CAFAM讲座预告 | 琼·斯尼泽：1970年后美国的女性艺术发展 CAFA Art Museum

CAFAM讲座预告 | 琼·斯尼泽：1970年后美国的女性艺术发展

讲座名称：《1970年后美国的女性艺术发展》

Lecture Title: "The Development of Women's Art in America After 1970"

讲座时间：2024年5月22日18:30-20:30

Time: 18:30-20:30，22ndMay，2024

讲座地点：中央美术学院美术馆学术报告厅

Location: Auditorium, CAFA Art Museum

讲者：琼·斯尼泽（哥伦比亚大学巴纳德学院艺术史和视觉艺术系联合系主任）

Speaker: Joan Snitzer（the Co-Chair of the Department of Art History and Visual Arts at Barnard College, Columbia University）

主持：王春辰 (中央美术学院美术馆副馆长)

Host: Wang Chunchen （Deputy Director of CAFAM）

讲座介绍

受20世纪70年代女性主义艺术运动的启发，通过艺术创作和组织艺术实践活动的美国女性艺术家们，逐渐获得美国公众认可并进入主要画廊或博物馆。琼·斯尼泽教授将在讲座中详细剖析那些曾被认为是“另类”艺术史、技术、形式和材料的艺术作品及女性艺术家，是如何被纳入美国主流文化并受到公众关注。当前纽约主要画廊和博物馆展出的女性艺术作品将成为本次讲座的亮点。

Inspired by the feminist art movement of the 1970s, American women artists gradually gained public recognition and entered major galleries and museums through their creative works and organized art practices. In this lecture, Professor Snitzer will analyze in detail how art works and female artists, once considered "alternative," in terms of art history, techniques, forms, and materials, have been incorporated into mainstream American culture and gained public attention. The highlight of this lecture will be the current exhibitions of women's art in major galleries and museums in New York.

讲者简介

琼·斯尼泽教授

斯尼泽教授曾担任美国著名艺术家和波普艺术运动的主要人物安迪·沃霍尔助手，自1986 年起在美国哥伦比亚大学任教，教龄已近 40 年，现为哥伦比亚大学巴纳德学院视觉文化与艺术史系联合主任。

斯尼泽教授目前所授课程包括“意象与形式”，一门为当代艺术实践提供历史理论的课程; 以及 “高级工作坊”，这是一门为正在准备毕业作品集的视觉艺术专业学生开设的课程。2006 年，因其卓越的教学成果获得了玛格丽特·米德奖，并于今年获得哥大颁发的“最佳教学奖”。

斯尼泽教授在教学同时亦从事艺术批评写作与视觉艺术创作。斯尼泽教授师从著名艺术史学者和批评家本杰明·布赫洛和罗莎琳德·克劳斯。她认为绘画是视觉交流的重要途径以及个人和社会价值的表现方式。她的作品曾展出于纽约现代艺术博物馆(纽约)、 MoMA PS1 (纽约)、布朗克斯美术馆(纽约)、大卫•诺兰画廊(纽约)、2B 画廊(布达佩斯)、Ajolote Contemporaneo 画廊(墨西哥) 等国内外艺术机构。作品被美国银行、高盛、保德信金融集团、IBM 等多家著名机构以及私人收藏。

斯尼泽教授一直保有对非营利世界的热情， 1980 年她在纽约布朗克斯美术馆创办的“市场中的艺术家”(AIM)项目，至今已运营 45 年，为职业上升期的艺术家提供了展览机会和学习交流空间。斯尼泽教授还是美国历史最悠久的、由艺术家运营的女性非盈利艺术空间 A.I.R 画廊的主要指导之一，并同时在世界各地多次举办个人绘画作品展览与公益讲座。

自斯尼泽教授在安迪沃霍尔的工作室“银色工厂”工作起，她陆续结识了尚-米榭·巴斯奇亞安娜·曼迪耶塔杰夫·昆斯等多位在当代艺术中举足轻重的艺术家，见证了纽约当代艺术的发展。

Professor Joan Snitzer served as an assistant to the renowned American artist and key figure of the Pop Art movement, Andy Warhol. She has been teaching at Columbia University in the United States since 1986, with nearly 40 years of teaching experience. She is currently the Co-Chair of the Department of Art History and Visual Arts at Barnard College, Columbia University.

Professor Snitzer's current courses include "Imagery and Form," a course that provides historical theory for contemporary art practice, and "Advanced Studio,” a course designed for visual arts students preparing their graduation portfolios. In 2006, she received the Margaret Mead Award for her outstanding teaching achievements, and this year, she was awarded the "Excellence in Teaching Award" by Columbia University.

In addition to teaching, Professor Snitzer is also engaged in art criticism writing and visual arts creation. She studied under renowned art historians and critics Benjamin Buchloh and Rosalind Krauss. She believes that painting is an important means of visual communication and a way of expressing personal and societal values. Her works have been exhibited at the Museum of Modern Art (MoMA) in New York, MoMA PS1 (New York), the Bronx Museum of the Arts (New York), the David Nolan Gallery (New York), 2B Gallery (Budapest), and Ajolote Contemporaneo Gallery (Mexico), among other domestic and international art institutions. Her works are in the collections of major institutions and private collectors, including Bank of America, Goldman Sachs, Prudential Financial, and IBM.

Professor Snitzer has always maintained a passion for the non-profit world. In 1980, she founded the "Artist in the Marketplace" (AIM) program at the Bronx Museum of the Arts in New York, which has been operating for 45 years and provides exhibition opportunities and spaces for professional growth for emerging artists. Professor Snitzer is also one of the key advisors to A.I.R. Gallery, the oldest artist-run, non-profit women's art space in the United States. She has held numerous solo painting exhibitions and public lectures worldwide.

Since working at Andy Warhol's studio, "The Silver Factory," Professor Snitzer has met several significant contemporary artists such as Jean-Michel Basquiat, Ana Mendieta, and Jeff Koons, witnessing the development of contemporary art in New York.

讲座相关作品

安娜·门迪耶塔，《剪影系列》，1976年

Ana Mendieta, Silueta Series, 1976.

辛迪·舍曼，《无题电影剧照 #21》，1978年

Cindy Sherman, Untitled Film Still #21, 1978

珍妮·霍尔泽，《受伤的地球》，在格拉斯哥举行的光投影展，以配合第26届联合国气候变化大会（COP26）, 2021

Jenny Holzer, Hurt Earth, light projection in Glasgow to coincide with the Cop26 climate conference, 2021.

朱莉·梅赫雷图，《高盛壁画》, 2009年

Julie Mehretu, Goldman Sachs Mural, 2009.

莎拉·茨的作品《三重点·天文馆》于2013年创作，使用的材料包括木材、钢材、塑料、石头、绳子、风扇、投影仪，

以及打印在杜邦纸上的岩石照片。这件作品在第55届威尼斯双年展美国馆展出。

Sarah Sze, Triple Point (Planetarium), 2013,Wood, steel, plastic, stone, string, fans, overhead projectors,

photograph of rock printed on Tyvek, U.S. Pavilion 55th International Art Exhibit La Biennale Di Venezia.

主编 / 何一沙

责编 / 杜隐珠

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CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

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(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

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The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

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The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

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(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.

Group Visit Agreement
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CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.