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凱瑟琳·朵欣（Catherine Dossin）（觀看視頻）
Catherine Dossin is an art historian. Originally from France she received a Master’s degree from the Sorbonne and a Ph.D. from the University of Texas at Austin. She is an Assistant Professor at Purdue University, where she teaches courses on modern and contemporary art in the United States, Europe, and Latin America. Her research is rooted in historiography and geopolitics with an emphasis on transnational dialogues. Her first book, Geopolitics of the Western Art World, 1940s-1980s, to be published by Ashgate in 2014, challenges the New York-centered official story of postwar Western art by highlighting the role played by other European countries. She is currently working on a history of the reception of American art in postwar Europe. She is the vice-director of ARTL@S and co-editor of the ARTL@S Bulletin.
凱瑟琳•朵欣：法國籍美術史家，于巴黎大學獲得碩士學位，奧斯丁州德克薩斯大學獲得博士學位。現為美國普渡大學副教授，教授現當代美術史課程，同時在美國、歐洲、拉丁美洲等地從事教學工作。凱瑟琳教授的研究基於歷史學和地緣政治學的方法，強調跨國界對話，其著作《1940年代－1980年代 西方藝術世界的地緣政治學》將於2014年由阿什蓋特出版社出版。此書通過強調二戰後其他歐洲國家在藝術史中的作用，來挑戰官方藝術史以紐約為中心的書寫方法。凱瑟琳教授目前正在進行二戰後歐洲國家對美國藝術接收過程的歷史研究。同時，她還擔任ARTL@S機構的副主管以及《ARTL@S Bulletin》雜誌合作編輯。
Preview of the Speech:
School of the Pacific: The Asian Side of the Postwar Transatlantic Exchanges
In the 1950s, many people in Paris were talking about a School of the Pacific. The term referred to various artists connected with the West Coast of the United States, including Mark Tobey, Morris Graves, Clyfford Still, Mark Rothko, and Sam Francis. Parisians praised those artists for the meditative quality of their works, which they contrasted with the action painting of the New York School.
Relying on a systematic study of exhibitions of American art in postwar France, my paper will show that the artists associated with the Pacific School were then highly visible in Paris, where they enjoyed public and critical favor. Unlike their “European” colleagues from the East Coast, they were deemed to be truly American, because they belonged to the Far West and from there to the Pacific world, and so had their roots not just outside Europe but most importantly in Asia.
In Postwar France, Asian culture played an important role, and many artists and thinkers were deeply influenced by Buddhism and calligraphy. By a complex play of cultural transfers, this interest, fed by several important exhibitions of Chinese and Japanese art, shaped the French reception and interpretation of American art in the 1950s.
發言概要：
太平洋畫派：戰後跨大西洋交流的亞洲部分
20世紀50年代，很多巴黎人開始談論“太平洋畫派”。這個畫派代指當時美國西海岸的一批藝術家，包括馬克·托貝、毛裏斯•格來維斯、克萊夫德 •斯蒂爾、馬克• 羅斯科、還有薩姆• 弗朗西斯。這些藝術家作品中的冥想氣質與紐約的行動畫派形成了對比，巴黎人對前者給予了高度肯定。
基於對戰後美國藝術展的系統研究，此次報告重點討論大西洋畫派藝術家在巴黎的高度辨識性。大西洋畫派的藝術家在巴黎受到公眾和評論家的喜愛。美國西海岸屬於遠西地區，這裡直通太平洋，使得他們的“根基”不僅脫離了歐洲，還扎入了亞洲。與更接近歐洲的美國東海岸相比，西海岸的美國人具有更典型的美國性格。
在二戰後的法國，亞洲藝術扮演著重要的角色。許多藝術家和思想家都深受佛教和書法的影響。文化的傳遞是一個極其複雜、有趣的過程，在中國和日本的重要美術展的引導下，法國人形成了對美國20世紀50年代“太平洋畫派”藝術的詮釋。
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