伊丽莎白·哈钦森（Elizabeth Hutchinson）（观看视频）
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.
伊丽莎白•哈钦森：哥伦比亚大学巴纳德学院副教授，主攻北美艺术研究。出版著作《印第安狂热：原始主义、现代主义、和美国艺术中的文化嫁接1809-1915》（杜克出版社，2009年）。她以近距离的视觉分析、女性主义、后殖民理论以及文化史为工具，探讨某一对象对过去和当下文化研究的贡献。哈钦森教授研究工作的主要议题包括：可视性与现代性的关系，美国艺术中的文化嫁接以及美国视觉文化与其他殖民文化的比较，近期致力于艾德维德•迈布里奇太平洋海岸摄影研究，涉及太平洋沿岸从阿拉斯加到危地马拉地区（这片区域是19世纪后半叶美国试图控制的地区）的地域和居民的影像。目前，哈钦森教授还从事早期美洲印第安人艺术，当代土著人艺术在全球化艺术中的表现等领域的研究工作。哈钦森博士曾获众多奖项和津贴，最近，她又获得了美国学术团体委员会学术津贴。
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.
发言概要：
沿着种族消逝的足迹环游全球：爱德华•科特斯国际摄影展国际图片展
爱德华•科特斯的摄影如同一首史诗，记录了自1907年至1930年间北美印第安“传统”原住民的生活。“北美洲印第安人”展用多媒体展览的形式向观众呈现了数卷凹版照相相片，一时间引起了评论届的轰动。但在科特斯死后，这些照片迅速被人们遗忘。20世纪80年代，当评论家谴责照片里怀旧式的肖像表现时，观众却被作品的美丽和高贵打动。
至此，科特斯声望再起。美国国务院因此资助、组织了一系列科特斯作品的国际展。这些展览作为一种柔性的国家政策，向各国使馆、博物馆、文化中心传播美国艺术。尽管在科特斯的作品中，是否如同诠释文化多样性一样诠释了文化的挪用，是有争议的。但这些影像使用突出美国多元文化的方法，显著的强调了美国文化的多样性。
科特斯的摄影作品全球展并没有考虑到土著美国人的复杂性和持续的殖民历史，从而呈现了土著印第安人身份的永恒性和现代性的矛盾信息。在美国国务院举办的科特斯巡回展中，最著名的当属《神圣的遗产》（2001年），这一展览曾在五大洲进行巡回。在展览中，还播放了安娜•马克佩丝拍摄的影片，这部影片聚焦于科特斯作品对当代印第安人的意义，受到了极大的欢迎。此次报告将会描述这次展览及其历史，探讨它是如何向全世界观众构建美国艺术及美式殖民主义的观念。
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