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我希望以向“抽象”一词提出疑问作为文章的开端,因它并不如表面的浅而易见。我们总是不自觉地假设,当我们在谈论抽象艺术的时候,我们都是在谈论同样的东西。但其实当“抽象”一词被置放在不同的历史和地理层面,即衍生出不同的解读。尤其于二十世纪,“抽象”一词更承载着政治、形而上和艺术性的含义。今天我希望借此文阐述美国不同的有关抽象的想法,特别是三十至四十年代一直到战后数年的纽约。1936年,艾尔弗雷德.巴尔在纽约现代美术馆策划了一个名为“立体主义和抽象艺术”的重要展览。基于惠特尼美术馆于数年前已展出过的美国抽象艺术作品,故此巴尔只挑选了来自欧洲的作品。作为艺术史学家(及多位美国艺术家的朋友),迈耶·夏皮罗摘取了展览图录
I hope to ask questions about the word “abstract” as the beginning of the article because it is not as superficial as it seems. We always unconsciously assume that when we talk about abstract art, we are all talking about the same thing. But in fact, when the word “abstract” is placed on different historical and geographical levels, different interpretations are derived. Especially in the twentieth century, the word “abstract” carries more political, metaphysical and artistic meanings. Today I would like to use this passage to elaborate on various abstract American ideas, especially New York from the 1940s to the post-war years. In 1936, Alfred Barr curated an important exhibition entitled “Cubism and Abstract Art” at the Museum of Modern Art in New York. Based on the American abstract artwork that Whitney Museum exhibited a few years ago, Barr picked only works from Europe. As an art historian (and friend of many American artists), Meyer Shapiro took the catalog of the exhibition