中間地帶：作為試驗場的高校美術館

據國家文物局調查顯示，截至2018 年底，我國高校博物館的實際數量已經超過300 座。這反映了高校逐步加深文化內涵建設的需要，也與近年來不斷增強的博物館、美術館熱潮息息相關。大學博物館一方面作為校內師生開展“基于物的研究”的試驗場反哺教學，一方面也身兼公共博物館的職能，面對著如何擴大社會影響力的挑戰。

以藝術博物館（美術館）為例，由于美術史學科建設與美術館展覽、收藏的密不可分，1.巫鴻：《美術館與美術史》，《讀書》，2007 年第3 期。大學美術館作為整合藝術物與史論研究、連接學者與公眾的過渡地帶，起到了中間斡旋的關鍵作用。上世紀七十至八十年代以前，許多歐美的重要美術館都設在大學內部，它們在學院的視覺藝術教育中具有舉足輕重的地位，并成為藝術家、學者、策展人的先鋒實驗基地。

《大學為何需要博物館？》是杜克大學納希爾藝術博物館第一任館長金茉莉 · 羅夏克（Kimerly Rorschach）于2004 年博物館成立之際所做的演講。在演講中，羅夏克從自身經歷談及大學藝術博物館對其職業生涯的塑造，并回顧了美國大學博物館的發展歷程與值得被記住的范例。從中我們可以看到，大學美術館的職能轉變與公共美術館的發展休戚相關，其中既包含美術館與美術史學之間的幾度合作與分離，也映射出公共美術館在不斷企業化的進程中向大眾的逐步走近。

《大學美術館的角色與定位》是美國大學藝術聯盟（College Art Association，簡稱CAA）于2006 年召開的一次圓桌會議的記錄，會議由美國幾所高等教育機構下屬美術館的18 位負責人參與。這些美術館從業者在各自機構截然不同的發展階段（從剛剛起步到相對成熟）投入到對美術館的建設中，對自身面臨的具體問題作出了十分詳盡的陳述與分析，其中包括：藏品匱乏、人員不足、交通閉塞……而這些也是當下我國高校美術館，甚至是許多不太成熟的公共美術館正在面對的問題。從這次對談中我們也可以看到，高校美術館不僅僅是學院基礎教育設施的補充，也是整個美術館行業甚至藝術生態中不可或缺的一部分，它們在探索新的藝術形式、策展方法、培養藝術愛好者上扮演著重要的角色。

羅夏克在文中提到，自20 世紀七八十年代興盛的“巨型展覽”（blockbuster）時代使大學博物館更加有意識地在展覽活動與其他事物上開始與外部觀眾建立聯系。“公眾的美術館還是大學的美術館？”一直是大學美術館從業者在實踐中無法回避的問題，一如公共美術館在學術與流量之間日益謹慎的權衡利弊，盡管二者有時并非那么水火不容。CAA 會議中18 位負責人的對談使人看到大學美術館應該具備的更多批判性和前沿性—這也是大學美術館的特殊之處。引用羅夏克的話來說：“大學藝術博物館可以做到很多大型市立博物館做不到的事，并且這些事應該且必須由它們來做。”圍繞大學美術館開展的討論放大了美術館在學術建設方面的思考，也為我們在“巨型展覽”依舊興盛的今天帶來了更多反思。

According to the survey by the State Administration of cultural relics, by the end of 2018, the actual number of university museums in China has exceeded 300. This is not only the need of deepening the construction of cultural connotation in Colleges and universities, but also closely related to the increasing upsurge of museums and art galleries in recent years. University Museum, on the one hand, serves as an experimental field for teachers and students to carry out "object-based research", and on the other hand, it also serves as a public museum, facing the challenge of how to expand its social influence.

Taking the Art Museum as an example, because the discipline construction of art history is closely related to the exhibition and collection of Art Museum, the university art museum plays a key role in mediating as the transition zone of integrating art objects and historical research, connecting scholars and the public. Before the 1980s, many important art galleries in Europe and the United States were located in universities. They played an important role in the visual art education of the college, and became pioneer experimental bases for artists, scholars and curators.

Why Do Universities have Museums？It was a speech by Kimerly Rorschach, the first curator of the Nasher Museum of art at Duke University, on the occasion of the museum's founding in 2004. In her speech, rorschack talked about the shaping of her career by the University Rorschach, Art Museum from her own experience, and reviewed the development process of American University Museum and the examples worth remembering. From this, we can see that the function transformation of University Art Museum is closely related to the development of public art museum, which not only includes the cooperation and separation between art museum and art history, but also reflects the gradual approach of public art gallery to the public in the process of continuous enterprise.

The Role of the University Art Museum and Galleryis the record of a round table meeting held by the College Art Association (CAA) in 2006. The meeting was attended by 18 heads of art galleries affiliated to several American higher education institutions. These art gallery practitioners have devoted themselves to the construction of art galleries at different stages of development (from just starting to relatively mature), and have made a very detailed statement and analysis of their specific problems, including: lack of collection, shortage of personnel, traffic congestion...These are also the problems faced by art museums in Colleges and universities, and even many immature public art galleries in our country. From this conversation, we can also see that the university art museum is not only a supplement to the basic education facilities of the college, but also an indispensable part of the whole art gallery industry and even the art ecology. They play an important role in exploring new art forms, curating methods and cultivating art lovers.

In her article, Rorschack points out that the era of blockbuster, which flourished in the 1970s and 1980s, has made university museums more consciously establish contact with external audiences in exhibition activities and other things. "Public art gallery or university art gallery？" It has always been an unavoidable problem for university art gallery practitioners in practice, just as public art museums are increasingly careful to weigh the pros and cons between academic and flow, although sometimes the two are not so incompatible. The conversation among the 18 persons in charge of the CAA meeting made people see that the university art museum should have more critical and cuttingedge characteristics, which is also a special feature of university art museum. To quote Rorschack: "University art museums can do many things that large municipal museums can't do, and they should and must do them." The discussion around the university art gallery enlarges the museum's thinking on academic construction, and also brings us more reflection in today's "blockbuster" still flourishing.