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凱莉·哈斯利特（Carrie Haslett） （觀看視頻）
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.
凱莉·哈斯利特：美國泰拉基金會項目主管，主管美國藝術領域的展覽、學術獎學金項目。2006年加入基金會之前，哈斯利特博士曾任緬因州波特蘭藝術博物館瓊•惠特妮•培森現代藝術分館館長、加利福尼亞州亨廷頓圖書館美國藝術馬丁•克魯斯研究中心的負責人，還任職于克裏夫蘭藝術博物館、學校聯盟工作室以及兩家拍賣公司。她在布林莫爾學院獲得藝術史博士學位。泰拉基金會向全世界所有探索1980年之前的美國藝術的項目提供資助。
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.
發言概要：
近期美國藝術歷史展覽中的可見趨勢
在不遠的過去，在美國之外舉辦非當代美國藝術展, 就像由非美籍的策展人策劃美國展覽一樣罕見。最近，由誰來給美國藝術展的主題定位、這些藝術作品應在哪展示以及在怎樣的美術史範疇內進行展覽都發生著變化，這些變化向傳統的藝術史敘事方式發出挑戰。
十年前的展覽有時會探索在跨學科或國際化的語境下，美國早期藝術的表達方式，偶爾也較為深入。儘管這些探索中很少有能預測到近些年展覽的範圍和陣型，但他們將注意力集中到了那些被忽視或被邊緣化的藝術家，比如説那些生活在美國卻拒絕或放棄美國國籍的藝術家，那些公然批判或解構美國式生活價值、美國生活基本原則的藝術家，以及那些嚴肅討論“藝術媒介”或“物質文化”這些被認為不值得研究的藝術家。總而言之，他們的探索是有意義的、複雜的，是一種跨文化的持久對話。在這些對話裏包括了美國正統國家藝術史上從未或鮮有提及的藝術家。本篇報告將和大家分享當下美國或者其他國家的博物館負責人對“美國”“藝術”定義的挑戰和拓展，同時重新詮釋了觀眾認為美國藝術值得觀看和研究的部分。
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