Museum of Modern Art at Mid-Century and its Significance from Aethetic Point of view

我的研究旨在厘清上世纪中叶纽约现代艺术博物馆在艺术界所扮演的角色。我在MOMA挑选了两位策展人，多萝西·c·米勒（Dorothy C. Miller, 1904-）和弗兰克·奥哈拉（Frank O'Hara, 1926-66）。我分析了他们在MOMA的活动，特别是他们组织的展览，以便更好地了解博物馆与美国当代艺术，特别是纽约学派的发展关系。至于米勒，我重点关注了她的六个美国当代绘画和雕塑展览，分别是“1942年的美国人”、“14个美国人（1946）”、“15个美国人（1952）”、“12个美国人（1956）”、“16个美国人（1959-60）”和“1963年的美国人”。20世纪40年代初，当“美国人”展览开始时，纽约在文化上还是个乡村，但到二十年后的展览结束时，这座城市已经成为国际艺术世界的首都。“美国人”平行于抽象表现主义在美国的发展，我认为米勒在推动这一运动中发挥了重要作用。该系列的创新之处在于为每位参与者提供了自己的画廊，这样他们就可以“以清晰和个人的方式”与公众对话，通过强有力的作品展示，他们是其他国家机构举办的年度沙龙的替代品。在20世纪50年代，弗兰克·奥哈拉是博物馆国际项目的工作人员，并与米勒一起参加了“新美国绘画”（1958-59）展览。这是一个国际巡回展览，首先致力于美国的抽象表现主义，并在八个欧洲城市展出。这个循环展览的结果是，美国当代绘画不仅获得了国际艺术界的公民身份，而且还获得了对欧洲绘画的主动权。在对待这两位策展人的过程中，我写了两篇文章：《Frank O’hara和Takiguchi Shuzo》和《Dorothy c . miller和1950年代的美国艺术》。

My research aims at clarifying the role in the artworld taken by Museum of Modem Art in New York at mid-century. I picked up two curators in MOMA, Dorothy C. Miller (1904-) and Frank O'Hara(1926-66). I analysed their activities at MOMA,especially exhibitions they organaised in order to examine their shows as a means of better understanding the Museum's evolving relationship to American contemporary art, and to the New York School in particular. As for Miller, I focused on her six shows of contemporary painting and sculpture from the United States, "Americans 1942", "14 Americans(1946), " 15 Americans(1952)", " 12 Americans(1956)", "16 Americans(1959-60)" and "Americans 1963". In the early 1940s, when the "Americans" exhibition began, New York was culturally rural, but by their conclusion two decades later, the city had become capital of the international art world. The "Americans" paralleled the development of Abstract Expressionism in America and I think Miller took an important role in forwarding the movement. The series' innovative importance lie in giving each participant his or her own gallery so that they can speak to the the public "in clear and individual terms", through a strong presentation of their work They were an alternative to the annual salons mounted by other national institutions. During the 1950s, Frank O'Hara was on the staff of the Museum's International Program, and worked on the exhibition "The New American Painting" (1958-59) with Miller. It was an international touring exhibition first devoted to Abstract Expressionism in the United States, and which was seen in eight Europian cities. The consequence of this circulating exhibition was that American contemporary painting acquired not only citizenship in the international art world but also the initiative over Europian painting. In treating these two curators, I wrote two articles, "Frank O'Hara and Takiguchi Shuzo" and "Dorothy C.Miler and 1950s' American Art".