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美国人怎样谈恋爱——克林顿和喜来莉的第一次约会
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（耶鲁时期的比尔·克林顿和女友喜来莉，网络图片）
话说美国前总统比尔·克林顿先生和现任国务卿喜来莉·克林顿女士，当年在耶鲁大学深造之时，两人在校园里不期而遇。小伙子克林顿对喜来莉可谓一见钟情，然后找了个机会到约上那位戴眼镜的长发美女到耶鲁美术馆洗脑。
当年克林顿一头长发，胡子蓬勃，喜来莉说他看起来不像拿着优秀奖学金的法学学生，而是像个“海盗”，所以对他的印象比较一般，对他的殷勤并未放在心上。
直到有一天，克林顿动用了自己的聪明才智，带着美女喜来莉进入美术馆欣赏“马克·罗斯科特展“，二人独享整个展览，克林顿可以对着美女不断吹水，直到深夜。
就是这么一下子，克林顿的横溢才华和聪明才智终于得到充分展现，打动美人芳心，喜来莉小姐从此对他刮目相看。
后来，就有了美国政坛上这一对神奇的组合，有了克林顿参议员、克林顿总统、克林顿国务卿以及后面的许多故事。
这个看展览的故事发生在1971年秋天，当时著名抽象艺术家马克·罗斯科刚刚去世一年多。
1970年2月自杀身亡的罗斯科，也是耶鲁的校友。这位已经名震天下的校友，给克林顿创造了一个征服美人的大好机会。
下面的内容来自喜来莉的回忆录：
那是我们的第一次约会。我们想去看在耶鲁美术馆举行的马克·罗思科（俄罗斯裔美国抽象表现主义画家）的画展，但是当时耶鲁的劳资双方正闹纠纷，大学里的很多公用建筑都关闭 了，当然也包括美术馆。当我和比尔失望地站在美术馆门前正准备离去时，他突然说有办法进去。他对美术馆的工作人员表示我们可以把长期堆积在美术馆院子里的 一堆垃圾清理走，作为进馆参观的“门票”。我根本没有想到这个办法可以奏效，可当我们真的得以走进美术馆时，我的确为他软磨硬泡说服他人的天赋折服了。后来的几个小时，整个美术馆只属于我们两个人，我们走过每一条画廊，讨论马克·罗思科的画，还有其他一些20世纪的作品。说实话，我完全没有想到他在这些话题上竟有相当的兴趣、见解和知识，感觉绝对不是一个“北欧海盗”或者一个来自阿肯色州的“乡下人”所能具备的，这至少在相识的最初阶段让我感到吃惊。看 完展览以后，我们又来到美术馆的后院，坐在亨利·摩尔的著名雕塑《穿衣服的坐着的女人》那阔大的膝盖上，我们愉快地谈话直到夜色深沉。
不知道这个展览能够成就多少个爱情故事？
该展览自2010年10月3日至2011年4月25日。
无独有偶，克林顿喜来莉的宝贝女儿Chelsea去年8月1日结婚，婚前的一次约会，就是在纽约大都会博物馆的楼顶。其时，大都会楼顶正在举办一个名为“大竹棚”的年度个人特展（Doug + Mike Starn on the Roof: Big Bambú April 27, 2010–October 31, 2010 ）（见下图，网络照片）
MoMA“抽象表现主义作品特展“关资料：
Abstract Expressionist New York
October 3, 2010–April 25, 2011
The Paul J. Sachs Prints and Illustrated Books Galleries, second floorThe Paul J. Sachs Drawings Galleries, third floor
The Alfred H. Barr, Jr. Painting and Sculpture Galleries, fourth floor
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More than sixty years have passed since the critic Robert Coates, writing in the New Yorker
in 1946, first used the term “Abstract Expressionism” to describe the
richly colored canvases of Hans Hofmann. Over the years the name has
come to designate the paintings and sculptures of artists as different
as Jackson Pollock and Barnett Newman, Willem de Kooning and Mark
Rothko, Lee Krasner and David Smith. Beginning in the 1940s, under the
aegis of Director Alfred H. Barr, Jr., works by these artists began to
enter the Museum’s collection. Thanks to the sustained support of the
curators, the trustees, and the artists themselves, these ambitious
acquisitions continued throughout the second half of the last century
and produced a collection of Abstract Expressionist art of unrivaled
breadth and depth.
Drawn entirely from the Museum’s vast holdings, Abstract Expressionist New York
underscores the achievements of a generation that catapulted New York
City to the center of the international art world during the 1950s, and
left as its legacy some of the twentieth century’s greatest
masterpieces. Galleries on the fourth floor present Abstract
Expressionist paintings, sculptures, prints, drawings, photographs,
films, and archival materials in a display subtitled The Big Picture,
marking the first time in the history of the new Museum building that a
full floor has been devoted to a single theme. The exhibition continues
on the floors below, where focused shows—Rock Paper Scissors in the second-floor Prints and Illustrated Books Galleries, and Ideas Not Theories
in the third-floor Drawings Galleries—reveal distinct facets of the
movement as it developed in diverse mediums, adding to a historical
overview of the era and giving a sense of its great depth and
complexity. The exhibition is accompanied by a richly illustrated
publication.
Organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture.
The exhibition is made possible by HyundaiCard Company.
Major support is provided by Donald B. Marron and The Dana Foundation.
Additional funding is provided by Anne and Joel Ehrenkranz, Sue and
Edgar Wachenheim III, David Teiger, and Sally and Wynn Kramarsky.
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