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凯瑟琳·朵欣（Catherine Dossin）（观看视频）
Catherine Dossin is an art historian. Originally from France she received a Master’s degree from the Sorbonne and a Ph.D. from the University of Texas at Austin. She is an Assistant Professor at Purdue University, where she teaches courses on modern and contemporary art in the United States, Europe, and Latin America. Her research is rooted in historiography and geopolitics with an emphasis on transnational dialogues. Her first book, Geopolitics of the Western Art World, 1940s-1980s, to be published by Ashgate in 2014, challenges the New York-centered official story of postwar Western art by highlighting the role played by other European countries. She is currently working on a history of the reception of American art in postwar Europe. She is the vice-director of ARTL@S and co-editor of the ARTL@S Bulletin.
凯瑟琳•朵欣：法国籍美术史家，于巴黎大学获得硕士学位，奥斯丁州德克萨斯大学获得博士学位。现为美国普渡大学副教授，教授现当代美术史课程，同时在美国、欧洲、拉丁美洲等地从事教学工作。凯瑟琳教授的研究基于历史学和地缘政治学的方法，强调跨国界对话，其著作《1940年代－1980年代 西方艺术世界的地缘政治学》将于2014年由阿什盖特出版社出版。此书通过强调二战后其他欧洲国家在艺术史中的作用，来挑战官方艺术史以纽约为中心的书写方法。凯瑟琳教授目前正在进行二战后欧洲国家对美国艺术接收过程的历史研究。同时，她还担任ARTL@S机构的副主管以及《ARTL@S Bulletin》杂志合作编辑。
Preview of the Speech:
School of the Pacific: The Asian Side of the Postwar Transatlantic Exchanges
In the 1950s, many people in Paris were talking about a School of the Pacific. The term referred to various artists connected with the West Coast of the United States, including Mark Tobey, Morris Graves, Clyfford Still, Mark Rothko, and Sam Francis. Parisians praised those artists for the meditative quality of their works, which they contrasted with the action painting of the New York School.
Relying on a systematic study of exhibitions of American art in postwar France, my paper will show that the artists associated with the Pacific School were then highly visible in Paris, where they enjoyed public and critical favor. Unlike their “European” colleagues from the East Coast, they were deemed to be truly American, because they belonged to the Far West and from there to the Pacific world, and so had their roots not just outside Europe but most importantly in Asia.
In Postwar France, Asian culture played an important role, and many artists and thinkers were deeply influenced by Buddhism and calligraphy. By a complex play of cultural transfers, this interest, fed by several important exhibitions of Chinese and Japanese art, shaped the French reception and interpretation of American art in the 1950s.
发言概要：
太平洋画派：战后跨大西洋交流的亚洲部分
20世纪50年代，很多巴黎人开始谈论“太平洋画派”。这个画派代指当时美国西海岸的一批艺术家，包括马克·托贝、毛里斯•格来维斯、克莱夫德 •斯蒂尔、马克• 罗斯科、还有萨姆• 弗朗西斯。这些艺术家作品中的冥想气质与纽约的行动画派形成了对比，巴黎人对前者给予了高度肯定。
基于对战后美国艺术展的系统研究，此次报告重点讨论大西洋画派艺术家在巴黎的高度辨识性。大西洋画派的艺术家在巴黎受到公众和评论家的喜爱。美国西海岸属于远西地区，这里直通太平洋，使得他们的“根基”不仅脱离了欧洲，还扎入了亚洲。与更接近欧洲的美国东海岸相比，西海岸的美国人具有更典型的美国性格。
在二战后的法国，亚洲艺术扮演着重要的角色。许多艺术家和思想家都深受佛教和书法的影响。文化的传递是一个极其复杂、有趣的过程，在中国和日本的重要美术展的引导下，法国人形成了对美国20世纪50年代“太平洋画派”艺术的诠释。
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