艾伦•沃勒克（Alan Wallach）
Alan Wallach is Ralph H. Wark Professor of Art and Art History and Professor of American Studies Emeritus at the College of William and Mary. Wallach has published over 100 articles on the history of American art and on American art institutions, and his work has been translated into German, French, Spanish, and Macedonian. He was co-curator with William Truettner of the 1994 exhibition Thomas Cole: Landscape into History and author of the catalog’s principal essay His book, Exhibiting Contradiction: Essays on the Art Museum in the United States, was published by the University of Massachusetts Press in 1998 and remains in print. In addition to teaching graduate and undergraduate students at the College of William and Mary, Wallach has served as a visiting professor at UCLA, Stanford, Michigan, the Williams College graduate program, and Berlin’s Free University. He has also taught graduate courses at NYU, City University of New York, the University of Delaware, Boston University, and George Washington University. In 2007, he was the recipient of the College Art Association’s Distinguished Teaching of Art History Award. Wallach is currently coediting a forthcoming collection of essays on transatlantic romanticism and writing a study of the Hudson River School and the origins of American modernism.
艾伦·沃勒克：威廉玛丽学院拉尔夫·华克荣誉教授，主要从事美国艺术、艺术史和美国学研究。已发表美国艺术史和艺术体制研究论文100 多篇，著作已被翻译为德语、法语、西班牙语、马其顿语。曾与威廉·丘特勒一起策划了“托马斯·克尔：进入历史的风景展”，并担任画册主要论文的撰写者。其著作《展示矛盾：美国艺术博物馆论文》于1998 年由麻省大学出版社出版。在威廉玛丽学院，艾伦·沃勒克教授不仅担任威廉玛丽学院研究生和本科生的教学工作，还担任加州大学洛杉矶分校、斯坦福大学、密西根大学、威廉姆斯学院、柏林自由大学等校的客座教授。同时在纽约大学、纽约城市大学、特拉华大学、波士顿大学、乔治华盛顿大学担任教学工作。2007 年获得艺术教育联合会颁发的艺术史教育成就奖。近期，艾伦教授正在参与“跨越大西洋的浪漫主义”论文集的编辑工作，这本论文集将于近期出版，同时他本人正在进行哈得逊河画派与美国现代主义起源的研究。
Preview of the Speech:
Exhibiting American Art in the Twenty-First Century Over the last two decades American art museums have spent millions on new or renovated American wings and galleries, and on high-priced acquisitions. Between 1995 and 2009, museums in Newark, Brooklyn,Chicago, Washington, Detroit, San Francisco, and Kansas City have expanded, refurbished, and reinstalled their American collections. In 2010, the Museum of Fine Arts, Boston, inaugurated a spectacular fourstorey glass box, designed by Norman Foster and Partners, in which to display 5000 objects under the heading “Art of the Americas.” In 2011, the Crystal Bridges Museum of American Art, housed in an elaborate set of pavilions designed by Moishe Safdie and located in Bentonville, Arkansas, made its long-awaited debut. In 2012, New York’s Metropolitan Museum of Art launched with enormous fanfare its rebuilt and greatly expanded American Wing. Have these expansions, refurbishments and reinstallations opened new perspectives on the history of American art? To what extent have they increased the museums’ appeal to non-traditional audiences? This paper will attempt to answer these questions via a close examination of museum displays and a consideration of the ways in which scholarship in the eld of American art has inuenced museum practice.
发言概要：
二十一世纪的美国艺术展览在过去的20 年里，美国艺术博物馆将数百万资金用于翻新或建造美国之翼（注：通常为美国博物馆右后侧）和画廊，以及高价收购。在1995 年到2009 年间，纽瓦克、布鲁克林、芝加哥、华盛顿、底特律、旧金山以及堪萨斯市的博物馆已经进行了扩建，翻新并重新布置了美国艺术品收藏区。2010 年，波士顿艺术博物馆正式启用了全玻璃的四层展馆，该馆由诺曼福斯特和其团队设计，展出了5000 件以“美国艺术”标题的展品。2011 年，大家期盼已久的水晶桥美国艺术博物馆正式开业，整座建筑精巧无比，展馆位于阿肯色州本顿维尔市，由莫什·萨福迪设计。2012 年，纽约大都会博物馆声势浩大的启动了美国之翼展厅的重建工作。这些展馆的扩建、重建，对展品的重新陈列是否会为美国艺术史打开全新的视角？它们到底在多大程度上提高了博物馆对非传统观众的吸引？本文试图通过近距离考察博物馆展品，思考美国艺术史学者影响博物馆运行的方法回答上述问题。
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