2017年11月24日 星期五

From Buffalo to San Antonio and Beyond, Museums Woo Members不收門票 美國博物館招攬會員


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2017/12/01 第194期 訂閱/退訂看歷史報份
 
 
紐時周報精選 From Buffalo to San Antonio and Beyond, Museums Woo Members不收門票 美國博物館招攬會員
So Where Are the New J.D. Salinger Books We Were Promised?《麥田捕手》作者沙林傑 承諾我們的新書在哪裡?
紐時周報精選
 
From Buffalo to San Antonio and Beyond, Museums Woo Members不收門票 美國博物館招攬會員
文/Geraldine Fabrikant
譯/王麗娟

When financier Jeffrey Gundlach showered $42.5 million on the Albright-Knox Art Gallery in Buffalo, New York, it radically altered the museum's long-term agenda.

The gift was predicated on the challenge that the museum raise $50 million more in just three months, with the money going to a major new building as well as an operating fund that would help guarantee its upkeep.

金融家傑佛瑞.岡拉克致贈大禮4,250萬美元給紐約州水牛城奧爾布賴特─諾克斯美術館時,它徹底改變了博物館的長期行事計畫。

這份大禮建立在一項挑戰上,美術館必須在短短3個月內,籌措到額外的5000萬美元資金,這筆資金將投入一棟重要的新建築以及確保它能正常營運的基金。

Such transformative gifts are unusual for any museum, but they are rarer in cities where wealth is not as high as in cosmopolitan behemoths such as New York, Houston or Los Angeles. Smaller cities generally lack the influx of newcomers who are willing to make a splash with a big gift in their adopted city, and their museums depend on luring repeat visitors.

Sometimes, to do that, museums are forfeiting admission fees. As Julian Zugazagoitia, director of the Nelson-Atkins Museum of Art in Kansas City, Missouri, puts it: "If a museum is free, you can come and go. You can come often and do one gallery at a time. A museum can be like a restaurant, you can taste one thing at a time."

這種改造性的禮物對任何博物館來說都不尋常,對財力不及紐約、休士頓或洛杉磯這些世界級大都會的一些城市更是難得一見。一般而言,較小城市較難見到樂於捐贈引人注目大禮給他們定居城市的新居民潮,它們的博物館因此只能仰賴吸引回頭客。

有時為達此目的,博物館會放棄收取門票。正如密蘇里州堪薩斯市納爾遜─艾金斯美術館館長朱利安.祖加扎吉蒂亞所說:「倘若美術館免費,你就會來來回回。你可以經常來參觀,一次欣賞一個館。美術館也可像餐館一樣,一次只來品嘗一道美味。」

Indeed, of the 242 museums that are members of the Association of Art Museum Directors, fully one-third are free, said the association's director, Christine Anagnos.

That trend puts particular pressure on institutions to exploit their existing resources and to bond with other local arts organizations in original programs for the public. Whether these programs take place in the museum or outside, the strategy is to lure more visitors who may well become members.

「美術館館長協會」會長克莉絲汀.亞納格諾斯說,事實上,協會的242家美術館成員中,整整有三分之一不收門票。

這種趨勢對這些機構形成特殊的壓力,必須更加善用既有的資源以及和其他在地藝術組織結合,提供原創性展覽供民眾觀賞。這些展覽無論是否是在美術館內舉行,策略都是為了吸引更多可能成為會員的參觀者。

And museums are doing just that. Erik Neil, who took over as director of the Chrysler Museum of Art in Norfolk, Virginia, three years ago, said that 75 percent of the museum's visitors come from within 50 miles.

Neil has worked to involve African-Americans as well as personnel at the nearby Navy base and lesbian, gay, transgender and bisexual groups. Among the efforts: an exhibit of "Women and the Civil Rights Movement" and "Thomas Hart Benton and the Navy."

一些美術館正在這樣做。三年前接手成為維吉尼亞州諾福克市克萊斯勒美術館館長的艾瑞克.尼爾說,他的美術館75%的參觀者來自50英里內。

尼爾努力讓非裔美國人,附近海軍基地人員,以及男女同性戀、跨性別、雙性戀者都參與其中。他的作為包括舉辦「婦女與民權運動展」,以及「湯馬斯.哈特.班頓與海軍展」。

To make the Chrysler Museum more welcoming, Neil has done away with museum guards. Instead, he relies on paid employees to act as hosts to visitors. For example, he said, "If visitors have questions, the employees can get in touch with a curator for the answer."

Directors are also breaking through museum walls to extend the art experience into the streets and on to museum lawns with cocktail evenings for young members or even art events that go beyond the museum doors.

為讓克萊斯勒美術館更受歡迎,尼爾撤掉了美術館的警衛,改而仰賴支薪僱員扮演接待來賓的主人。他舉例說道:「如果參觀者有疑問,這些僱員可以聯繫策展人以提供解答。」

館長們同時突破美術館的厚牆,將藝術經驗延伸到街頭和美術館的草坪上,不僅為年輕會員舉辦雞尾酒夜,還有踏出美術館大門的一些藝術活動。

說文解字看新聞

文/王麗娟

美國一些較小城市的美術館為求維持營運,開始改變生財之道,其中之一是捨棄(forfeit)門票費(admission fee),改而強化會員制(membership program)。

較小城市的美術館如此做,主要是因他們仰賴(depend on )回頭客( repeat visitor)一再重回美術館,才有收入可言,因此強化會員制收取年費,對美術館的長期經營更為有利。

文章指出,較小的城市欠缺(lack)如潮水般湧入(flux)的新來者(newcomer),這些可能成為新遊客的新居民潮在大城市較會出現,且這些新居民很可能是樂意為他們所選定居住(卜居)的城市(adopted city)獻上足以引起注目的大禮(make a splash with a big gift)的人。make a splash字面意義為發出水的濺潑聲,意為製造轟動,引起眾人注意。

 
So Where Are the New J.D. Salinger Books We Were Promised?《麥田捕手》作者沙林傑 承諾我們的新書在哪裡?
文/Matthew Haag
譯/王麗娟

After decades of silence, the famously reclusive writer J.D. Salinger finally had something to tell the world: Leave me alone.

It was November 1974, and Salinger briefly stepped out from his secluded life in a small New Hampshire town to denounce the unauthorized release of his early works. In that interview, one of his last before his death in 2010, he confirmed he was still writing — long hours and every day, he said.

沉默了數十年後,知名的隱居作家J. D. 沙林傑終於有話告訴全世界:別來煩我。

那是1974年11月的事,沙林傑短暫走出他在新罕布什爾州小鎮的隱居生活,譴責有人未經授權出版他的早期作品。他受訪時證實自己還在從事筆耕。他說,每天花很長的時間寫作。那也是沙林傑2010年去世前最後接受的幾次訪問之一。

Nothing new by Salinger has been published since 1965, and no one close to him has suggested after his death that anything ever will be. But in 2013, a documentary about the author and a related book offered a bold assertion: He had not only continued writing, but also left detailed notes to his trust about releasing the material between 2015 and 2020.

The blockbuster claim sent a ripple through the publishing world and became the subject of numerous news stories. "Rebel in the Rye," a new film about Salinger released in theaters last month, makes clear that he continued to write long after his last work was published.

自1965年之後即無任何沙林傑的新作出版,他死後,和他親近者中,也沒有人表示會有任何新作出版。不過,2013年,一部關於作者的紀錄片和一本相關的書籍提出了一項大膽說法:他生前不僅繼續寫作,還留給他的信託基金會一些詳盡的字條,交代2015年到2020年出版新書的事宜。

這項轟動性的說法在出版界激起漣漪,也成為眾多新聞報導的主題。上個月在電影院上映,關於沙林傑的新電影《叛逆的麥田捕手》清楚地描述,最後一部作品發表很久之後,沙林傑仍在持續寫作。

But it is almost 2018 and no books have been released. So where are they?

"Yeah, what came of those?" Matthew Salinger, the author's son, said in a brief phone interview this month.

不過,時近2018年卻不見任何新書發表。這些書究竟在哪裡?

作者的兒子馬修.沙林傑本月在簡短的電話訪問中說:「是呀,那些書是怎麼回事?」

When the author's widow, Colleen O'Neill, answered the phone at her home in New Hampshire this month, she said, "I'm sorry, I can't take this phone call," and hung up.

Matthew Salinger, who controls the J.D. Salinger Literary Trust along with O'Neill, shares his father's disdain for the public spotlight. Did his father continue writing late into his life? Did he leave anything to be published?

作者的遺孀可琳.歐尼爾本月在新罕布什爾州家中接答電話時說,「對不起,我不能答覆這通電話」,隨即掛斷。

馬修.沙林傑與歐尼爾共同掌管「沙林傑文學信託基金會」,他和父親一樣不屑成為公眾注目焦點。 他的父親晚年可還繼續寫作?他有遺留任何作品準備發表?

"You are not going to get an answer from me," Salinger said. Before hanging up, he added, "I would consider the source."

The source was "Salinger," the 2013 documentary and book by the same name, by David Shields and Shane Salerno, who spent nine years researching and producing them. In the last pages of the book, they cite two "independent and separate" anonymous people who assert that J.D. Salinger left instructions "authorizing a specific timetable" for the release of five additional works.

馬修.沙林傑說:「你不會從我這裡得到答案。」掛斷前,他又說:「我會研究一下消息來源。」

消息來源是《沙林傑》,2013年的一部紀錄片和同名書籍,作者是大衛.希爾茲和沙恩.薩勒諾,兩人花9年進行研究並製作紀錄片與書籍。這本書的最後幾頁,他們引述了兩位「獨立與個別的」匿名人士的話說,沙林傑有留下一些指示,為另5本作品的出版,「授權指示明確的時間表」。

 
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