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

本文的研究目的在于阐明纽约现代艺术博物馆在本世纪中叶的艺术世界中所扮演的角色。我在现代艺术博物馆认识了两个策展人，多萝西·C。米勒（1904-）和弗兰克·奥哈拉（1926-66）。我分析了他们在MOMA的活动，特别是他们组织的展览，以更好地理解博物馆与美国当代艺术，特别是与纽约艺术学院不断发展的关系。至于米勒，我重点介绍了她的六场美国当代绘画和雕塑展，“美国人1942”、“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“美国人1963”。在20世纪40年代初，当“美国人”展览开始时，纽约在文化上是乡村的，但在20年后，这座城市已经成为国际艺术界的首都。“美国人”推动了抽象表现主义在美国的发展，我认为米勒在推动这场运动方面发挥了重要作用。该系列的创新重要性在于为每个参与者提供自己的画廊，以便他们能够通过强有力的介绍他们的工作，“以明确和个人的方式”向公众发表讲话。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，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，首先致力于抽象表现主义在美国，这是在八个欧洲城市看到。这次巡回展览的结果是，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。在介绍这两位策展人时，我写了两篇文章，《弗兰克·奥哈拉和泷口修三》和《多萝西·C·米勒和20世纪50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".