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安吉拉·米勒（Angela Miller）（观看视频）
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：圣路易斯华盛顿大学美术史、美国学研究教授。研究领域横跨16世纪到20世纪中期，论文和讲稿发表于世界各国刊物中。米勒教授主要致力于文化民族主义构建、艺术中的政治形式等课题的研究。出版著作《视觉帝国：1825－1875 风景绘画及美国文化政治》（1993年出版），此项研究获得史密森尼博物院、美国研究协会双重奖项。作为首席作家，她与其他五位作者共同编写《美国的遭遇：艺术、历史和文化身份》（皮尔森出版社，2008年），此书讲述了自诺曼底之战至当代的全部艺术史 。最近，米勒教授发表了论文《美国流行正前方》，此论文探讨了美国人对超现实主义的反应，另一篇论文是为纽约迪亚贝肯美术馆馆区所写，对当代艺术家佐伊利昂纳进行了研究。2010年，她在巴黎担任泰拉基金会美国艺术史教授；2010年11月成为柏林自由大学肯尼迪研究所北美研究中心访问学者；2012年春季、夏季分别在伦敦考陶尔德研究所担任客座教授，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.
发言概要：
1913年军械库展前后的美国艺术
此报告意在讨论1913年在纽约进行的“军械库展”（国际现代艺术展）。“军械库展”是首次公开展示20世纪美国和欧洲现代主义艺术的展览。在20世纪前十年，由于对欧洲绘画与雕塑新运动的尊敬，美国艺术家发现他们处于观者的身份。无论是在19世纪以来艺术家们朝圣的巴黎，还是举办过众多展览的纽约，美国艺术家们都在模仿的过程中学习全新的艺术语言。我将从军械库展览中展示的美国艺术状态入手，思考此后的5－10年里，美国艺术的表现范围和新发展。在这10年里，如查尔斯•希勒和斯图尔特•戴维斯这样的艺术家（两个人在军械库展览中的展品是相当保守的），已经开始使用本土化的、非欧洲现代主义语言。在美国艺术家重新定义其艺术作品的过程中，军械库展扮演了什么样的角色？在展览上占有统治地位的法国艺术，是否仅仅将美国艺术变成一种新殖民式的附属？或者对大多数有才华的美国艺术家来说，此次展览的最大价值在于艺术的形式风格仅仅是通往目标的一种手段，是艺术家发现他们自身与所处的创作时空间关系的手段。军械库展览的第二个价值是表明接受的过程是一个积极、主动的过程。尽管相对于现代主义来说，当时的美国艺术作品是保守的，但就在20年前，美国艺术在巴黎确立了国际性的地位。一系列的美国艺术家以流畅、老辣的笔墨进行学院风格的绘画。这不是技巧或者训练的问题。这些艺术家已经准备就绪，在军械库展览后的几年中，他们迅速用对现代主义内在价值的深刻理解代替了对风格画法简单的模仿。
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