伊麗莎白·哈欽森（Elizabeth Hutchinson）（觀看視頻）
???? Elizabeth Hutchinson is Associate Professor of North American Art History at Barnard College/Columbia University. Her work uses the tools of close visual analysis, feminist and postcolonial theory, and cultural history to bring out objects’ contributions to historical and current cultural debates. Key issues motivating her work include the relationship between visuality and modernity, transculturation in the arts of the Americas, and comparison of the visual culture of the United States with that of other colonial cultures. The author of The Indian Craze: Primitivism, Modernism, and Transculturation in American Art, 1890-1915 (Duke University Press, 2009), Dr. Hutchinson is currently engaged in a study of the Pacific Coast photography of Eadweard Muybridge, relating images of the territory and peoples along the coast from Alaska to Guatemala to broader American ambitions for control in the Pacific in the second half of the nineteenth century. Her other current projects address the representation of American Indian people during the early republic and the place of contemporary indigenous art in the global art world. Professor Hutchinson is the recipient of numerous grants and awards, most recently an ACLS Fellowship.
??? ?伊麗莎白?哈欽森：哥倫比亞大學(xué)巴納德學(xué)院副教授，主攻北美藝術(shù)研究。出版著作《印第安狂熱：原始主義、現(xiàn)代主義、和美國(guó)藝術(shù)中的文化嫁接1809-1915》（杜克出版社，2009年）。她以近距離的視覺(jué)分析、女性主義、后殖民理論以及文化史為工具，探討某一對(duì)象對(duì)過(guò)去和當(dāng)下文化研究的貢獻(xiàn)。哈欽森教授研究工作的主要議題包括：可視性與現(xiàn)代性的關(guān)系，美國(guó)藝術(shù)中的文化嫁接以及美國(guó)視覺(jué)文化與其他殖民文化的比較，近期致力于艾德維德?邁布里奇太平洋海岸攝影研究，涉及太平洋沿岸從阿拉斯加到危地馬拉地區(qū)（這片區(qū)域是19世紀(jì)后半葉美國(guó)試圖控制的地區(qū)）的地域和居民的影像。目前，哈欽森教授還從事早期美洲印第安人藝術(shù)，當(dāng)代土著人藝術(shù)在全球化藝術(shù)中的表現(xiàn)等領(lǐng)域的研究工作。哈欽森博士曾獲眾多獎(jiǎng)項(xiàng)和津貼，最近，她又獲得了美國(guó)學(xué)術(shù)團(tuán)體委員會(huì)學(xué)術(shù)津貼。
??? Preview of the Speech:
Circling the Globe with the Vanishing Race:International Exhibitions of the Photographs of Edward Curtis
?Edward Curtis produced his epic project documenting “traditional” Native North American life between 1907 and 1930. While The North American Indian, presented as a multi-media exhibition and through volumes of photogravures, received critical acclaim in its own time, it was quickly forgotten after Curtis’ death and was only rediscovered in the 1980s, when critics decried its nostalgic portrayal “the Vanishing Race,” and mainstream audiences warmed to the beauty and nobility of the compositions.
?The revival of Curtis’ reputation has led to the inclusion of his work in a number of international exhibitions organized or supported by the U.S. State Department, which circulates art to embassies, museums and cultural centers as a form of “soft public policy.” Images of America’s diverse cultures feature prominently in these exhibitions and as a means of highlighting national multiculturalism, though it is also arguable that Curtis’ project illustrates cultural appropriation as much as cultural diversity.
?International exhibitions of Curtis’ work offer contradictory messages about timeless and modern Native identity in ways that do not allow for consideration of indigenous Americans’ complex, ongoing colonial history. The most prominent traveling Curtis exhibition, “Sacred Legacy” (2001), was organized for the Department of State has toured venues in five continents. The exhibition, which is accompanied by a film by Anne Makepeace that focuses on the meaning of Curtis’ work for contemporary Indian people, is also popular at tribal museums. My talk will describe this exhibition and its history, exploring how it constructs notions of American art and American colonialism to global audiences.
?發(fā)言概要：
沿著種族消逝的足跡環(huán)游全球：愛(ài)德華?科特斯國(guó)際攝影展國(guó)際圖片展
?愛(ài)德華?科特斯的攝影如同一首史詩(shī)，記錄了自1907年至1930年間北美印第安“傳統(tǒng)”原住民的生活。“北美洲印第安人”展用多媒體展覽的形式向觀眾呈現(xiàn)了數(shù)卷凹版照相相片，一時(shí)間引起了評(píng)論屆的轟動(dòng)。但在科特斯死后，這些照片迅速被人們遺忘。20世紀(jì)80年代，當(dāng)評(píng)論家譴責(zé)照片里懷舊式的肖像表現(xiàn)時(shí)，觀眾卻被作品的美麗和高貴打動(dòng)。
?至此，科特斯聲望再起。美國(guó)國(guó)務(wù)院因此資助、組織了一系列科特斯作品的國(guó)際展。這些展覽作為一種柔性的國(guó)家政策，向各國(guó)使館、博物館、文化中心傳播美國(guó)藝術(shù)。盡管在科特斯的作品中，是否如同詮釋文化多樣性一樣詮釋了文化的挪用，是有爭(zhēng)議的。但這些影像使用突出美國(guó)多元文化的方法，顯著的強(qiáng)調(diào)了美國(guó)文化的多樣性。
?科特斯的攝影作品全球展并沒(méi)有考慮到土著美國(guó)人的復(fù)雜性和持續(xù)的殖民歷史，從而呈現(xiàn)了土著印第安人身份的永恒性和現(xiàn)代性的矛盾信息。在美國(guó)國(guó)務(wù)院舉辦的科特斯巡回展中，最著名的當(dāng)屬《神圣的遺產(chǎn)》（2001年），這一展覽曾在五大洲進(jìn)行巡回。在展覽中，還播放了安娜?馬克佩絲拍攝的影片，這部影片聚焦于科特斯作品對(duì)當(dāng)代印第安人的意義，受到了極大的歡迎。此次報(bào)告將會(huì)描述這次展覽及其歷史，探討它是如何向全世界觀眾構(gòu)建美國(guó)藝術(shù)及美式殖民主義的觀念。
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