赛的   (英语四级单词)
  • entice [in´tais] 移动到这儿单词发声  vt.诱惑;怂恿   (英语四级单词)
  • collector [kə´lektə] 移动到这儿单词发声  n.收款(税)员;收藏家   (英语四级单词)
  • premium [´pri:miəm] 移动到这儿单词发声  n.奖励;奖金;保险费   (英语四级单词)
  • auction [´ɔ:kʃən] 移动到这儿单词发声  n.&vt.拍卖   (英语四级单词)
  • specialist [´speʃəlist] 移动到这儿单词发声  n.专家   (英语四级单词)
  • convincing [kən´vinsiŋ] 移动到这儿单词发声  a.有说服力的;有力的   (英语四级单词)
  • downtown [,daun´taun] 移动到这儿单词发声  ad.&a.在商业区   (英语四级单词)
  • brazilian [brə´ziljən] 移动到这儿单词发声  a.&n.巴西(人)(的)   (英语四级单词)
  • roadster [´rəudstə] 移动到这儿单词发声  n.双人座敞篷汽车   (英语六级单词)
  • outskirts [´autskə:ts] 移动到这儿单词发声  n.外边;郊区   (英语六级单词)
  • holding [´həuldiŋ] 移动到这儿单词发声  n.保持,固定,存储   (英语六级单词)
  • installation [,instə´leiʃən] 移动到这儿单词发声  n.就职;安装;装置   (英语六级单词)
  • taking [´teikiŋ] 移动到这儿单词发声  a.迷人的 n.捕获物   (英语六级单词)
  • footprint [´fut,print] 移动到这儿单词发声  n.脚印,足迹   (英语六级单词)
  • inviting [in´vaitiŋ] 移动到这儿单词发声  a.动人的   (英语六级单词)


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