Roger Blackley (1953–2019)

G. Batchen
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Abstract

‘Do we choose our fields of research or do they choose us?’ The question is the first sentence in the Preface to Roger Blackley’s most important book, 2018’s Galleries of Maoriland. He follows it with a memory of being taken to the Dominion Museum as a schoolboy and marvelling at the artefacts in the Maori Hall. He would spend his career as a curator and art historian forging an historical conversation between this world and his own, in the process transforming the shape of New Zealand’s art history. Born and raised in small towns in New Zealand, Blackley was introduced to art by an inspiring teacher at Tararua College in Pahiatua. Attracted to a life of the mind, he eventually found himself studying towards an Arts degree at the University of Auckland. However, as he ruefully later remembered, when he was a student in the Art History department, no classes were offered about the art of his own country. But, in 1973, Blackley saw an exhibition of the watercolours of nineteenth-century artist Alfred Sharpe at the Auckland Art Gallery. Struck by both the paintings and the artist’s unusual biography (Sharpe was deaf and mute), Blackley searched the newspapers of Sharpe’s time to find out more about him. This kind of deep primary research, using newspapers to capture both a social context and the character of the times (‘anecdotage’ was the joke he made at his own expense), became characteristic of all his work. By 1978 he had written a Masters thesis about Sharpe. After he had been appointed the curator of historical New Zealand art at Auckland City Art Gallery, this thesis became the basis for a catalogue and exhibition on Sharpe he curated in 1992. The choice was a telling one. Throughout his working life, Blackley gravitated to the margins, to those media or figures that were forgotten or considered not quite respectable by other art historians. As Christina Barton put it in 2008, ‘a distinctive quality of Blackley’s scholarly work is to examine those areas that seem beyond the pale, either because they address genres that do not conform to the conventions of high art, or because their reception took place in non-art contexts’. Blackley’s writing broke with other kinds of conventions too. In 1995, for example, he wrote an essay for Art New Zealand that questioned the ‘slim basis’ on which a
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罗杰·布莱克利(1953–2019)
“我们是选择自己的研究领域,还是他们选择我们?”这个问题是罗杰·布莱克利最重要的书《2018年毛里兰美术馆》序言中的第一句话。他回忆起小时候被带到多米尼克博物馆,并对毛利大厅的手工艺品感到惊叹。在改变新西兰艺术史形态的过程中,他将以策展人和艺术历史学家的身份,在这个世界和他自己的世界之间展开历史对话。布莱克利出生并成长于新西兰的小镇,在帕希图阿的塔拉鲁瓦学院,一位鼓舞人心的老师将他介绍给了他艺术。他被精神生活所吸引,最终在奥克兰大学攻读艺术学位。然而,正如他后来遗憾地回忆的那样,当他还是艺术史系的学生时,没有开设关于他自己国家艺术的课程。但是,1973年,布莱克利在奥克兰美术馆观看了19世纪艺术家阿尔弗雷德·夏普的水彩画展览。布莱克利被这些画作和这位艺术家不同寻常的传记所打动(夏普是聋哑人),他在夏普那个时代的报纸上寻找更多关于他的信息。这种深入的初步研究,利用报纸来捕捉社会背景和时代特征(“逃亡”是他自费开的玩笑),成为他所有作品的特色。到1978年,他写了一篇关于夏普的硕士论文。在他被任命为奥克兰城市美术馆的新西兰历史艺术策展人后,这篇论文成为他1992年策划的关于夏普的目录和展览的基础。这个选择很有说服力。在他的职业生涯中,布莱克利被边缘化,被那些被其他艺术历史学家遗忘或认为不太受尊重的媒体或人物所吸引。正如克里斯蒂娜·巴顿(Christina Barton)在2008年所说,“布莱克利学术作品的一个独特之处在于审视那些看似超越苍白的领域,要么是因为它们涉及不符合高级艺术惯例的流派,要么是由于它们在非艺术背景下受到欢迎”。布莱克利的写作也打破了其他类型的惯例。例如,1995年,他为新西兰艺术协会写了一篇文章,质疑
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