"With an impressively global scope, this book explores approaches to the study of exhibitions within and beyond the disciplinary boundaries of art and design history. After World War II, exhibition spaces such as museums and fairs and festivals were increasingly used as locations for the exercise of 'soft power', for displays of cultural diplomacy between nations and for addressing social and political contestation. Featured case studies include explorations of the life and work of Misha Black, Belgo-American exchanges during the Cold War, Israel's appearance at the 1948-1952 Venice Biennale and the Vatican Pavilion at the 1964-1965 New York World's Fair"--
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.
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The first academic work to present design exhibitions as an important means of international exchange in terms of culture, diplomacy and 'soft power'.
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ix | |
| Foreword |
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xi | |
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| Acknowledgments |
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xvi | |
| Exhibitions Beyond Boundaries: An Introduction |
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1 | (18) |
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1 Universal Civilization and National Cultures: Producing Israel at the Venice Biennale, 1948-1952 |
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19 | (20) |
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2 Salvaging Through Merchandising: America's Vietnamese Craft Diplomacy on Display in the US in 1956 and 1958 |
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39 | (20) |
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3 "A Slightly Exotic Country": Poland's Contentious Debut at the 11th Milan Triennale, 1957 |
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59 | (18) |
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4 Self-Management on Display: Negotiating the Visions of Yugoslav Socialist Modernity at Expo 58 and Porodica I domacinstvo Exhibitions |
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77 | (20) |
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5 "One of the Puzzles of the Exhibition": A Misunderstood Cittadina, Neoliberty, and the Italian Display at Brussels Expo 58 |
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97 | (18) |
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6 Assembling Smallness: The United States Small Industries Exhibition in Colombo, 1961 |
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115 | (20) |
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7 Painting from the Pacific and Artistic Exchange Across the Pacific, 1961 |
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135 | (18) |
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8 "A Wholly American Plastic Package": Transnationalism, Technology, and Theology at the Vatican Pavilion in the 1964-1965 New York World's Fair |
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153 | (18) |
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9 "The Gentle Art of Cookery": Exhibiting Transnational Anglo-Russian Diplomatic History During the Cold War, 1967 |
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171 | (18) |
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10 From FESMAN '66 to FESTAC '77: Competing uratorial Strategies for African-American Art at Pan-African Festivals |
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189 | (20) |
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11 Designing Stability: Hong Kong's Pavilion at Expo 70 and Local Expositions |
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209 | (18) |
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12 Pharaoh Diplomacy: The Soft Power of the Treasures of Tutankhamun |
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227 | (18) |
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13 A "Tropic-Proof Container Exhibition": The Role of Environmental Factors in Configuring Design, a Dutch Case Study |
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245 | (18) |
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| Bibliography |
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263 | (20) |
| Notes on Contributors |
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283 | (4) |
| Index |
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287 | |
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.
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