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布麗奇特·庫克斯（Bridget R. Cooks） （觀看視頻）
????? 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).
???? 布麗奇特·庫克斯：加州大學歐文分校副教授，視覺研究博士生項目主管，主攻藝術(shù)史及美國黑人文化研究。在美國黑人視覺文化表現(xiàn)、美國黑人藝術(shù)家歷史和博物館批評等研究領(lǐng)域均取得了重要成就。曾擔任華盛頓國家藝術(shù)博物館、奧克蘭博物館和洛杉磯藝術(shù)博物館的博物館教育工作。于2009－2010年期間，策劃了廣受好評的“理查德?馬休藝術(shù)展”，2012年，在阿拉巴馬大學策劃了“波長：保羅?羅德?瓊斯抽象作品收藏展 ”。在《美國研究》、《圖像之后》、《美國藝術(shù)的國際觀察》、《媒介和文化政治－國際版》等刊物上發(fā)表了多篇學術(shù)論文。出版學術(shù)著作《展示黑人：美國黑人和美國藝術(shù)博物館》(2011年麻省大學出版社)。?
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.
?發(fā)言概要：
展示黑人：美國黑人與美國藝術(shù)博物館
?1927年，首次大型美國黑人藝術(shù)作品博物館展在芝加哥美術(shù)館舉行，此次展覽在證明黑人藝術(shù)家能力，推動種族平等的同時,也充分暴露出藝術(shù)圈對美國黑人在博物館舉辦展覽所產(chǎn)生的焦慮——畢竟博物館是一個具有排他性的場所。歷史上很長一段時間，黑人是不允許進入博物館參觀、舉辦展覽的。自那次展覽后，美國各大藝術(shù)博物館就成為了美國黑人抗議歧視，證明自己對視覺藝術(shù)做出巨大貢獻的重要場所。
?這次報告主要是向大家展示美國黑人藝術(shù)展的歷史概況，它暴露了在舉辦具有文化差異的展覽時涉及的許多問題，這些問題仍然困擾著當下的藝術(shù)史和藝術(shù)博物館。此篇報告按照美國黑人藝術(shù)展的兩條線索展開：一條是人種學方法，這條線索更多的是對藝術(shù)家，而非他們的作品本身進行分析。另一條是恢復性敘事，這篇論文旨在通過這種方法對20世紀和21世紀美國黑人藝術(shù)展覽的策展方法、展覽中的挑戰(zhàn)，以及所有重要美國博物館對這些展覽的評論進行分析，糾正過去的疏漏。憑借對黑人藝術(shù)家、策展人和觀眾之間不平等的、頗具爭議的關(guān)系進行審視，以此洞悉藝術(shù)博物館的復雜身份，以及這些博物館對其所展陳的文化承擔的責任。
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