摘要
博物馆怀疑论与公共博物馆相伴而生且经久未衰,在不同时代呈现出不同的价值取向。大卫·卡里尔的《博物馆怀疑论——公共美术馆中的艺术展览史》(以下简称《博物馆怀疑论》)一书厘清了博物馆怀疑论的发展轨迹,以中立立场辨析了怀疑论者的合理性,是研究博物馆怀疑论“百科全书式的”经典之作。该书既是博物馆怀疑论的变迁史,也是艺术博物馆的变形史。卡里尔将艺术博物馆视为艺术史的具象,以公共艺术博物馆为切入点,剖析了对挪用的误解以及艺术阐释的必要性。本文以“变形”为线索,串联卡里尔繁复的理论与案例,回答博物馆怀疑论的内核、怀疑论的自身矛盾、博物馆的未来走向三大核心问题。
Museum skepticism has coexisted with public museums and has endured over different eras,presenting varying value orientations.David Carrier’s Museum Skepticism:A History of the Display of Art in Public Galleries clarifies the development of museum skepticism,impartially analyzing the rationality of skeptics,making it a classic work of museum skepticism.This work serves as both a history of the evolution of museum skepticism and a narrative of the“metamorphosis”of art museums.Carrier regards art museums as the concretization of art history,using public art museums as a focal point to dissect misconceptions of appropriation and the necessity of artistic representation.This article,guided by the“metamorphoses”,interconnects Carrier’s intricate theories and cases,addressing three core questions:the essence of museum skepticism,its inherent contradictions,and the future prospects of museums.
作者
潘煜
Pan Yu(Institute of Cultural Heritage,Shandong University,Qingdao,266237)
出处
《博物院》
2024年第1期130-136,共7页
Museum
