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安吉拉·米勒（Angela Miller）（觀看視頻）
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：聖路易斯華盛頓大學美術史、美國學研究教授。研究領域橫跨16世紀到20世紀中期，論文和講稿發表於世界各國刊物中。米勒教授主要致力於文化民族主義構建、藝術中的政治形式等課題的研究。出版著作《視覺帝國：1825－1875 風景繪畫及美國文化政治》（1993年出版），此項研究獲得史密森尼博物院、美國研究協會雙重獎項。作為首席作家，她與其他五位作者共同編寫《美國的遭遇：藝術、歷史和文化身份》（皮爾森出版社，2008年），此書講述了自諾曼底之戰至當代的全部藝術史 。最近，米勒教授發表了論文《美國流行正前方》，此論文探討了美國人對超現實主義的反應，另一篇論文是為紐約迪亞貝肯美術館館區所寫，對當代藝術家佐伊利昂納進行了研究。2010年，她在巴黎擔任泰拉基金會美國藝術史教授；2010年11月成為柏林自由大學肯尼迪研究所北美研究中心訪問學者；2012年春季、夏季分別在倫敦考陶爾德研究所擔任客座教授，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.
發言概要：
1913年軍械庫展前後的美國藝術
此報告意在討論1913年在紐約進行的“軍械庫展”（國際現代藝術展）。“軍械庫展”是首次公開展示20世紀美國和歐洲現代主義藝術的展覽。在20世紀前十年，由於對歐洲繪畫與雕塑新運動的尊敬，美國藝術家發現他們處於觀者的身份。無論是在19世紀以來藝術家們朝聖的巴黎，還是舉辦過眾多展覽的紐約，美國藝術家們都在模倣的過程中學習全新的藝術語言。我將從軍械庫展覽中展示的美國藝術狀態入手，思考此後的5－10年裏，美國藝術的表現範圍和新發展。在這10年裏，如查爾斯•希勒和斯圖爾特•戴維斯這樣的藝術家（兩個人在軍械庫展覽中的展品是相當保守的），已經開始使用本土化的、非歐洲現代主義語言。在美國藝術家重新定義其藝術作品的過程中，軍械庫展扮演了什麼樣的角色？在展覽上佔有統治地位的法國藝術，是否僅僅將美國藝術變成一種新殖民式的附屬？或者對大多數有才華的美國藝術家來説，此次展覽的最大價值在於藝術的形式風格僅僅是通往目標的一種手段，是藝術家發現他們自身與所處的創作時空間關係的手段。軍械庫展覽的第二個價值是表明接受的過程是一個積極、主動的過程。儘管相對於現代主義來説，當時的美國藝術作品是保守的，但就在20年前，美國藝術在巴黎確立了國際性的地位。一系列的美國藝術家以流暢、老辣的筆墨進行學院風格的繪畫。這不是技巧或者訓練的問題。這些藝術家已經準備就緒，在軍械庫展覽後的幾年中，他們迅速用對現代主義內在價值的深刻理解代替了對風格畫法簡單的模倣。
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