现代艺术的呈现:阿尔弗雷德·巴尔的“白立方”展示模式及其新柏拉图主义思想  

The Display of the Modern Art:Alfred H Barr Jr's Display Pattern of “White Cube” and His Neoplatonism

作　　者：徐润泽[1] 

机构地区：[1]河南科技大学艺术与设计学院,河南洛阳471023

出　　处：《南京艺术学院学报（美术与设计）》2017年第2期12-16,共5页Journal of Nanjing Arts Institute:Fine Arts & Design

摘　　要：1929年,纽约现代美术馆正式开馆,馆长阿尔弗雷德·巴尔通过一种新的方式向人们展示了塞尚、凡·高、高更等人的现代艺术作品。美术博物馆的展示设计逻辑由此从珍宝馆与艺术沙龙正式进入到现代主义时期。这种被称为"白立方"的展示模式是将艺术作品以与参观者视线齐平的位置依次悬挂在白色无装饰墙体上的展示方法。这种被认为是客观中性、脱离外界影响的展览展示方式在二战后成为了西方美术博物馆的主流展示方式。直到1986年奥多尔蒂对"白立方"展开质疑,人们才逐渐意识到这种展示方式所隐藏的精英主义和去历史化倾向。本文通过研究新柏拉图主义思想对于巴尔的影响,来探讨"白立方"展示模式与现代主义艺术之间的关系,以及其所隐藏的历史文化背景。New York Museum of Modern Art was officially opened in 1929. The curator Alfred H.Barr Jr. had the modern art works of Cezanne, Van Gogh, Gauguin and others' displayed in a new way whereby the exhibition design logic of the art museums entered officially from the Cabinet of Curiosities and art saloon into the modernism period. The display pattern called 'White Cube' is to hang the art works in order on the white undecorated walls in a position that is parallel with the visitors' sight. This display pattern which was considered neutral and out of the external inf luences became the mainstream of the western art museums after the World War II. People didn't realize the White Cube's latent elitism and de-historization tendency until O'Doherty called in question it. By studying the influence of the Neoplatonism to Barr, this article is to explore the relationship between the display pattern of White Cube and modern art as well as the historical and cultural background under it.

关 键 词：阿尔弗雷德·巴尔 白立方 新柏拉图主义 展示设计 

分 类 号：J06[艺术—艺术理论]