A small hint at the possibilities can be found near the fifth floor escalator, where "Abraham Lincoln, the Great Emancipator, Pardons a Sentry," by Horace Pippin, the great self-taught African American painter, hangs beside "Christina's World," by the white realist painter Andrew Wyeth and one of the Modern's most popular paintings. This should bode well for the increased visibility and equal status of self-taught and folk artists, whose work had a big role in MoMA's early years. It's also time to end this sidelining of American art from before World War II. It should be mixed in with art from Europe and beyond.
在五层的电梯附近我们能找到一个关于未来可能性的小小提示。在那里,自学成才的著名美籍非裔画家霍拉斯·皮平(Horace Pippin)的作品《伟大的解放者亚伯拉罕·林肯赦免一名哨兵》(“Abraham Lincoln, the Great Emancipator, Pardons a Sentry”)被悬挂在白人现实主义画家安德鲁·魏斯(Andrew Wyeth)的《克里斯蒂娜的世界》(“Christina's World”)旁边,后者是MoMA最受欢迎的绘画作品之一。这对自学成才和来自民间艺术家来说应该是个好兆头,意味着他们的关注度和地位都在提高,这些艺术家的作品曾在MoMA的早年岁月发挥了重要作用。也是时候不再将二战前的美国本土艺术边缘化了,它应该与欧洲和其他地区的艺术融合在一起。
The collection, as now installed in the fifth-floor galleries, is something of a stopgap measure, highly truncated, that starts with the standard hits of post-impressionism and cubism and Matisse and ends with Jasper Johns' 1958 flag, becoming more inclusive in terms of nonwhite, nonmale artists as it proceeds. It is a snapshot of a collection in flux, looking at once full of possibility and a little forlorn.
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2020-09-15
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