第四分会 欣赏与实用
Session 4: Appreciation and Utility
第4分会的主题是一种文化如何理解艺术的功能。就此议题，我们建议将讨论聚焦于艺术作品或工艺品之功能，及其作为艺术作品或手工艺品的功能是如何由其所扮演的社会角色所决定的。
This session is about how a culture understands the function of art. For this topic, we recommend a discussion focusing on the functions of works of art or artifacts and how such functions have been determined by the social roles which they have played over time.
|第2版块||
第2版块主要通过研究某类手工艺人、物品或艺术类别，来讨论欣赏或评价如何因时期和群体的不同而变化，以及这种变化如何挑战了“艺术”、“艺术作品”和“工艺品”的分类方法。
Focusing on an artisan, object or category, these papers reveal how each has been appreciated or valued differently over time and/or within different groups, and how the changes have challenged simple classifications as “art,” “artwork” and “artifact/artefact”.
发言嘉宾
Gail Feigenbaum
盖尔·费根鲍姆
From Altar to Gallery: Detecting a Moment of Categorical Shift
《从圣坛到画廊：探究种类变更的时刻》
Curriculum Vitae
个人简历
▼
盖尔·费根鲍姆，盖蒂研究所的副主任、美术学院协会副主席以及艺术史研究所协会副主席。她是一个无论在博物馆、大学还是研究所、出版社均有丰富经验的艺术史家。她主要研究文艺复兴和巴洛克艺术，除此以外，她还策划了德加、卡拉奇、拉图尔等艺术家的展览，供职于国家艺术画廊和新奥尔良艺术博物馆，并在普林斯顿大学、乔治敦大学、杜兰大学和新奥尔良大学任教。主要出版物主要有：《杰斐逊的美国和拿破仑的法兰西：购买路易斯安那两百周年纪念展》、《罗马宫殿的展示艺术：1550-1750》、《神圣财产：收集意大利宗教艺术：1500-1900》.
Gail Feigenbaumis Associate Director of Getty Research Institute, vice president of College Art Association and vice chair of Association of Research Institutes in Art History. She is an art historian with experience in museums, universities and research institutes, publication. She is a specialist in renaissance and baroque art, with a broad range of interests: exhibitions curated on Degas, Carracci, La Tour, and many others.
Education: administrative and curatorial positions at National Gallery of Art and New Orleans Museum of Art. She has taught at Princeton, Georgetown, Tulane and University of New Orleans. She is the author of Jefferson’s America and Napoleon’s France: An Exhibition for the Louisiana Purchase Bicentennial (New Orleans Museum of Art Press, 2003), the editor of Display of Art in the Roman Palace, 1550–1750 (Getty Research Institute Press, 2014) and co-editor of Sacred Possessions: Collecting Italian Religious Art, 1500–1900 (Getty Research Institute Press, 2010) .
Roberta Bartoli
罗伯塔·巴尔托利
Art, Artifice, Artifact? The Tuscan Renaissance Marriage Chest
《艺术、骗术、人造物？托斯卡纳的文艺复兴婚礼柜》
Curriculum Vitae
个人简历
▼
罗伯塔·巴尔托利，佛洛伦萨艺术史研究所——马克斯·普朗克研究所合作学者，从事研究项目“意大利文艺复兴时期的‘婚嫁箱’与‘背板’的装饰画：文集、作坊与图像志”、同时也是佛罗伦萨艺术与设计学院荣誉教授、明尼苏达大学访问助理教授。
著有《比亚焦·德·安东尼奥》、《安德烈·韦罗基奥》和《文字与图像、作为图像的文字：16世纪以来的落款画框》。近来的研究成果有于《托斯卡纳艺术史— 15世纪》上发表的《在托斯卡纳之外的托斯卡纳人：艺术家之旅》一文和载于展览“爱的美德，十五世纪佛罗伦萨的婚礼绘画”展品手册上的《深度解析文艺复兴中心：舒布林和意大利文集》。
Roberta Bartoliis since 2008 associate scholar at the Kunsthistorisches Institut in Florenz–Max Planck Institut. Project on “Die 'Cassone'- und 'Spalliera'-Malerei in der ItalienischenRenaissance: Corpus, Werkstätten, Ikonografie”, since 2004, a Honorary Member(Professore) at the Accademia delle Arti del Disegno in Florence, since 2012 visiting Assistant Professor at University of Minnesota and since 2011 John E.Andrews III Curatorial Fellow at Minneapolis Institute of Art in Minneapolis.
His publication include Biagio d’Antonio (Milan,Federico Motta Editore,1999); AndreaVerrocchio(Milan, Giovanni e Iris Editori, 2006) ; Text and Image / Textas Image: Inscribed Frames from the 16th Century (Berlin, OlafLemke, 2005). His recent articles and essays include “I Toscani fuor di Toscana: viaggi d’artisti in Storia delle Arti in Toscana”, IlQuattrocento ed. by G. Dalli Regoli e R. P.Ciardi, Firenze(2002), “Guardare piùprofondamente nel cuore il Rinascimento: Schubring e il corpus dei cassoniitaliani”, on the exhibition catalogue of Virtù d'Amore. Pittura nuziale nel quattrocento fiorentino (2010).
姚丹
Social Status and Craftsmanship: An Ink Brush Dealer in Ching Dynasty Huzou
《清代湖州“笔客”考——笔商的另一种社会身份》
Curriculum Vitae
个人简历
▼
姚丹，江南大学产品系统设计及理论专业在读博士，他的研究方向主要是中国古代造物，他的学术论文《善琏湖笔制作工艺的田野调查》发表于《创意与设计》、《论元代江浙文人圈的形成与湖笔兴起》与《正本溯源——秦汉时期传统毛笔的设计特征》发表在《装饰》期刊上。
YaoDan is a Ph.D. Candidate of Design and Theory of the Product System at Jiangnan University. His research focuses on Chinese Ancient Objecting. He has published articles “Liang Xi. Exploration of the Arts and Crafts of Huzhou Shanlian Ink Brush” in Creation and Design, “On the Formation literary Circles in Jiang Zhe Province and the Rise of Huzhou Writing Brush in Yuan Dynasty” and “A Exploration on the Design of Qin Han Dynasties Writing Brush：A Scrutiny from Their Origins” in ZHUANGSHI.
|第3版块||
第3版块主要在全球化和跨文化的视野中，研究艺术史学科、文化人类学、社会学、考古学是如何影响“欣赏”与“实用”这对术语的实质及其文化进程的，及其与当代艺术等现有话语的关系。
Today, on a global scale and in cross-cultural understanding, the terms Appreciation and Utility have been affected by changes in the disciplines of the history of art, anthropology, sociology and archaeology, and also in relationship to the present discourses of contemporary art.
发言嘉宾
Vanda Vitali
万达·维塔利
Towards a Contextual View of Art
《论一种情境中的艺术观》
Curriculum Vitae
个人简历
▼
万达·维塔利，艺术史家，曾任职新西兰奥克博物馆CEO和馆长、美国洛杉矶博物馆自然（与文化）公共项目副总裁、加拿大多伦多安大略博物馆董事长与CEO的高级顾问，并持续于美国、法国从事演讲、顾问与写作。
她的研究主要集中在博物馆及其收藏、公共项目，包括保护、鉴定、考古研究、古环境重建、多媒体记录和广播等；同时以跨学科的当代视角致力于发展、解释和呈现自然与文化的历史的收藏、展览与画廊。她曾发表5本书籍、目录，超过60篇文章，并且在世界范围内进行演讲。
Vanda Vitali is an art historian and a scientist by training. She has been the CEO and Director of the Auckland Museum, New Zealand; Vice President of Public Programs at the Natural (and cultural) History Museum of Los Angeles County in the United States; senior advisor to the President and CEO of the Royal Ontario Museum in Toronto, Canada. And she continues to lecture, consult and write in the United States and France.
Her research has centered on museums and their collections, and its many publics, including conservation, authenticity studies, archaeometric research, paleo-environmental reconstructions, multimedia recordings and broadcasting, etc., as well as the development, interpretation, and presentation of natural and cultural history collections, exhibitions and galleries, always within an interdisciplinary approach and from a contemporary perspective. Vanda Vitali is an author of five books and catalogues, and over 60 scientific publications. She lectures internationally.
Jose Antonio Gonzalez Zarandona
安东尼奥·萨兰多纳·冈萨雷斯
From Rock to Digital, Art Historical Scholarship and Prehistoric Art
《从岩石到数码，艺术史学和史前艺术》
Curriculum Vitae
个人简历
▼
乔斯·安东尼奥·萨兰多纳·冈萨雷斯博士，迪金大学艾尔弗雷德·迪金学院（研究公民权与全球化）副研究员。博士论文为《反思遗产：西澳大利亚卜拉普半岛的景观“偶像破坏”》。自2015起，任伯明翰铁桥国际学院（研究文化遗产）访问学者。自2016起，任牛津大学考古学院访问学者。他曾在墨尔本大学教授有关历史与保护理论的课程。他主要关注和研究艺术与遗产的毁坏，尤其在景观破坏、粗鲁美学、文化遗产外交与保护方面。他出版了书籍《实验戏剧简史》(2012)，并发表了大量文章，包括《Murujuga的景观破坏与遗产管理不善》(2016)，《什么导致了艺术创造？人们为何创造艺术？》(2013)。2015年，他策划了展览“百态：墨西哥艺术家群展”。
Dr Antonio Gonzalez Zarandona is an associate research fellow of Alfred Deakin Institute(for Citizenship and Globalization) at Deakin University. His doctoral thesis title is “Rethinking Heritage: Landscape Iconoclasm in the Burrup Peninsula, Western Australia”. Since 2015, Visiting Scholar of Ironbridge International Institute for Cultural Heritage at University of Birmingham. Since 2016, Visiting Scholar of School of Archaeology at University of Oxford. He has lectured on histories and theories of conservation at the University of Melbourne. His main areas of interest are destruction of art and heritage – particularly landscape iconoclasm, rudeaesthetics, heritage diplomacy and heritage destruction. Has published Breve historia del cine experimental [Abrief history of experimental cinema](Spanish Academic Editorial, 2012) and numerous articles, include: “Landscape destruction and heritage mismanagement in Murujuga” (Western Australia, 2016), “ Why do human create art? What caused the creation of art? ” (2013). In 2015, he curated the exhibition “Gestos. Mexican Artists’ Collective”.
Felipe Soeiro Chaimovich
费利佩·索埃罗·查莫维
Mirrors as the Origin of Contemporary Art
《作为当代艺术根源的镜子》
Curriculum Vitae
个人简历
▼
费利佩·索埃罗·查莫维，巴西圣保罗地区阿曼多·阿尔瓦雷·斯彭特亚基金会（FAAP）艺术学院的艺术史与艺术批评终身教授、圣保罗当代艺术馆馆长，同时也是巴西艺术史委员会、国际博物馆理事会、博物馆和现代艺术收藏国际委员会和艺术评论家协会的成员。他撰写了大量艺术史与艺术批评方面的文章，并主要研究巴西的艺术与文化情境。他著有《对象或反映：巴西的文化情境》、《奥伊蒂西卡之后的格林伯格：在今天教授艺术批评》、《社会之镜：凡尔赛和平面反射图像的使用》、《巴西艺术机构与应被保护的自然图像》和《巴西：1980年后的艺术》。
Felipe Soeiro Chaimovich is Full Professor of art history and art criticism at the Arts Faculty of Fundação Armando Álvares Penteadoin São Paulo, and he is the curator of the Museu de Arte Moderna de São Paulo since2007. He is member of the Brazilian Committee of Art History (CBHA), ICOM, CIMAM, and AICA. He has written numerous articles about art history and art criticism, Brazilian art and Braziliancultural situation is one of his main field of research. He is the author of Objectsor reflexion: Brazilian cultural situation, in Rand et al. (eds.), Oncultural influence: collected papers from Apexart International Conferences1999-2006 (Nova York: Apexart, 2006) ; Greenberg after Oiticica:Teaching Art Criticism Today, in Elkins et al. (eds.), The State of Art Criticism (New York: Routledge, 2008) ; Mirrors of Society: Versaillesand the Use of Flat Reflected Images (VisualResources, vol. 24, #4, Dec. 2008) ; Die brasilianischen Instituitionender Kunst und das Bild der Natur als etwas, das es zu bewahren gilt, in VonBarloewen at al. (orgs.) ; Nachhaltige Entwicklung in einer pluralenModerne. Latinamerikanische Perspecktiven (Berlin: Matthes & Seitz,2013) ;and Brazil: Art after 1980, in Oxford Art Online/GroveDictionaries of Art (Oxford: Oxford University Press, 2014).
Iain Boyd Whyte
伊恩·博伊德·怀特
Jackson Pollock in Berlin,1958
《杰克逊·波洛克在柏林，1958年》
Curriculum Vitae
个人简历
▼
伊恩·博伊德·怀特，建筑史教授，写了很多关于德国、奥地利和荷兰的现代主义建筑以及1945年后的城市化运动的文章。还出版了有关美学、二十世纪的德国艺术和英德文学的关系等著作。
伊恩曾就读于诺丁汉大学、康奈尔大学、剑桥以及利兹大学。1996年被任命为教授。从2002年到2005年，担任洛杉矶盖蒂基金会的高级项目官员。于2005年被任命为VARIE（爱丁堡视觉艺术研究院）的董事。
作为亚历山大·冯·洪堡基金会和盖蒂学者的前任研究员，伊恩一直是苏格兰的国家美术馆受托人和爱丁堡皇家学会院士。目前伊恩是国际艺术史研究组织（RIHA）的主席。他于2008年担任英国科研水平评估委员会的艺术史评审，而且是在奥地利、比利时、俄罗斯联邦、斯洛文尼亚和瑞士国家研究理事会的顾问。
Iain Boyd Whyte is Professor of Architectural History. He has written extensively on architectural modernism of Germany, Austria and the Netherlands,and on post-1945 urbanism. Beyond architecture, he has also published on aesthetics, 20th century German art, and Anglo-German literary relations.
Iain studied at Nottingham, Cornell, Cambridge, and Leeds Universities. He was appointed to a professorship in1996. From 2002 to 2005 he was seconded to the Getty Foundation, Los Angeles, as a Senior Project Officer, and on his return to Edinburgh in 2005 was appointed Director of VARIE (Visual Arts Research Institute Edinburgh).
A former fellow of the Alexander von Humboldt-Stiftung and a GettyScholar, Iain has been as a Trustee of the National Galleries of Scotland, a Fellow of the Royal Society of Edinburgh, and is currently chair of RIHA, the International Association of Research Institutes in the History of Art. Heserved on the Art History panel for the UK Research Assessment Exercise in 2008, and is an advisor to the national research councils in Austria, Belgium,the Russian Federation, Slovenia, and Switzerland.
