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作者:Jan Garden Castro
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2010-05-06 15:10 |
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底特律艺术博物馆馆长为博物馆开辟未来
背景
艺术对我来说一直很重要。当我还是孩子的时候,我就想成为一名画家。后来当英格兰所有提供艺术设计课程的大学都没有录取我的时候,我转学了艺术历史。我最后被曼切斯特大学录取了,那里并没有艺术设计课,但我领悟到这是一种命运的安排。
从伦敦大学的科特奥德学院获得十七世纪艺术研究生文凭后,我和一位美国人结婚了,然后我移居到美国。我迷上了当代艺术,在步行者艺术中心(Walker Art Center)和旧金山现代美术馆(SFMOMA)担任馆长。在担任欧马哈市的乔斯林艺术博物馆主任期间,我体会到我们原有的艺术历史框架与普通参观者对艺术博物馆的期望之间存在着相当的距离。经过两个博物馆的尝试之后,现有的成果就是底特律艺术博物馆里以参观者为中心进行的展馆布置。
博物馆的今天
数年来广泛的研究最终促使我们对展品进行重新布置,这个过程中最具吸引力的事情就是,普通参观者会在多大程度上将博物馆当作一种放松心灵和自我认识之地。当你需要休短假的时候,或者当你需要重新认识人性的美好,在“文化遗传基因”中找寻自信的时候,你就来拜访博物馆。人们来参观艺术博物馆是为了寻找自我。但是为了满足这一愿望,参观者首先需要一种掌控的感觉。向他们介绍一堆鉴赏家或者艺术历史学家使用的专有名词或术语,其效果往往适得其反。“这些东西与我何干?”这是参观者自问的一个基本问题。向参观者去解释“巴洛克”一词起源于葡萄牙语中表示“畸形的珍珠”一词,以这样的方式来开始探寻根植于鲁本斯作品中那种深沉的信念以及对生活的挚爱,的确显得不伦不类。
底特律一直陷于一种持久的危机之中,因此目前的经济和政治形势都是意料之中的事情。我们想让我们的展品更易于参观者欣赏,使各种特殊的展览都能够在我们的博物馆举行。因为绝大多数的参观者都来自我们地区,因此我们希望他们能有一种拥有感,把博物馆当作属于他们自己的进行公共聚会的“城镇广场”。新的底特律艺术博物馆开张十八个月以后,我认为多数人都认可我们所完成的变革,而且这种变革并没有过度地干扰传统的艺术馆体验方式。
除了这些伟大的展品外,底特律艺术博物馆还以其长期的财务困难出名,尽管我们已得到很多人的慷慨捐助,但是经费不足的状况仍然存在。像财务上的这些困难并不是我们进行变革的主要动力。我们进行变革的力量来自于我们许多人所共同拥有的对艺术的执着和热爱。尽管如此,我们仍然希望在重新认识博物馆的价值的过程中,我们最终能够克服这些财务上的困难。
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How is the deep recession affecting the museum world? Many—or, shall we say, most?—museums are downsizing staff, programs, and otherwise cutting costs. Curiously, there is also a high turnover rate among museum directors. How is it possible, then, that some museums are growing, building, expanding, and smartening-up their priceless collections? Several museum directors on our list point out that now is the time when we should turn to the arts to give us solace and pleasure; now is the time when new art infrastructures and programs stimulate economic and cultural growth in their communities.
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President and Eloise W. Martin Director, Art Institute of Chicago
Career Highlights
Dr. James Cuno became the President and Eloise W. Martin Director of the Art Institute of Chicago in 2004, halfway through the museum’s largest expansion project since the construction of its original 1893 building. In May of this year, the city of Chicago celebrated the opening of this Modern Wing and, with it, the completion of the largest fundraising campaign in the history of cultural institutions in the city. Dr. Cuno is an active advocate and scholar on the issue of cultural patrimony and on the role of museums in civic life, and he has written and spoken extensively on these topics, most recently in his authored work, Who Owns Antiquity?, and in his edited collection Whose Culture? For the past several years, he has developed programming with other cultural institutions (such as Yo-Yo Ma’s Silk Road Project) to present at the Art Institute year-long themed seasons of exhibitions, lectures, performances, and readings—all with the goal of bringing together cultural production around such central ideas as American identities, cultural exchange, “art beyond borders,” and, this year, the concept of the modern on the occasion of the opening of the Modern Wing.
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President and CEO, Asia Society
Career Highlights
Dr. Desai is the sixth President and CEO of Asia Society, a leading global organization committed to strengthening partnerships among the people, leaders, and institutions of Asia and the United States. Dr. Desai sets the direction for the Society’s diverse programs relating to culture, commerce, and current affairs—from major U.S.-Asia policy initiatives and national partnerships for global learning to path-breaking art exhibitions and innovative Asian American performances. Guided by Dr. Desai’s leadership since 1990 and welcoming her as president in 2004, Asia Society has expanded the scope and scale of its activities, including opening new offices in India and Korea, inaugurating a new center for U.S.-China relations, and developing new initiatives on the environment, Asian women leaders and partnership among the next generation of exceptional leaders in Asia and the United States. Dr. Desai managed the Society’s $40 million, Bartholomew Voorsanger-designed renovation of its New York City headquarters in 2001 and is overseeing two new multimillion-dollar building projects currently under construction: one in Houston designed by Yoshio Taniguchi and another in Hong Kong designed by Tod Williams Billie Tsien.
Prior to joining Asia Society in 1990, Dr. Desai was a curator at the Museum of Fine Arts Boston and taught at Columbia University and other institutions.
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