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“徐博士,你朋友谷文达的作品发表在《美国艺术》杂志的封面上了!”我班上的一个希腊血统的美国学生在今年三月初一进门就向我报喜.一下课,我果然在图书馆《美国艺术》杂志封面上见到谷文达1998年在纽约PSI当代美术博物馆展出的人发装置《联合国——天庙》,我在美国缅因美术学院教了近十年书,近年来,我一直向我院美术馆前任馆长推荐谷文达,希望他们能举办谷文达美展,但没有任何反响.97年,英国当代著名美术评论家爱德华·路易斯·斯密斯在他两本重要著作《当今艺术》和《20世纪艺术》都评介了谷文达,我拿着这两本书去找美术馆馆长,她仍然不感兴趣.后来我才明白,美国人不买欧洲人的帐.
“Dr. Xu, your friend Gu Wenda’s work is published on the cover of American Art Magazine!” A Greek-American student in my class reported to me the good news when I first came in in March of this year. On the cover of American Art magazine, I saw Gu Wenda’s “UN-Temple”, a human hair device exhibited at the PSI Contemporary Art Museum in New York in 1998. I taught for nearly ten years at the Maine Academy of Fine Arts in the United States. In recent years, I have always recommended Gu Wenda to the former curator of our gallery, hoping they can hold the Gu Wenda exhibition but without any reaction. In 97 years, Edouard Louis Smith, a famous contemporary British art critic, wrote in his two important books, “Art Nowadays” And “Twentieth Century Art,” both reviewed Gu Wenda, and I took the two books to the director of the gallery, and she was still not interested, and I realized later that the Americans did not buy the accounts of Europeans.