中间地带：作为试验场的高校美术馆

据国家文物局调查显示，截至2018 年底，我国高校博物馆的实际数量已经超过300 座。这反映了高校逐步加深文化内涵建设的需要，也与近年来不断增强的博物馆、美术馆热潮息息相关。大学博物馆一方面作为校内师生开展“基于物的研究”的试验场反哺教学，一方面也身兼公共博物馆的职能，面对着如何扩大社会影响力的挑战。

以艺术博物馆（美术馆）为例，由于美术史学科建设与美术馆展览、收藏的密不可分，1.巫鸿：《美术馆与美术史》，《读书》，2007 年第3 期。大学美术馆作为整合艺术物与史论研究、连接学者与公众的过渡地带，起到了中间斡旋的关键作用。上世纪七十至八十年代以前，许多欧美的重要美术馆都设在大学内部，它们在学院的视觉艺术教育中具有举足轻重的地位，并成为艺术家、学者、策展人的先锋实验基地。

《大学为何需要博物馆？》是杜克大学纳希尔艺术博物馆第一任馆长金茉莉 · 罗夏克（Kimerly Rorschach）于2004 年博物馆成立之际所做的演讲。在演讲中，罗夏克从自身经历谈及大学艺术博物馆对其职业生涯的塑造，并回顾了美国大学博物馆的发展历程与值得被记住的范例。从中我们可以看到，大学美术馆的职能转变与公共美术馆的发展休戚相关，其中既包含美术馆与美术史学之间的几度合作与分离，也映射出公共美术馆在不断企业化的进程中向大众的逐步走近。

《大学美术馆的角色与定位》是美国大学艺术联盟（College Art Association，简称CAA）于2006 年召开的一次圆桌会议的记录，会议由美国几所高等教育机构下属美术馆的18 位负责人参与。这些美术馆从业者在各自机构截然不同的发展阶段（从刚刚起步到相对成熟）投入到对美术馆的建设中，对自身面临的具体问题作出了十分详尽的陈述与分析，其中包括：藏品匮乏、人员不足、交通闭塞……而这些也是当下我国高校美术馆，甚至是许多不太成熟的公共美术馆正在面对的问题。从这次对谈中我们也可以看到，高校美术馆不仅仅是学院基础教育设施的补充，也是整个美术馆行业甚至艺术生态中不可或缺的一部分，它们在探索新的艺术形式、策展方法、培养艺术爱好者上扮演着重要的角色。

罗夏克在文中提到，自20 世纪七八十年代兴盛的“巨型展览”（blockbuster）时代使大学博物馆更加有意识地在展览活动与其他事物上开始与外部观众建立联系。“公众的美术馆还是大学的美术馆？”一直是大学美术馆从业者在实践中无法回避的问题，一如公共美术馆在学术与流量之间日益谨慎的权衡利弊，尽管二者有时并非那么水火不容。CAA 会议中18 位负责人的对谈使人看到大学美术馆应该具备的更多批判性和前沿性—这也是大学美术馆的特殊之处。引用罗夏克的话来说：“大学艺术博物馆可以做到很多大型市立博物馆做不到的事，并且这些事应该且必须由它们来做。”围绕大学美术馆开展的讨论放大了美术馆在学术建设方面的思考，也为我们在“巨型展览”依旧兴盛的今天带来了更多反思。

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.