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首頁> 外文學位 >John Cotton Dana and the business of enlightening Newark: Applied art at the Newark Public Library and Museum, 1902--1929.
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John Cotton Dana and the business of enlightening Newark: Applied art at the Newark Public Library and Museum, 1902--1929.

機譯：約翰·科頓·達納（John Cotton Dana）和啟發(fā)紐瓦克（Newark）的公司：紐瓦克公共圖書館和博物館的應(yīng)用藝術(shù)，1902--1929年。

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The dissertation is a case study of how exhibitions of applied art were used as ideological tools to prescribe civic behavior in one of the twenty most important industrial cities in the United States during the Progressive Era. Its focus is on John Cotton Dana (1856-1929), librarian and museum founder, and the exhibitions he coordinated in Newark, New Jersey, at the Free Public Library and the Newark Museum between 1902 and 1929. Dana promised Newark that culture had "cash-value" and that a museum would promote economic and moral benefits. He focused on applied art as a political and educational instrument to foster "good taste" in Newark's largely immigrant population. I contextualize Dana's mission of taste-making in relation to other political-aesthetic agencies of the Progressive Era that sought to improve civic life, from Hull-House to the Metropolitan Museum of Art. Responding to the broader historical discourse, I complicate prior characterizations of the director, his museum, and the era as "Progressive" by exploring whether Dana's mission of enlightenment was dedicated to the welfare of its citizens or to the economic prosperity of Newark's retailers and manufacturers. My focus on exhibitions which displayed New Jersey products such as vases and toilets has three aims: to apply material culture analysis to installation methods and exhibitions (and avoid the bias inherent to segregating "fine art" and "library" artifacts); to examine the ways Dana positioned applied art, including handicrafts, industrially manufactured goods, and historicist ornament, as "progressive reform"; and to argue that his attempt to make a museum "intimate with commerce" was driven by his location in Newark. Dana's method of framing goods such as comic books and department-store teacups is reconsidered in relation to European as well as American influences, as are his many other innovations, from opening the first business library to holding the first exhibitions of Cubist painting and Deutscher Werkbund commercial art in America. I challenge traditional interpretations of the histories of the library and museum as distinct narratives, and restore the connections between exhibitions of Japanese prints, new Pictorialist photography, traditional plaster casts, and local ceramic factory and studio production.
機譯：本文是一個案例研究，探討了在進步時期美國應(yīng)用藝術(shù)的展覽如何被用作意識形態(tài)工具來規(guī)定美國二十個最重要的工業(yè)城市之一的公民行為。它的重點是圖書館員和博物館創(chuàng)辦人約翰·科特·達納（1856-1929），以及他在1902年至1929年之間在新澤西州紐瓦克，自由公共圖書館和紐瓦克博物館舉辦的展覽。達納向紐瓦克保證，文化具有“現(xiàn)金價值”，并且博物館將促進經(jīng)濟和精神利益。他專注于將實用藝術(shù)作為一種政治和教育手段，以在紐瓦克大量移民的人群中培養(yǎng)“品味”。我將達娜（Dana）與進步時代其他旨在改善公民生活的政治美學機構(gòu)（從赫爾豪斯（Hull-House）到大都會藝術(shù)博物館（Metropolitan Art Museum））的品味使命聯(lián)系在一起。為了回應(yīng)更廣泛的歷史話語，我通過探究達納的啟蒙使命是致力于其公民的福利還是紐瓦克零售商和制造商的經(jīng)濟繁榮，來使導演，他的博物館和該時代以前的“進步”特征復雜化。 。我專注于展示花瓶和廁所等新澤西州產(chǎn)品的展覽，其目標是三個：將物質(zhì)文化分析應(yīng)用于安裝方法和展覽（避免將“美術(shù)”和“圖書館”文物分開所固有的偏見）；考察達納（Dana）將應(yīng)用藝術(shù)（包括手工藝品，工業(yè)制成品和歷史主義裝飾）定位為“漸進式改革”的方式；并爭辯說，他使博物館“與商業(yè)緊密相關(guān)”的嘗試是由于他在紐瓦克的所在地。從開設(shè)第一個商業(yè)圖書館到舉辦第一個立體主義繪畫展和德意志世界展覽會，達納重新考慮了如何為漫畫和百貨公司茶杯等商品構(gòu)圖的方法，以及與歐洲和美國的影響有關(guān)，以及他的許多其他創(chuàng)新。美國的商業(yè)藝術(shù)。我將對圖書館和博物館歷史的傳統(tǒng)解釋作為獨特的敘事來挑戰(zhàn)，并恢復了日本版畫展覽，新的攝影家攝影作品，傳統(tǒng)的石膏模型以及本地陶瓷工廠和工作室生產(chǎn)之間的聯(lián)系。

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