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巴巴拉·哈斯克尔（Barbara Haskell ） (观看视频）
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·哈斯克尔：惠特尼美术馆资深策展人，美国现代艺术研究领域知名学者，发表论文20多篇。策划多个具有里程碑意义的主题展，其中包括：《美国世纪：艺术和文化 1900－1950》(1999)和 《砰！波普艺术 、极简主义和表演的爆炸 1958－1964》(1984)。此外，她还策划了20世纪早期至二战后美国艺术家系列回顾展，其中包括：H•C•威斯特曼（1978）、马思登• 哈特雷（1980）、米尔顿•艾维利（1982）、拉斯顿•克劳福德（1985）、查尔斯•德慕斯（1987）、莱德•葛卢姆（1987）、唐纳德•朱迪（1988）、伯刚尼•迪勒（1990）、阿格•马丁（1992）、约瑟夫•思黛拉（1994）、爱德华•施泰因（2000）、艾黎•纳德曼（2003）、奥斯卡•布鲁纳（2005－2006）、乔治亚• 奥基弗（2009）、里欧尼•菲宁格（2011）、瑞吉纳德•马斯（2013）、罗伯特•印第安纳（2013）等人，并发表了专题学术论文。巴巴拉教授最近正在研究将于2016年举办的斯图尔特.大卫的回顾展。2005年，巴巴拉•哈斯凯迩被密森尼美国美术资料馆授予劳伦斯·福莱思曼奖，此奖项用以表彰在美国艺术史领域取得突出成就的学者。
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.
发言概要：
美国艺术的变化
20世纪早期，美国艺术家已经开始推行一种包含美国价值、美国态度、美国生活方式的独立国家艺术形式。此时建立的许多博物馆，都是用以支持并纪录这些国家性表达的。1905年，美国第一家博物馆—新不列颠美国艺术博物馆开放，接下来俄亥俄州扬斯敦市立巴特勒美国美术中心、惠特尼美国美术博物馆、阿莫卡特美国美术博物馆、阿迪森美国美术展馆、史密森尼美国美术博物馆陆续开业。这些艺术机构与纽约的现代艺术博物馆、华盛顿国家画廊一起，通过永久性收藏展和海外巡回作品展影响了全球公众对美国艺术的理解。20世纪40年代中期，美国国务院将艺术宣传作为增进美国政治利益和经济利益的手段，这促成了美国在拉丁美洲和欧洲的一系列展览。这些展览普遍运用现实主义的艺术手法来树立美国积极、正面的形象。二战后，抽象与现代主义作为与国家理想、国家经历最匹配的艺术形式代替了美国现实主义。这一体系一直持续到20世纪末，伴随后现代主义和新的人口结构的出现，人们开始重新审视在先前美国艺术中被忽略的问题。面对一个更加多元化、全球化的美国，博物馆正在不断扩展"美国艺术"的定义，并使用新的叙述方法解释它的发展。在这个过程中，博物馆重新评定了什么样的艺术是可以且应该被归入“美国”这一范围的。在这次报告中，我将要通过1900年至今在博物馆里所呈现的艺术品，来探讨这一百年对美国艺术理解的变化。
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