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布丽奇特·库克斯（Bridget R. Cooks）
Bridget R. Cooks is Associate Professor of Art History and African American Studies, and serves as Director of the Ph.D. program in Visual Studies at the University of California, Irvine. Her scholarship addresses representations of African Americans in visual culture, the history of African American artists, and museum criticism. She has worked in museum education at the National Gallery of Art, Washington D.C., the Oakland Museum, and the Los Angeles County Museum of Art. She curated the critically acclaimed exhibition The Art of Richard Mayhew, Museum of the African Diaspora, San Francisco in 2009-2010, and Wavelengths: Abstract Selections from the Paul R. Jones Collection, University of Alabama, 2012. Some of her recent publications can be found in American Studies, Afterimage, The International Review of American Art, and the International Journal of Media and Cultural Politics. She is excited about the recent publication of her book Exhibiting Blackness: African Americans and the American Art Museum (University of Massachusetts Press, 2011).
布丽奇特·库克斯：加州大学欧文分校副教授，视觉研究博士生项目主管，主攻艺术史及美国黑人文化研究。在美国黑人视觉文化表现、美国黑人艺术家历史和博物馆批评等研究领域均取得了重要成就。曾担任华盛顿国家艺术博物馆、奥克兰博物馆和洛杉矶艺术博物馆的博物馆教育工作。于2009－2010年期间，策划了广受好评的“理查德•马休艺术展”，2012年，在阿拉巴马大学策划了“波长：保罗•罗德•琼斯抽象作品收藏展 ”。在《美国研究》、《图像之后》、《美国艺术的国际观察》、《媒介和文化政治－国际版》等刊物上发表了多篇学术论文。出版学术著作《展示黑人：美国黑人和美国艺术博物馆》(2011年麻省大学出版社)。
Preview of the Speech:
Exhibiting Blackness:African Americans and the American Art Museum
In 1927, the Chicago Art Institute presented the first major museum exhibition of art by African Americans. Designed to demonstrate the artists’ abilities and to promote racial equality, the exhibition also revealed the art world’s anxieties about the participation of African Americans in the exclusive venue of art museums—places where Blacks had historically been barred from visiting and exhibiting. Since then, America’s major art museums have served as crucial locations for African Americans to protest against their exclusion and attest to their contributions in the visual arts.
This presentation provides an overview of the exhibition history of art by African Americans. It exposes the issues involved in exhibiting cultural difference that continue to challenge art history and American museums. Tracing two dominant methodologies used to exhibit art by African Americans—an ethnographic approach that focuses more on artists than their art, and a recovery narrative aimed at correcting past omissions—the paper analyzes the curatorial strategies, challenges, and critical receptions of the most significant American museum exhibitions of African American art of the twentieth and twenty first centuries. By examining the unequal and often contested relationship between African American artists, curators, and visitors, it provides insight into the complex role of art museums and their accountability to the cultures they represent.
发言概要：
展示黑人：美国黑人与美国艺术博物馆
1927年，首次大型美国黑人艺术作品博物馆展在芝加哥美术馆举行，此次展览在证明黑人艺术家能力，推动种族平等的同时,也充分暴露出艺术圈对美国黑人在博物馆举办展览所产生的焦虑——毕竟博物馆是一个具有排他性的场所。历史上很长一段时间，黑人是不允许进入博物馆参观、举办展览的。自那次展览后，美国各大艺术博物馆就成为了美国黑人抗议歧视，证明自己对视觉艺术做出巨大贡献的重要场所。
这次报告主要是向大家展示美国黑人艺术展的历史概况，它暴露了在举办具有文化差异的展览时涉及的许多问题，这些问题仍然困扰着当下的艺术史和艺术博物馆。此篇报告按照美国黑人艺术展的两条线索展开：一条是人种学方法，这条线索更多的是对艺术家，而非他们的作品本身进行分析。另一条是恢复性叙事，这篇论文旨在通过这种方法对20世纪和21世纪美国黑人艺术展览的策展方法、展览中的挑战，以及所有重要美国博物馆对这些展览的评论进行分析，纠正过去的疏漏。凭借对黑人艺术家、策展人和观众之间不平等的、颇具争议的关系进行审视，以此洞悉艺术博物馆的复杂身份，以及这些博物馆对其所展陈的文化承担的责任。
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