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在《现代主义之后的艺术史》第十一章《新美术馆中的艺术史:寻找自身面孔的努力》的上半部分中,汉斯·贝尔廷将艺术史曾经的同谋者——美术馆作为考察的对象,讨论了曾经与艺术史一致地将艺术想像为内部统一的系统,并确认艺术史作为一种理想秩序的艺术机构——美术馆在艺术史叙述的权威性削弱之后,所经历的众多转变和具有的多重面貌。艺术史的内容和美术馆的展览之间彼此确认的关系随着艺术史观念的日益模糊而瓦解,美术馆的身份和所担当的期待也日益复杂起来。“当没有哪种艺术以达成共识为目标时,任何艺术都有权利争得在美术馆展出的机会。当不再有美术馆去满足所有要求时,每个美术馆都可以利用展览的机会让这些不统一的期待获得表达权,让想象中的命题在展览中先后得到实践。”这种转变将美术馆推到了一个前沿的地带,它不再仅仅是为了展出、烘托、推动和确认
In the first half of “Art History in New Art Galleries: Efforts to Find Oneself,” in Chapter XI, “Art History Behind Modernism,” Hans Bertin combines the former conspirator of art history, the Art Museum As the object of study, we discuss the system of art that once conceived art in line with art history as an internal unified system and confirmed the history of art history as an ideal order - art museum after the authoritative reduction of art history narration The many changes and the multiple facets. As the relationship between the content of art history and the exhibition of art galleries confirms each other as the concept of art history becomes more and more vague, the status of art galleries and the expectation of being performed are increasingly complicated. When there is no art that aims to reach a consensus, any art has the right to win the chance to be exhibited at the art gallery. When there are no more art galleries to satisfy all the requirements, each art gallery can take advantage of the exhibition’s The opportunity for these non-uniform expectations of the right to expression, so that the imagination of the proposition in the exhibition has been put into practice. "This shift will be the gallery to a cutting-edge zone, it is no longer just to display, contrast, promote And confirm