艾倫•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.
艾倫·沃勒克：威廉瑪麗學院拉爾夫·華克榮譽教授，主要從事美國藝術、藝術史和美國學研究。已發表美國藝術史和藝術體制研究論文100 多篇，著作已被翻譯為德語、法語、西班牙語、馬其頓語。曾與威廉·丘特勒一起策劃了“托馬斯·克爾：進入歷史的風景展”，並擔任畫冊主要論文的撰寫者。其著作《展示矛盾：美國藝術博物館論文》于1998 年由麻省大學出版社出版。在威廉瑪麗學院，艾倫·沃勒克教授不僅擔任威廉瑪麗學院研究生和本科生的教學工作，還擔任加州大學洛杉磯分校、斯坦福大學、密西根大學、威廉姆斯學院、柏林自由大學等校的客座教授。同時在紐約大學、紐約城市大學、特拉華大學、波士頓大學、喬治華盛頓大學擔任教學工作。2007 年獲得藝術教育聯合會頒發的藝術史教育成就獎。近期，艾倫教授正在參與“跨越大西洋的浪漫主義”論文集的編輯工作，這本論文集將於近期出版，同時他本人正在進行哈得遜河畫派與美國現代主義起源的研究。
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.
發言概要：
二十一世紀的美國藝術展覽在過去的20 年裏，美國藝術博物館將數百萬資金用於翻新或建造美國之翼（注：通常為美國博物館右後側）和畫廊，以及高價收購。在1995 年到2009 年間，紐瓦克、布魯克林、芝加哥、華盛頓、底特律、舊金山以及堪薩斯市的博物館已經進行了擴建，翻新並重新佈置了美國藝術品收藏區。2010 年，波士頓藝術博物館正式啟用了全玻璃的四層展館，該館由諾曼福斯特和其團隊設計，展出了5000 件以“美國藝術”標題的展品。2011 年，大家期盼已久的水晶橋美國藝術博物館正式開業，整座建築精巧無比，展館位於阿肯色州本頓維爾市，由莫什·薩福迪設計。2012 年，紐約大都會博物館聲勢浩大的啟動了美國之翼展廳的重建工作。這些展館的擴建、重建，對展品的重新陳列是否會為美國藝術史打開全新的視角？它們到底在多大程度上提高了博物館對非傳統觀眾的吸引？本文試圖通過近距離考察博物館展品，思考美國藝術史學者影響博物館運作的方法回答上述問題。
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