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After World War II, museum and gallery exhibitions, industrial and trade fairs, biennials, triennials, festivals and world's fairs increasingly came to be used as locations for the exercise of "soft power," for displays of cultural diplomacy between nations and as spaces for addressing areas of social and political contestation. Exhibitions Beyond Boundaries opens with a substantial introduction to the key debates, followed by case studies that advance the field of exhibition histories both geographically and methodologically, focusing on postwar transnational exchange and the wider networks…mehr
After World War II, museum and gallery exhibitions, industrial and trade fairs, biennials, triennials, festivals and world's fairs increasingly came to be used as locations for the exercise of "soft power," for displays of cultural diplomacy between nations and as spaces for addressing areas of social and political contestation. Exhibitions Beyond Boundaries opens with a substantial introduction to the key debates, followed by case studies that advance the field of exhibition histories both geographically and methodologically, focusing on postwar transnational exchange and the wider networks engendered through exhibitions.
Chapters trace relations across Africa, Asia, Europe, the Middle East, the Pacific, and the United States of America, drawing on a range of approaches and perspectives, principally from art and design history but also from social, economic and political history, and museum studies. Featured case studies include the presentation of African-American Art at FESMAN '66 and FESTAC '77, the US's 1961 Small Industries Exhibition in Colombo, Israel's early appearances at the Venice Biennale, the Vatican Pavilion at the 1964-1965 New York World's Fair, and Hong Kong's Pavilion at Expo 70 in Tokyo.
Harriet Atkinson is a historian of design and culture and Researcher at the Centre for Design History at the University of Brighton, UK. She is currently Principal Investigator on the Arts and Humanities Research Council-funded project, '"The Materialization of Persuasion": Modernist Exhibitions in Britain for Propaganda and Resistance, 1933 to 1953' and has written extensively on the history and theory of exhibitions. She is the author of Festival of Britain (Bloomsbury, 2012) and co-editor, with Jeremy Aynsley, of The Banham Lectures (Bloomsbury, 2009). Verity Clarkson is a design historian and Senior Lecturer at the University of Brighton, UK. Her research explores post-war visual and material culture, investigating transnational connections between arts organizations, government bodies and audiences with a particular focus on the organization and reception of exhibitions. She has published on post-1945 exhibitions, trade fairs and art historiography in the context of British Cold War cultural diplomacy. Sarah A. Lichtman is Assistant Professor of Design History at Parsons School of Design, The New School, USA, where she directs the Master of Arts program in the History of Design and Curatorial Studies, offered in affiliation with Cooper Hewitt, Smithsonian Design Museum in New York, USA. She is co-editor, with Pat Kirkham, of Screen Interiors (Bloomsbury, 2021) and has published widely on design and gender. Lichtman is currently Managing Editor of the Journal of Design History.
Inhaltsangabe
List of Figures Acknowledgments Foreword Jonathan M. Woodham (University of Brighton UK) Exhibitions Beyond Boundaries: An Introduction Harriet Atkinson and Verity Clarkson (University of Brighton UK) and Sarah A. Lichtman (Parsons School of Design The New School USA) 1. Universal Civilization and National Cultures: Producing Israel at the Venice Biennale 1948-1952 Chelsea Haines (Arizona State University USA) 2. Salvaging Through Merchandising: America's Vietnamese Craft Diplomacy on Display in the US in 1956 and 1958 Jennifer Way (University of North Texas USA) 3. "A Slightly Exotic Country": Poland's Contentious Debut at the 11th Milan Triennale 1957 Katarzyna Jezowska (UNSW Sydney Australia) 4. Self-management on Display: Negotiating the Visions of Yugoslav Socialist Modernity at Expo 58 and Porodica i domacinstvo Exhibitions Rujana Rebernjak (London College of Communication UAL UK) 5. "One of the Puzzles of the Exhibition": A Misunderstood Cittadina Neoliberty and the Italian Display at Brussels Expo 58 Rika Devos and Serena Pacchiani (Université Libre de Bruxelles Belgium) 6. Assembling Smallness: The United States Small Industries Exhibition in Colombo 1961 Nushelle de Silva (MIT USA) 7. Painting from the Pacific and Artistic Exchange Across the Pacific 1961 Ian Cooke (Independent Scholar USA) 8. "A Wholly American Plastic Package": Transnationalism Technology and Theology at The Vatican Pavilion in the 1964-1965 New York World's Fair Ethan Robey (Pennsylvania State University USA) 9. "The Gentle Art of Cookery": Exhibiting Transnational Anglo-Russian Diplomatic History During the Cold War 1967 Verity Clarkson (University of Brighton UK) 10. From FESMAN '66 to FESTAC '77: Competing Curatorial Strategies for African-American Art at Pan-African Festivals Lindsay Twa (Augustana University USA) 11. Designing Stability: Hong Kong's Pavilion at Expo 70 and Local Expositions Daniel Cooper (Columbia University USA) and Juliana Kei (Royal College of Art UK) 12. Pharaoh Diplomacy: The Soft Power of the Treasures of Tutankhamun Mario Schulze (Zürich University of the Arts Switzerland) 13. A "Tropic-Proof Container Exhibition": The Role of Environmental Factors in Configuring Design a Dutch Case Study Joana Meroz (Vrije Universiteit Amsterdam the Netherlands) Notes on Contributors Index
List of Figures Acknowledgments Foreword Jonathan M. Woodham (University of Brighton UK) Exhibitions Beyond Boundaries: An Introduction Harriet Atkinson and Verity Clarkson (University of Brighton UK) and Sarah A. Lichtman (Parsons School of Design The New School USA) 1. Universal Civilization and National Cultures: Producing Israel at the Venice Biennale 1948-1952 Chelsea Haines (Arizona State University USA) 2. Salvaging Through Merchandising: America's Vietnamese Craft Diplomacy on Display in the US in 1956 and 1958 Jennifer Way (University of North Texas USA) 3. "A Slightly Exotic Country": Poland's Contentious Debut at the 11th Milan Triennale 1957 Katarzyna Jezowska (UNSW Sydney Australia) 4. Self-management on Display: Negotiating the Visions of Yugoslav Socialist Modernity at Expo 58 and Porodica i domacinstvo Exhibitions Rujana Rebernjak (London College of Communication UAL UK) 5. "One of the Puzzles of the Exhibition": A Misunderstood Cittadina Neoliberty and the Italian Display at Brussels Expo 58 Rika Devos and Serena Pacchiani (Université Libre de Bruxelles Belgium) 6. Assembling Smallness: The United States Small Industries Exhibition in Colombo 1961 Nushelle de Silva (MIT USA) 7. Painting from the Pacific and Artistic Exchange Across the Pacific 1961 Ian Cooke (Independent Scholar USA) 8. "A Wholly American Plastic Package": Transnationalism Technology and Theology at The Vatican Pavilion in the 1964-1965 New York World's Fair Ethan Robey (Pennsylvania State University USA) 9. "The Gentle Art of Cookery": Exhibiting Transnational Anglo-Russian Diplomatic History During the Cold War 1967 Verity Clarkson (University of Brighton UK) 10. From FESMAN '66 to FESTAC '77: Competing Curatorial Strategies for African-American Art at Pan-African Festivals Lindsay Twa (Augustana University USA) 11. Designing Stability: Hong Kong's Pavilion at Expo 70 and Local Expositions Daniel Cooper (Columbia University USA) and Juliana Kei (Royal College of Art UK) 12. Pharaoh Diplomacy: The Soft Power of the Treasures of Tutankhamun Mario Schulze (Zürich University of the Arts Switzerland) 13. A "Tropic-Proof Container Exhibition": The Role of Environmental Factors in Configuring Design a Dutch Case Study Joana Meroz (Vrije Universiteit Amsterdam the Netherlands) Notes on Contributors Index
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