现代美国艺术博物馆及其观众

二十多年来,美国艺术类博物馆一直致力于找寻不同的方法,如测试展览标牌以及文字书写,增添展厅内外电脑互动的使用,以及开展创作日志、诗歌等的参与性艺术活动,以了解公众与艺术间的关联,并提升博物馆创设的游客体验.丹佛艺术博物馆、克利夫兰艺术博物馆以及底特律艺术馆等由博物馆员工和评估专家一起开展观众研究,调查观众和各项活动,考...     

欧美博物馆藏品注销制度与规则

注销是指将藏品从博物馆藏品清单及库房中移除的行为。欧美博物馆在注销方面已有比较成熟的经验,为保证注销过程的规范化,博物馆专业组织及诸多博物馆都订立注销标准,以"符合博物馆宗旨""不能因营利目的注销"为基本原则,并辅以藏品保存状况、独特性、可用性等方面的考量。在处置已注销物品时,博物馆会优先采用非出售的方式,并且尽量将藏品保留在"公共领域",以保护公众利益。虽然藏品注销极易引起争议,但也有正面意义。藏品"只入不出"的做法在某种程度上并不利于博物馆可持续发展,注销有助于优化馆藏、节约资源,对于藏品管理颇具正面意义。     

Art Museums,Old Paintings,and Our Knowledge of the Past

Art museums frequently remove old paintings from their original settings. In the process, the context of these works of art changes dramatically. Do museums then preserve works of art? To answer this question, I consider an imaginary painting, The Travels and Tribulations of Piero's Baptism of Christ, depicting the history of display of Piero della Francesca's Baptism of Christ. This example suggests that how Piero's painting is seen does depend upon its setting. According to the Intentionalist, such changes in context have no real influence upon the meaning of Piero's painting, and consequently museums can be said to preserve works of art. According to the Skeptic, if such changes are drastic enough, we can no longer identify the picture's original meaning, and museums thus fail to preserve works of art. Skepticism deserves attention, for such varied influential commentators as Theodore Adorno, Walter Benjamin, Maurice Blanchot, Hans‐Georg Gadamer, Martin Heidegger, Hans Sedlmayr, and Paul Valéry hold this pessimistic view of museums. I develop the debate between the Intentionalist and the Skeptic. Ultimately skepticism is indefensible, I argue, because it fails to take account of the continuities in the history of art's display. But Intentionalism is also deficient because it is ahistorical. In presenting the history of Piero's painting, The Travels and Tribulations of Piero's Baptism of Christ shows that we can re‐identify the original significance of Piero's work and the recognizable continuities that obtain through its changes. It thus makes sense to claim that at least in certain circumstances art museums can preserve works of art.     

Twisted Lives: On the Temporality and Materiality of Biographical Presences

People??s biographies are dominated by a multitude of factors. In recent years it has come to a general understanding that people??s life histories are embedded in things just as things are premising the biographies of people. Still, the scholarly discussion has concentrated heavily on individual biographies resulting in life-histories of bodies and individuals confined by their bodily framework rather than conceptualizing the person through the mutual interaction between people and things and the interrelationship between various presences in the revelation of the temporality and materiality of biography. In this paper I aim to explore the category of personal biography resting upon aspects of Heideggerian philosophy. I argue for biographical presences that are spread across time, subjected to shared participation and intrinsically intertwined with the narratives they generate. The argumentation rests upon my personal involvement with the biography of a seventeenth-century peasant from the farm Búearárbakki in southern Iceland. The site and its material culture have emerged as the cause and consequence of our shared life-histories manifesting the notion of multi-temporality and materiality to the category of biography.     

博物馆的陈列及评估——参观南京博物院艺术陈列馆有感

本文以南京博物院艺术陈列馆为例对博物馆的陈列及评估谈了个人的认识。     

Dating European Palaeolithic Cave Art: Progress,Prospects, Problems

Over the last decade several dozen direct dates on cave art pigments or associated materials have supplemented more traditional style-based attempts to establish a chronological (and developmental) scheme for cave art. In the “post-stylistic” era an holistic integration of pigment “recipe” analysis, formal stylistic analysis and direct chronometric dating have been applied to a handful of dates. Here, we examine the state-of-the-art of Palaeolithic cave art dating, with particular emphasis on certain radiocarbon and Uranium-series projects. We examine the relative successes and weaknesses of this cutting edge science. We conclude that there are several weaknesses in current applications that are in serious need of addressing. Issues of sample contamination and of the heuristic relationship between materials dated and the production of the art are particularly problematic. It follows that one should at present be very cautious about straightforward interpretations of apparent “dates” of cave art.     

博物馆讲述“她”故事:博物馆与女性主题展览

博物馆展览的女性文化属于社会建构的一种身份文化。因受传统男权文化的影响,"她"故事在"他"历史中,长期处于被叙事、被表征的从属地位。作为公共文化空间的博物馆,早期受"他"文化叙事模式的影响,展示中较多充斥着男权话语。20世纪80年代,受新博物馆学运动的多元叙事方式影响,女性主题叙事逐渐进入博物馆。近年,国内博物馆在展览实践中也开始改变传统"国之重器"观的宏大叙事模式,从"小历史"视角重新审视、诠释和再现女性文化,先后策划了一系列颇具变革性的女性主题展览,为消解男权表征体系中单调的女性形象,重构女性文化身份,实现"她"故事的自我讲述等提供了重要的公共文化平台。     

Economic theory and European society: The influence of J.M. Keynes1

The ideas of economists and political philosophers, both when they are right and when they are wrong, are more powerful than is commonly understood. Indeed the world is ruled by little else. Practical men, who believe themselves to be quite exempt from any intellectual influences, are usually the slaves of some defunct economist. Madmen in authority, who hear voices in the air, are distilling their frenzy from some academic scribbler of a few years back.¹We have changed, by insensible degrees, our philosophy of economic life, our notions of what is reasonable and what is tolerable; and we have done this without changing our technique or our copybook maxims. Hence our tears and troubles.²