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凯莉·哈斯利特（Carrie Haslett） （观看视频）
Carrie Haslett is Program Director, Exhibition and Academic Grants at the Terra Foundation for American Art. Prior to joining the foundation in 2006, Dr. Haslett was the Joan Whitney Payson Curator of Modern Art at the Portland Museum of Art (Maine) and the Martin Z. Kruse Research Associate in American Art at The Huntington Library (California). She has also held positions at the Cleveland Museum of Art, The Studio in a School Association, and two auction houses. She received a doctorate in the History of Art from Bryn Mawr College. The Terra Foundation funds projects worldwide exploring art of the United States made before 1980.
凯莉·哈斯利特：美国泰拉基金会项目主管，主管美国艺术领域的展览、学术奖学金项目。2006年加入基金会之前，哈斯利特博士曾任缅因州波特兰艺术博物馆琼•惠特妮•培森现代艺术分馆馆长、加利福尼亚州亨廷顿图书馆美国艺术马丁•克鲁斯研究中心的负责人，还任职于克里夫兰艺术博物馆、学校联盟工作室以及两家拍卖公司。她在布林莫尔学院获得艺术史博士学位。泰拉基金会向全世界所有探索1980年之前的美国艺术的项目提供资助。
Preview of the Speech:
Observed Trends in Recent Exhibitionsof Historical American Art
In the not-too-distant past, exhibitions of non-contemporary American art held outside the United States were a rarity, as were exhibitions organized by non-U.S. curators. Recent changes in who conceptualizes American art exhibition topics and where such art is seen, as well as within the field of art history itself, have led to new perspectives that have challenged or nuanced traditional historical narratives.
Exhibitions created more than a decade ago at times explored historical American art interdisciplinarily or within an international context, occasionally in great depth. Yet few working in the past could have predicted the scope and array of recent exhibitions, which draw attention to artists overlooked or marginalized, such as those living in the US but denied or forgoing citizenship; overtly criticize or dismantle long-held fundamental tropes or values of “American” life; and seriously discuss artistic media and material culture that have not always been viewed as worthy of attention. Above all, they explore meaningful, complex, and long-term cross-cultural dialogues, among which are included artists and objects from countries that standard histories of American art had never, or only incidentally, mentioned. This paper will share some of the ways in which current curators, both from the US and elsewhere, have challenged and expanded definitions of “American” and “art”, as well as redefined which audiences may find American art worth seeing and studying.
发言概要：
近期美国艺术历史展览中的可见趋势
在不远的过去，在美国之外举办非当代美国艺术展, 就像由非美籍的策展人策划美国展览一样罕见。最近，由谁来给美国艺术展的主题定位、这些艺术作品应在哪里展示以及在怎样的美术史范畴内进行展览都发生着变化，这些变化向传统的艺术史叙事方式发出挑战。
十年前的展览有时会探索在跨学科或国际化的语境下，美国早期艺术的表达方式，偶尔也较为深入。尽管这些探索中很少有能预测到近些年展览的范围和阵型，但他们将注意力集中到了那些被忽视或被边缘化的艺术家，比如说那些生活在美国却拒绝或放弃美国国籍的艺术家，那些公然批判或解构美国式生活价值、美国生活基本原则的艺术家，以及那些严肃讨论“艺术媒介”或“物质文化”这些被认为不值得研究的艺术家。总而言之，他们的探索是有意义的、复杂的，是一种跨文化的持久对话。在这些对话里包括了美国正统国家艺术史上从未或鲜有提及的艺术家。本篇报告将和大家分享当下美国或者其他国家的博物馆负责人对“美国”“艺术”定义的挑战和拓展，同时重新诠释了观众认为美国艺术值得观看和研究的部分。
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