???

安吉拉·米勒（Angela Miller）（觀看視頻）

??? ?Angela Miller is Professor of Art History and American Studies at Washington University in St. Louis. She has lectured and published internationally in a range of areas spanning from the 16th century to the mid-20th.. Her work has focused on constructions of cultural nationalism, and on the politics of form in the arts. Miller’s 1993 book Empire of the Eye: Landscape Representation and American Cultural Politics, 1825-1875, won awards from the Smithsonian Institution and the American Studies Association. She is a lead author, along with five others, of American Encounters: Art, History, and Cultural Identity (Pearson, 2008), an integrated history of the arts from pre-conquest to the present. Recent publications include an essay on the American reception of Surrealism, the US Popular Front; and an essay for Dia/Beacon in New York on contemporary artist Zoe Leonard. She was the inaugural Terra Professor of American art in Paris in 2010; a visiting scholar at the JFK Institute for North American Studies at the Freie Universitat in Berlin in November 2010; and the Terra Visiting Professor at the Courtauld Institute in London, and the JFK Institute, in the Spring and Summer of 2012.

??? ?安吉拉?米勒：圣路易斯華盛頓大學(xué)美術(shù)史、美國(guó)學(xué)研究教授。研究領(lǐng)域橫跨16世紀(jì)到20世紀(jì)中期，論文和講稿發(fā)表于世界各國(guó)刊物中。米勒教授主要致力于文化民族主義構(gòu)建、藝術(shù)中的政治形式等課題的研究。出版著作《視覺(jué)帝國(guó)：1825－1875 風(fēng)景繪畫(huà)及美國(guó)文化政治》（1993年出版），此項(xiàng)研究獲得史密森尼博物院、美國(guó)研究協(xié)會(huì)雙重獎(jiǎng)項(xiàng)。作為首席作家，她與其他五位作者共同編寫(xiě)《美國(guó)的遭遇：藝術(shù)、歷史和文化身份》（皮爾森出版社，2008年），此書(shū)講述了自諾曼底之戰(zhàn)至當(dāng)代的全部藝術(shù)史 。最近，米勒教授發(fā)表了論文《美國(guó)流行正前方》，此論文探討了美國(guó)人對(duì)超現(xiàn)實(shí)主義的反應(yīng)，另一篇論文是為紐約迪亞貝肯美術(shù)館館區(qū)所寫(xiě)，對(duì)當(dāng)代藝術(shù)家佐伊利昂納進(jìn)行了研究。2010年，她在巴黎擔(dān)任泰拉基金會(huì)美國(guó)藝術(shù)史教授；2010年11月成為柏林自由大學(xué)肯尼迪研究所北美研究中心訪問(wèn)學(xué)者；2012年春季、夏季分別在倫敦考陶爾德研究所擔(dān)任客座教授，肯尼迪研究所北美研究中心客座教授。

??? Preview of the Speech:

American Art Before and After the Armory Show of 1913

?The talk will look at the so-called “Armory Show” (the International Exhibition of Modern Art) held in New York City in 1913, and the first mass public exposure to American and European modernism of the new century. With respect to the new movements reshaping European painting and sculpture in the first decade of the 20th century, the nation’s artists found themselves in an observer status. Whether from the vantage point of Paris, where many traveled from the later 19th century forward, or New York, where the exhibition was held, American artists learned the new languages of art by emulating them, often in direct apprenticeship to the new styles. I will look at the state of American art as represented at the Armory Show, and then consider its range of expression and new developments five to ten years’ out (up to the early 1920s). Within a decade, artists such as Charles Sheeler and Stuart Davis—both of who exhibited rather conservative works at the Armory show—had emerged into original and strikingly unEuropean modernist languages. What role did the Armory show play in getting American artists to redefine their art? Did the dominance of French art at the exhibition simply bring a new colonial dependency to American art? Or was its most valuable lesson for the most gifted American artists that style was merely a means to an end, which was to discover one’s own relationship to the time and place in which one worked?

?The Armory Show presents a second lesson: that reception is an active process. Although American art was ‘provincial’ in relation to modernism, it had, over the previous two decades, established an international presence in Paris. A range of American artists painted with fluency and sophistication in an academic style. The issue was not one of skill or training but one of readiness. For the most significant artists of the coming years, imitation of superficial stylistic qualities soon gave way to deeper understandings of the underlying lessons of modernism.

?發(fā)言概要：

1913年軍械庫(kù)展前后的美國(guó)藝術(shù)

?此報(bào)告意在討論1913年在紐約進(jìn)行的“軍械庫(kù)展”（國(guó)際現(xiàn)代藝術(shù)展）。“軍械庫(kù)展”是首次公開(kāi)展示20世紀(jì)美國(guó)和歐洲現(xiàn)代主義藝術(shù)的展覽。在20世紀(jì)前十年，由于對(duì)歐洲繪畫(huà)與雕塑新運(yùn)動(dòng)的尊敬，美國(guó)藝術(shù)家發(fā)現(xiàn)他們處于觀者的身份。無(wú)論是在19世紀(jì)以來(lái)藝術(shù)家們朝圣的巴黎，還是舉辦過(guò)眾多展覽的紐約，美國(guó)藝術(shù)家們都在模仿的過(guò)程中學(xué)習(xí)全新的藝術(shù)語(yǔ)言。我將從軍械庫(kù)展覽中展示的美國(guó)藝術(shù)狀態(tài)入手，思考此后的5－10年里，美國(guó)藝術(shù)的表現(xiàn)范圍和新發(fā)展。在這10年里，如查爾斯?希勒和斯圖爾特?戴維斯這樣的藝術(shù)家（兩個(gè)人在軍械庫(kù)展覽中的展品是相當(dāng)保守的），已經(jīng)開(kāi)始使用本土化的、非歐洲現(xiàn)代主義語(yǔ)言。在美國(guó)藝術(shù)家重新定義其藝術(shù)作品的過(guò)程中，軍械庫(kù)展扮演了什么樣的角色？在展覽上占有統(tǒng)治地位的法國(guó)藝術(shù)，是否僅僅將美國(guó)藝術(shù)變成一種新殖民式的附屬？或者對(duì)大多數(shù)有才華的美國(guó)藝術(shù)家來(lái)說(shuō)，此次展覽的最大價(jià)值在于藝術(shù)的形式風(fēng)格僅僅是通往目標(biāo)的一種手段，是藝術(shù)家發(fā)現(xiàn)他們自身與所處的創(chuàng)作時(shí)空間關(guān)系的手段。軍械庫(kù)展覽的第二個(gè)價(jià)值是表明接受的過(guò)程是一個(gè)積極、主動(dòng)的過(guò)程。盡管相對(duì)于現(xiàn)代主義來(lái)說(shuō)，當(dāng)時(shí)的美國(guó)藝術(shù)作品是保守的，但就在20年前，美國(guó)藝術(shù)在巴黎確立了國(guó)際性的地位。一系列的美國(guó)藝術(shù)家以流暢、老辣的筆墨進(jìn)行學(xué)院風(fēng)格的繪畫(huà)。這不是技巧或者訓(xùn)練的問(wèn)題。這些藝術(shù)家已經(jīng)準(zhǔn)備就緒，在軍械庫(kù)展覽后的幾年中，他們迅速用對(duì)現(xiàn)代主義內(nèi)在價(jià)值的深刻理解代替了對(duì)風(fēng)格畫(huà)法簡(jiǎn)單的模仿。