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亨利·珀尔曼是20世纪中期的一位成功企业家，他在布鲁克林建立了一家船舶制冷企业，当时那里是重要的航运枢纽。他在早年开始收藏古典大师与美国现实主义画家的作品，直到1945年他购入了他的第一幅柴姆·苏丁的作品。
照片来源：亨利与罗斯·珀尔曼基金会
珀尔曼的智慧亨利和罗斯·珀尔曼的孙子制定了一项创新计划，准备将他们的收藏撤出普林斯顿，并以轮换的方式把这些作品分配到全美各地展出。这一举措可能为基金会提供一种可借鉴的经济模式和社区参与模式。
展开剩余95%来源：
PUCK.NEWS
作者：
Marion Maneker
文章《Pearlman’s Wisdom/珀尔曼的智慧》发布在PUCK.NWES上。PUCK.NWES聚焦好莱坞、华尔街、华盛顿、硅谷等权力圈层，以新闻通讯为主要形式。这篇文章讲述了亨利和罗斯·珀尔曼基金会在其孙子丹尼尔·埃德尔曼的推动下，采取创新方式将大部分珍藏艺术品从普林斯顿大学转出，并捐赠给洛杉矶郡立艺术博物馆（LACMA）、纽约现代艺术博物馆（MoMA）和布鲁克林博物馆三家机构，形成合作共享模式，为基金会提供了一种经济可行、兼顾社区参与的新思路。On Monday, news emerged that the Henry and Rose Pearlman Foundation was making an innovative gift of the majority of its 73 works of art to three prestigious museums: the Los Angeles County Museum of Art, the Museum of Modern Art, and the Brooklyn Museum. The recipients have formed a partnership where works by some of the most famous 19th and early 20th century artists—Vincent van Gogh, Paul Cézanne, Amedeo Modigliani, Paul Gauguin, Edgar Degas, and Chaïm Soutine, among others—will be parceled out to each of the museums. But the arrangement also comes with a unique twist: There is a mutual understanding that if any of the works are to be put into storage, they will immediately become available to one of the other partner museums first, and then to a wider group of institutions that might borrow them for special shows.
8月4日有消息称，亨利与罗斯·珀尔曼基金会将其73件艺术藏品中的大部分，以一种创新的方式捐赠给三家知名博物馆：洛杉矶郡艺术博物馆（LACMA）、现代艺术博物馆（MOMA）和布鲁克林博物馆。三家受赠机构建立了合作关系，将共同分享这些由19世纪和20世纪早期一些最著名艺术家创作的作品，包括文森特·梵高、保罗·塞尚、阿梅代奥·莫迪利亚尼、保罗·高更、埃德加·德加以及柴姆·苏丁等。这一安排还有一个独特之处：三方达成共识，如果任何一件作品要被入库封存，那么这件作品首先将立即提供给两家合作博物馆，然后再提供给更广泛的其他机构，用于特别展览。
LACMA will receive the fewest works, only six, but they are among the most prominent—including a Manet and the star of the collection, van Gogh’s Tarascon Stagecoach, from 1888. Indeed, there was a point when the Pearlman Foundation thought of selling the van Gogh to expand its activities in other areas. But in the end, the trustees thought doing so would deprive the collection of one of its main points of entry.
洛杉矶县艺术博物馆（LACMA）即将收到的作品最少，仅有6件，但它们却是其中最具代表性的，包括一幅爱德华·马奈的作品，以及该收藏中的明星之作，即1888年梵高的《塔拉斯孔驿站马车》。事实上，珀尔曼基金会曾一度考虑出售这幅梵高的作品，以拓展基金会在其他领域的活动。但最终，董事会认为这样做会使整个收藏失去其中的一个主要亮点。
MoMA, for its part, will receive a trove of 28 works, primarily paintings and watercolors by Cézanne, the proto-modern painter. MoMA already has 25 Cézannes, and the gift will greatly enhance the museum’s holdings. The Brooklyn Museum will get 29 works, including a very rare Modigliani stone head, and works by the rest of the named artists.
至于现代艺术博物馆，它即将接收的这一批藏品多达28件。其中主要是“现代主义先驱”保罗·塞尚的油画与水彩画。现代艺术博物馆本已拥有25件塞尚作品，此次捐赠将极大地丰富其馆藏。布鲁克林博物馆则将获得29件作品，其中包括一件极为罕见的阿梅德奥·莫迪利亚尼石雕头像，以及前文提到的其他艺术家的作品。
The gift, and the informal alliance, highlight a notable shift in the museum landscape. Much of the world’s great art is concentrated in just a few institutions, and that imbalance is getting more pronounced. At the same time, there is a huge public appetite for art—often in places that are not served by major “encyclopedic” museums. But there are real challenges to getting that art in front of people who are not on vacation in New York, Paris, Berlin, etcetera.
这次捐赠及其所促成的非正式联盟，凸显了博物馆领域的一个显著变化。世界上许多伟大的艺术品都集中在少数几家机构中，而这种不均衡的状况正愈发明显。与此同时，公众对艺术有着极大的需求，尤其是那些没有大型“百科全书式”博物馆的地方。然而，要让这些艺术作品真正走到不在纽约、巴黎、柏林等地度假的人们面前，仍面临着相当现实的挑战。
When I heard the Pearlman Foundation had made this donation, two thoughts sprang to mind. The first was that the consortium idea echoed other art sharing initiatives that Wall Power has covered in the Inner Circle. The second was that I was surprised to see that the Pearlman Foundation works, which had been at the Princeton University Art Museum for 50 years, were being donated to other institutions only months before the unveiling of that newly rebuilt museum in late October.
当我（译者注：指本文作者Marion Maneker）听到珀尔曼基金会做出这项捐赠时，脑海里立刻浮现出两个想法。其一，这种联盟式的合作让我想起了《Wall Power》在 Inner Circle 栏目中曾报道过的其他艺术共享计划。其二，我很惊讶地发现，珀尔曼基金会的藏品在普林斯顿大学艺术博物馆已展出长达50年。在该博物馆重建的新馆即将于十月底揭幕前的几个月，这些藏品竟然会被捐赠给其他机构。
After speaking to Henry Pearlman’s grandson—and the foundation’s president—Daniel Edelman, and Brooklyn Museum director Anne Pasternak (who will be appearing on a panel about museums at Puck’s one-day Art of Influence summit on September 15), I learned why the Pearlman works were moving out of Princeton, and into three museums in major metropolitan centers. These selections are the product of not only the particular interests and ethos of Henry Pearlman, but also the current economics of running and managing art museums.
在与亨利·珀尔曼的孙子兼基金会主席丹尼尔·埃德尔曼，以及布鲁克林博物馆馆长安妮·帕斯特纳克交谈后，我了解到珀尔曼的收藏为何会离开普林斯顿，转入位于都市中心的三家主要博物馆。这些作品的去向，不仅体现了亨利·珀尔曼个人的兴趣与理念，也反映了当前运营和管理艺术博物馆的经济现实。
大众收藏家The Populist CollectorHenry Pearlman was a successful mid-20th century entrepreneur who built a marine refrigeration business in Brooklyn, then a major shipping entrepôt. Early on, he began collecting Old Master and American realist paintings, until 1945, when he bought his first work by Chaïm Soutine. Around the same time, he met Oskar Kokoschka, the Austrian expressionist painter, who became a friend and advisor.
亨利·珀尔曼是20世纪中期的一位成功企业家，他在当时的主要航运集散地布鲁克林，创办了一家船舶制冷企业。早年间，他开始收藏古典大师和美国现实主义画家的作品，直到1945年购入了他的第一幅柴姆·苏丁的作品。大约在同一时期，他结识了奥地利表现主义画家奥斯卡·科柯施卡，后者成为了他的朋友和顾问。
In the 1950s, the Pearlmans were lending some of their artworks to museums—which, in turn, led to them establishing the foundation, and a tradition of circulating the Pearlman pictures throughout American museums. Although successful, Pearlman did not have endless resources to buy anything that became available, and he had richer competitors among his contemporaries. He assembled his collection through focus, patience, determination, and dealmaking. “My grandparents had populist values,” Edelman told me this week, explaining why his grandfather had given his art to a foundation and wanted the works to move around and be seen.
上世纪50年代，珀尔曼夫妇开始将部分艺术作品借给各大博物馆展出。这也促成了他们建立基金会，以及在美国博物馆间循环展出珀尔曼藏品的传统。尽管取得了成功，珀尔曼并非拥有无限的资源去购买所有可得之物，而且他在同时代的收藏家中，也并非是最富有的人。他凭借专注、耐心、决心和交易能力来组建自己的收藏。埃德尔曼告诉作者：“我的祖父母秉持平民主义价值观。”他解释了祖父为何将自己的艺术作品捐赠给基金会，并希望这些作品能够在不同地方展出，让更多人欣赏。
When Pearlman died unexpectedly in 1974, he was in the middle of planning a large touring exhibition at the Brooklyn Museum that would end up traveling through the Northeast. Rose, Henry’s widow, discovered that the foundation didn’t have the resources to maintain the collection and keep shouldering the expense of making loans. The collection ended up at the Princeton University Art Museum, where conservators, scholars, and generations of art history students have had access to the works for 50 years.
1974年，珀尔曼意外去世，当时他正筹划在布鲁克林博物馆举办一场大型巡回展览，该展览最终将巡回至美国的东北部。亨利的遗孀罗丝发现，该基金会没有足够的资源来维护藏品，也无力继续承担借出藏品的费用。最终，这批藏品被安置在普林斯顿大学艺术博物馆，因此馆内的修复师、学者以及一代又一代的艺术史学生，在过去50年中都能接触到这些作品。
Princeton was a great steward of the foundation’s collection, but squirreling it away at an Ivy League school in a central New Jersey town didn’t square with the Pearlman legacy. “It’s not our audience,” Edelman said. “By geography and the nature of the university, it was less accessible.” In recent years, the Princeton art museum has been closed while a new building has been under construction, giving Edelman the impetus to find a solution that would better fulfill his grandparents’ goals as collectors. “Engagement with audiences is changing,” he told me. “The whole issue of owning art is changing.”
普林斯顿大学一直是基金会藏品的优秀管理者，但将这些作品收藏在新泽西州中部一所常春藤名校里，并不符合珀尔曼家族的遗产理念。埃德尔曼表示：“那里不是我们的受众所在。受地理位置和大学性质的限制，作品的可触达率比较低。”近年来，普林斯顿艺术博物馆在新馆建设期间一直关闭，这促使埃德尔曼寻找一种更能实现祖父母收藏目标的解决方案。他告诉作者：“与受众的互动方式正在改变，拥有艺术品这一整个概念也在发生变化。”
For the last decade or more, Edelman has been visiting museums and discussing loans with curators, aiming to have the foundation’s work engage with objects in the museums’ permanent collections—all while the rising insurance and shipping costs made it increasingly difficult to circulate his grandfather’s art.
在过去十年甚至更长时间里，埃德尔曼一直走访各大博物馆，与馆长们讨论借展事宜，旨在让基金会的藏品与博物馆永久馆藏中的作品产生互动。与此同时，保险和运输成本的不断攀升，也让他祖父的艺术品循环展出变得愈发困难。
“名副其实最差的商业模式”“Truly the Worst Business Model”One irony of the current museum landscape is that more art is being concentrated in the few museums that have the infrastructure and funding to maintain and manage the lending of the works. Edelman found that if he wanted to get his grandfather’s art in front of people who would otherwise never have a chance to see it, he would have to donate it to museums in the richest cities. “The public doesn’t realize how much lending we do, or how much we tour our exhibitions,” Pasternak pointed out to me on a call this week. “Insuring these artworks costs a fortune. Few museums have the teams, the know-how, and the financial wherewithal” that a place like Brooklyn does.
当前博物馆界存在一个讽刺现象：越来越多的艺术品正集中在少数几家具备足够基础设施和资金来维护及管理作品出借的博物馆中。埃德尔曼发现，如果他希望让那些原本无缘欣赏他祖父藏品的人们看到这些艺术品，他就必须将其捐赠给经济最发达的城市的博物馆。安妮·帕斯特纳克在8月初的一次电话中，向我指出：“公众并不了解我们出借了多少作品，或者我们的展览巡回了多少地方。为这些艺术品投保花费巨大。很少有博物馆像布鲁克林博物馆这样，拥有相应的团队、专业知识和资金实力。”
Edelman also wanted to find stewards who had the same commitment to diversity. “We’ve had a great opportunity to expand access to these works,” he said. “We’ve gotten these works in front of people who don’t normally get a chance to see them.” He wanted to see that continue. “You walk into the Brooklyn Museum, and it is the most diverse audience you will see in any museum.”
埃德尔曼还希望找到同样致力于多元性的管理者。他表示：“我们有一个极好的机会，能让更多人接触到这些作品。我们让那些通常没有机会看到这些作品的人，也能欣赏到它们。”他希望这种情况能够继续下去。“当你走进布鲁克林博物馆，你会发现那里的观众是所有博物馆中最多元的。”
The Brooklyn Museum, Pasternak said, “is a meeting point of class, race, and a wide range of cultures.” Yes, that’s a function of Brooklyn’s astonishing diversity, but it’s also something Pasternak and her predecessor, Arnold Lehman, cultivated. The museum pioneered free access more than a quarter-century ago, and it’s one of the few museums that maintains a pay-what-you-wish policy—which means half of the visitors to the Brooklyn Museum are getting in for free. “It is truly the worst business model,” Pasternak admits.
安妮·帕斯特纳克表示，布鲁克林博物馆“是阶层、种族以及各种文化的汇聚点”。没错，这既得益于布鲁克林惊人的多样性，也是帕斯特纳克及其上一任阿诺德·莱曼精心培育的结果。该博物馆在25年前就率先推出了免费开放政策，而且是少数实行“随心意付费”政策的博物馆之一。这意味着有一半的布鲁克林博物馆访客是免费入场的。帕斯特纳克承认：“这确实是最糟糕的商业模式。”
At LACMA, Edelman recognized the museum was developing a real facility and strategy for getting its art in front of communities that might not travel to the center of Los Angeles. And, of course, director Michael Govan, who is opening his new building next year, has become a leading voice in how museums can cooperatively share art. Finally, for Edelman, there was the fact that both Los Angeles and Brooklyn are communities where many artists—established and aspiring—live. Having his grandfather’s art easily accessible to artists seemed like a big win. And, of course, if you want your art seen, the endless parade of tourists at MoMA certainly helps.
在洛杉矶县艺术博物馆，埃德尔曼发现，该博物馆正在打造一个真正的设施，并制定策略，让那些可能不会前往洛杉矶市中心的社区，也能接触到它的艺术品。当然，洛杉矶县艺术博物馆将于明年开放新馆，其馆长迈克尔·戈万也已经成为博物馆如何协作共享艺术作品的领军人物。最后，对埃德尔曼来说，洛杉矶和布鲁克林都有一个共同点，两地都是许多艺术家所居住的社区，无论他们是知名的或是初出茅庐的。让他祖父的艺术品能被艺术家们轻易接触到，这无疑会是一个巨大的成功。当然，如果你希望自己的艺术被更多人看到，现代艺术博物馆络绎不绝的游客也会起到很大作用。
I don’t think the choice was easy for Edelman. After all, he’s been working on this project with real effort and interest for some time. But rather than create too many restrictions on the use of the foundation’s art, he hopes he has found museum directors who share his family’s vision. Notably, he’s not trying to control the future of these artworks. “I’m much more excited by the many different stories you can tell with this art,” he said. “Art needs to keep changing and moving.”
作者认为埃德尔曼做出这个选择并非易事。毕竟，埃德尔曼为这个项目付出了长期的努力和浓厚的兴趣。但埃德尔曼不想对基金会艺术品的使用施加过多限制，而是希望找到与家族理念契合的博物馆馆长。值得注意的是，他并不打算控制这些艺术品的未来。埃德尔曼说：“我更兴奋的是通过这些艺术品，可以讲述众多不同的故事。艺术需要不断变化和流动。”
关键句翻译随心意付费政策是指参观者可以根据自己的意愿或经济能力决定支付的金额，有的人甚至可以免费入场；博物馆或机构通常会给出建议价格，但不强制执行；这种制度的目标是提高艺术或服务的可及性，让更多人能够接触到展览或活动，同时也能吸引更广泛的观众群。那么随心意付费政策的英文全称是什么？
Pay-What-You-Wish Policy
policy n. 政策，方针，策略
翻译、撰稿：丁适于（杭州市基金会发展促进会）
发布于：浙江省新玺配资提示：文章来自网络，不代表本站观点。
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