巴巴拉·哈斯克爾（Barbara Haskell ） (觀看視頻）

     Barbara Haskell is a long-time curator at the Whitney Museum, a well-known scholar on American modern art, and author of over twenty publications. Among the landmark thematic exhibitions she has curated are The American Century: Art & Culture 1900-1950 (1999) and BLAM! The Explosion of Pop, Minimalism and Performance 1958-1964 (1984). In addition, she has curated retrospectives and authored accompanying scholarly monographs on a range of early-20th-century and post-war American artists, including H.C. Westermann (1978), Marsden Hartley (1980), Milton Avery (1982), Ralston Crawford (1985), Charles Demuth (1987), Red Grooms (1987), Donald Judd (1988), Burgoyne Diller (1990), Agnes Martin (1992), Joseph Stella (1994), Edward Steichen (2000), Elie Nadelman (2003), Oscar Bluemner (2005-2006), Georgia O'Keeffe (2009), Lyonel Feininger (2011), Reginald Marsh (2013), and Robert Indiana (2013). She is currently researching a forthcoming retrospective on Stuart Davis (2016). In 2005, she was awarded the Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History by the Smithsonian Archives of American Art.

    巴巴拉·哈斯克爾：惠特尼美術(shù)館資深策展人，美國現(xiàn)代藝術(shù)研究領(lǐng)域知名學(xué)者，發(fā)表論文20多篇。策劃多個具有里程碑意義的主題展，其中包括：《美國世紀：藝術(shù)和文化 1900－1950》(1999)和 《砰！波普藝術(shù) 、極簡主義和表演的爆炸 1958－1964》(1984)。此外，她還策劃了20世紀早期至二戰(zhàn)后美國藝術(shù)家系列回顧展，其中包括：H?C?威斯特曼（1978）、馬思登? 哈特雷（1980）、米爾頓?艾維利（1982）、拉斯頓?克勞福德（1985）、查爾斯?德慕斯（1987）、萊德?葛盧姆（1987）、唐納德?朱迪（1988）、伯剛尼?迪勒（1990）、阿格?馬?。?992）、約瑟夫?思黛拉（1994）、愛德華?施泰因（2000）、艾黎?納德曼（2003）、奧斯卡?布魯納（2005－2006）、喬治亞? 奧基弗（2009）、里歐尼?菲寧格（2011）、瑞吉納德?馬斯（2013）、羅伯特?印第安納（2013）等人，并發(fā)表了專題學(xué)術(shù)論文。巴巴拉教授最近正在研究將于2016年舉辦的斯圖爾特.大衛(wèi)的回顧展。2005年，巴巴拉?哈斯凱邇被密森尼美國美術(shù)資料館授予勞倫斯·福萊思曼獎，此獎項用以表彰在美國藝術(shù)史領(lǐng)域取得突出成就的學(xué)者。

Preview of the Speech:

The Changing Face of American Art

By the early twentieth century, American artists had begun to promote the idea of an independent national art embodying American values, attitudes, and way of life. Museums were established to support and document these national expressions. The first to open was the New Britain Museum of American Art in 1905, followed by the Butler Institute of American Art in Youngstown, Ohio, the Whitney Museum of American Art, the Amon Carter Museum of American Art, the Addison Gallery of American Art, and the Smithsonian American Art Museum, among others. These institutions, along with the Museum of Modern Art in New York, and the National Gallery of Art in Washington, D.C., determined the public’s understanding of American art both here and abroad through permanent collection installations and traveling loan exhibitions. By the mid-1940s, the State Department had come to see art as a propaganda tool to further the United States’ political and economic interests, and it initiated a program of sending shows of American art to Latin America and Europe. These shows generally featured realist art that projected a positive image of the United States. After World War II, abstraction and postwar modernism supplanted American realism as the style most associated with national ideals and experiences. This hierarchy existed until the late twentieth century, when the combination of postmodernism and the rise of a new demographic in the United States led to a reassessment of what had been ignored in previous considerations of American art. In response to an America that is more diversified and global than ever before, museums are broadening the definition of American art and devising new narratives about its development. In the process, a reassessment has occurred about what can and should be included under the rubric “American” In this talk, I will explore the evolving understanding of American art as it was presented in museums from 1900 to the present day.

發(fā)言概要：

美國藝術(shù)的變化

 20世紀早期，美國藝術(shù)家已經(jīng)開始推行一種包含美國價值、美國態(tài)度、美國生活方式的獨立國家藝術(shù)形式。此時建立的許多博物館，都是用以支持并紀錄這些國家性表達的。1905年，美國第一家博物館—新不列顛美國藝術(shù)博物館開放，接下來俄亥俄州揚斯敦市立巴特勒美國美術(shù)中心、惠特尼美國美術(shù)博物館、阿莫卡特美國美術(shù)博物館、阿迪森美國美術(shù)展館、史密森尼美國美術(shù)博物館陸續(xù)開業(yè)。這些藝術(shù)機構(gòu)與紐約的現(xiàn)代藝術(shù)博物館、華盛頓國家畫廊一起，通過永久性收藏展和海外巡回作品展影響了全球公眾對美國藝術(shù)的理解。20世紀40年代中期，美國國務(wù)院將藝術(shù)宣傳作為增進美國政治利益和經(jīng)濟利益的手段，這促成了美國在拉丁美洲和歐洲的一系列展覽。這些展覽普遍運用現(xiàn)實主義的藝術(shù)手法來樹立美國積極、正面的形象。二戰(zhàn)后，抽象與現(xiàn)代主義作為與國家理想、國家經(jīng)歷最匹配的藝術(shù)形式代替了美國現(xiàn)實主義。這一體系一直持續(xù)到20世紀末，伴隨后現(xiàn)代主義和新的人口結(jié)構(gòu)的出現(xiàn)，人們開始重新審視在先前美國藝術(shù)中被忽略的問題。面對一個更加多元化、全球化的美國，博物館正在不斷擴展"美國藝術(shù)"的定義，并使用新的敘述方法解釋它的發(fā)展。在這個過程中，博物館重新評定了什么樣的藝術(shù)是可以且應(yīng)該被歸入“美國”這一范圍的。在這次報告中，我將要通過1900年至今在博物館里所呈現(xiàn)的藝術(shù)品，來探討這一百年對美國藝術(shù)理解的變化。