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最后一篇，来不及了，一分钟一道，连人名都记不得了。是讲一个X O（姓olmet还是啥）女的，把ceramic的艺术鉴赏带入美国，在1932（似乎是这个时间）之前她organize的方法适用，到了1989（可能是这个时间），这个方法就不行了，因为那时艺术已经跟金钱挂钩了，还说她那个时候的展都被rejected了，最后一段举了一个展览被关掉原因，因为不符合现在的标准了（这里有题，问这个例子的作用）
Anna Olmsted’s part in this was central, although her reputation waxed and waned between 1939 and 1989. It was at its height in the early 1950s when a number of celebratory articles appeared about her and the Ceramic National exhibitions in Ceramic Monthly and Ceramic Review. These made much of the influence of Robineau and the zeal of Olmsted, but they stressed, in particular, the extraordinary status of American ceramics abroad, attributing this to the influence of the Ceramic National exhibitions, of which it was said ‘none in the world [exhibitions] can compete with its prestige.’ However, at the publication of the major catalogue of the Everson Museum’s (formerly Syracuse Museum of Fine Arts) ceramics collection in 1989 Olmsted’s reputation had declined to such an extent that she barely merited a mention. There were a number of reasons for this. Firstly, by 1989, when the catalogue was produced, the history of ceramics in the USA was most definitely written in terms of ‘named subjects’. These people were creative and artistic, part of a lucrative international art market supported, in turn, by specialist, private and public galleries and museums. American Ceramics, The Collection of the Everson Museum consolidated this. Also Olmsted was not a ceramicist; rather she was a curator, organizer and facilitator. Surprisingly, given her extraordinary promotion of the exhibitions, she was not a self-promoter. She was neither judge nor juror of the exhibitions, and nor are there any photographs representing her as a professional participating in them, whereas there are numerous photographs of Cowan and Atherton. Furthermore the curatorial stance which she epitomized had been rejected by 1989; indeed in 1972 the exhibitions were abandoned as the intellectual and creative centre of US ceramics shifted west to California, and it was claimed that the exhibition had no coherence, and that it was too vast and uneven in quality. Olmsted was a powerful, influential figure who – even in the mid-1950s – was seen as an obstacle to change at the newly built Everson Museum of Art. Controversially, she was moved sideways in a change of personnel at the end of the 1950s. Retrospectively, it can be seen that Olmsted’s fluctuating reputation went hand in hand with changing priorities in American ceramics. The experimental ceramics of the 1930s helped to establish the preconditions for the blurring of categories, and Olmsted’s role in organizing, staging and promoting both ceramic vessels and sculpture via the Ceramic National exhibitions made a huge contribution to the dissemination of what had become the distinctiveness of American ceramics around the world. Writing in the decorative art section of the Golden Gate international exposition held in 1939, Olmsted quoted Richard F. Bach’s assessment that the Ceramic National exhibitions had ‘rendered signal service in consolidating American interest in ceramics – thus providing an experiment station where criteria of quality may be established’.
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发表于 2019-7-15 19:50:47
楼主