Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
9
result(s) for
"Architecture and society History 20th century Exhibitions."
Sort by:
As seen : exhibitions that made architecture and design history
\"Exhibitions have long played a crucial role in defining disciplinary histories. This volume examines the impact of eleven groundbreaking architecture and design exhibitions held between 1956 and 2006, revealing the different ways they have shaped how these disciplines are understood and practiced today. Featuring written and photographic descriptions of the shows and essays from noted curators, scholars, critics, designers, and artists, As Seen: Exhibitions that Made Architecture and Design History explores the multifaceted ways in which exhibitions have reflected on contemporary dilemmas and opened up new processes and ways of working. Providing a fresh perspective on some of the most important exhibitions of the 20th century from America, Europe, and Japan, including This Is Tomorrow, Expo '70, and Massive Change, this book offers a new framework for thinking about how exhibitions can function as a transformative force in the field of architecture and design\"-- Provided by publisher.
Book
Open Architecture
The International Building Exhibition 1984/87 in Berlin constitutes one of the most remarkable examples to discuss \"open architecture\".Almost 10,000 dwellings were constructed or restored in the Kreuzberg districts adjacent to the Berlin Wall, inhabited about halfway by immigrants.
eBook
Making a spectacle of the colony: Producing and consuming Pasar Gambir in the Dutch East Indies
This article examines the first decade of Pasar Gambir as an annual week-long festival held in the Dutch East Indies in conjunction with Queen Wilhelmina's birthday. As a study of colonial spectacles, it seeks to address the dearth of scholarly literature that analyses how the Western exhibitionary complex functioned in a colonised environment. In producing Pasar Gambir, the Dutch colonisers did not adopt this exhibitionary complex in its entirety. As such, Pasar Gambir assumed the hybridised form of a jaarmarkt-tentoonstelling (fair-cum-exhibition) imbued with market-like characteristics. This reality distinguished Pasar Gambir from its metropolitan equivalents by involving the colonised not only as objectified exhibits on display, but also as active consumers and participants of the spectacle. Ultimately, this article argues that the hybridity of Pasar Gambir undercut Dutch efforts to use it as a vehicle that illustrated and vindicated their claims of benevolence and racial supremacy. Through the Malay language press’ appropriation of the spectacle to underscore the moral superiority of the colonised and the Indies Chinese’ successful boycott of Pasar Gambir in 1925, colonised communities contested the empire-building messages that the Dutch sought to convey through Pasar Gambir and inscribed their own nationalist readings and interpretations of the annual jaarmarkt-tentoonstelling instead.
Journal Article
Archaeology in the World of Display: A Material Study of the Use of History in the Stockholm Exhibition of 1897
History was an important notion in constructing an industrial capitalist society in the nineteenth century. This article deals with the manifest use of history at the Stockholm Exhibition of 1897. At this exhibition, history was ubiquitous and was most fully expressed in the model of medieval and Renaissance Stockholm called \"Old Stockholm.\" The history of nineteenth-and twentieth-century exhibitions in general has been thoroughly studied in the field of humanities. However, the spécifie use of history and space has not attracted much interest. This analysis of the model of Old Stockholm is of the first archaeological study of remains of the great exhibitions ever to have been done. Even though the \"Old Stockholm\" pavilion was exceedingly popular in the summer of 1897, only very scarce documentation has survived. An archaeological excavation of parts of the temporary historical models, such as the \"Hospital of the Holy Spirit,\" showed convincing evidence of the hegemonic position which the use of history enjoyed at the exhibition and in the nineteenth century.
Journal Article
Transsystemic Fantasies: Counterrevolutionary Hungary at Brussels Expo '58
This article explains two paradoxes: Firstly, why did counterrevolutionary Hungary decide to participate in Expo '58, at a time of great economic stringency and grave political problems? Secondly, it is pointed out that the Hungarian pavilion, if it was to be raised at all, would have been expected to be thoroughly soaked in projections affirming the state-socialist identity of the country and its people. From plans to implementation, however, the pavilion was all but up to such expectations. It had, both in terms of its architecture and in terms of its exhibitions, a distinctly modernist complexion and a universalistic-ecumenistic appeal. On the basis of archival sources related to the politicians, administrators and artists-professionals involved in creating the show, this article explains this transsystemic appeal of the pavilion as a manifestation of the emerging kádárist consolidation and its political and social order.
Journal Article
Making a Spectacle of Restraint: The Deutschland Pavilion at the 1958 Brussels Exposition
The Deutschland pavilion at the 1958 Brussels World's Fair depicted West Germany not only as culturally and technologically modern but also as the antithesis of socialist East Germany and the disgraced Third Reich. International-style architecture and modernist exhibition design were mobilized as instruments of cultural soft power to convey these multiple messages. Hans Schwippert of the postwar German Werkbund choreographed exhibition design, deploying the miracle economy's modern consumer culture to celebrate the emergence of a post-Nazi society. Egon Eiermann, aided by Sep Ruf, designed the International-style pavilion, celebrated as the architecture of postwar modernity, but in fact derived from a precedent in Third Reich industrial architecture. As an exercise in cold war soft power, West Germany's Brussels pavilion celebrated the emergence of a West German consumer citizen, while suppressing the presence of a Third Reich past.
Journal Article
West of Center
West of Center elaborates the historical and artistic significance of the counterculture projects of the 1960s and ‘70s within the broader narrative of postwar American art. The contributors illuminate how, in the western United States, the counterculture’s unique integration of art practices, political action, and collaborative life activities serves as a linchpin connecting postwar and contemporary artistic endeavors.
eBook
Bibliography of the Visual Arts and Architecture, Part XX
Tennessee photography as document and art, by John Wood; Tennessee folk art, by Michael Hall; William Edmondson, sculptor, by Leslie King-Hammond; Modem art for modem times, by Susan W. Knowles; Aaron Douglas's Building more stately mansions, by Amy Kirschke; Contemporary craft, by Lynn Jones Ennis; New directions: contemporary art in Tennessee, by Mark W. Scala. Michael Rosenfeld Gallery, New York, NY, January 13-March 4, 2000, the Appleton Museum of Art, Florida State University and Central Florida Community College, Ocala, FL, March 18-April 30, 2000. Katlan, Alexander W. The Black and White Exhibitions of the Salmagundi Sketch Club 1878-1887: A Guide to Etchings, Engravings, Drawings, Sculpture, Ceramics, Oils and Monotypes.
Journal Article
