Exhibitions Beyond Boundaries: Transnational Exchanges through Art, Architecture, and Design 1945–1985

Cover
Halftitle page
Title page
Copyright page
Dedication
CONTENTS
ILLUSTRATIONS
FOREWORD
	NOTES
ACKNOWLEDGMENTS
EXHIBITIONS BEYOND BOUNDARIES: AN INTRODUCTION
	ORIGINS AND FRAMEWORKS
	SITUATING EXHIBITIONS AND TRANSNATIONALISM
	RECONFIGURING GEOGRAPHIES
	NEGOTIATING IDENTITIES
	WHY 1945 TO 1985?
	NETWORKS AND AGENTS
	THE AFTERLIFE OF EXHIBITIONS
	THE CHAPTERS
	THE FUTURE OF TRANSNATIONAL EXHIBITIONS?
	NOTES
1 UNIVERSAL CIVILIZATION AND NATIONAL CULTURES: PRODUCING ISRAEL AT THE VENICE BIENNALE, 1948–1952
	(EUROPEAN) UNIVERSALISM
	A STATE IN PROGRESS
	A STATE OF PROGRESS
	NATIONALIZING THE VERNACULAR
	CLEANING UP THE CANON
	A NATIONAL MODERNISM?
	NOTES
2 SALVAGING THROUGH MERCHANDISING: AMERICA’S VIETNAMESE CRAFT DIPLOMACY ON DISPLAY IN THE US IN 1956 AND 1958
	THE STATE DEPARTMENT, RUSSEL WRIGHT AND CRAFT DIPLOMACY
	THE GEOPOLITICS OF US INTERESTS
	SOUTHEAST ASIA REHABILITATION AND TRADE DEVELOPMENT SURVEY EXHIBITION, 1956
	UNITED STATES WORLD TRADE FAIR, 1958
	FAILURES IN US CRAFT DIPLOMACY WITH SOUTH VIETNAM
	NOTES
3 “A SLIGHTLY EXOTIC COUNTRY”: POLAND’S CONTENTIOUS DEBUT AT THE 11TH MILAN TRIENNALE, 1957
	THE POST-THAW TRIENNALE
	“CONTEMPORARY EXAMPLES OF THE HISTORIC ARTS”
	VERNACULAR DESIGNS OR “FURNITURE FOR MODERN NEANDERTHALS”?
	PRAISE FOR ORIGINALITY
	APPLAUSE AND CRITICISM AT HOME
	SHIFTING VISIONS
	NOTES
4 SELF-MANAGEMENT ON DISPLAY: NEGOTIATING THE VISIONS OF YUGOSLAV SOCIALIST MODERNITY AT EXPO 58 AND PORODICA I DOMAC´INSTVO EXHIBITIONS
	DEFINING SELF-MANAGEMENT
	YUGOSLAV PAVILION AT EXPO 58: SELF-MANAGEMENT AS RHETORIC
	THE FORM OF SELF-MANAGEMENT
	PORODICA I DOMA C´ INSTVO: SELF-MANAGEMENT AS MODERN DOMESTICITY
	SELF-MANAGEMENT BETWEEN CONSUMPTION AND IDEOLOGY
	NOTES
5 “ONE OF THE PUZZLES OF THE EXHIBITION”: A MISUNDERSTOOD CITTADINA, NEOLIBERTY, AND THE ITALIAN DISPLAY AT BRUSSELS EXPO 58
	POSTWAR TRANSNATIONAL MODERN STYLE AND ITALIAN AMBIGUITY
	COERENZA (COHERENCE) AND CONTINUITÀ (CONTINUITY): THE ORIGINS OF THE CITTADINA
	“INFANTILE REGRESSION?” INSULTED ITALIANS AND AGITATED PROFESSIONALS
	AN EVEN MORE MODEST PRESENCE: THE INTERIOR ARCHITECTURE OF THE CITTADINA
	A NEW EXHIBITION SCENARIO: LAST MINUTE INPUT BUILDING ON LONG STANDING EXPERTISE
	A VICTORY OVER TRANSNATIONAL MODERNISM OR A RETREAT FROM THE CONTEMPORARY DEBATE?
	NOTES
6 ASSEMBLING SMALLNESS: THE UNITED STATES SMALL INDUSTRIES EXHIBITION IN COLOMBO, 1961
	A CENTURY OF LANKAN-US RELATIONS
	NEGOTIATING DEVELOPMENT BETWEEN COMPETING IDEOLOGIES
	FROM PEOPLE’S CAPITALISM TO THE POWER OF SMALL INDUSTRIES
	DESIGNING THE EXHIBITION EXPERIENCE
	INTERFACING THE LOCAL FAMILIAR WITH THE FOREIGN UNKNOWN
	COMPETING VISIONS OF SMALLNESS
	AN ASSEMBLAGE OF SMALLNESS
	ACKNOWLEDGMENTS
	NOTES
7 PAINTING FROM THE PACIFIC AND ARTISTIC EXCHANGE ACROSS THE PACIFIC, 1961
	PAINTING FROM THE PACIFIC AS TRANSNATIONAL EXHIBITION
	NEW ZEALAND’S SHIFTING GEOPOLITICAL RELATIONS
	NEW ZEALAND’S POSTWAR CULTURAL EXPANSIONS
	THE CONTENTS OF PAINTING FROM THE PACIFIC
	PAINTING FROM THE PACIFIC: CREATING TRANSNATIONAL NETWORKS
	A “SYMPATHETIC LINK”: REGIONAL CONSTRUCTIONS
	PAINTING FROM THE PACIFIC: DEVELOPMENT AND DISPLAY
	A CONFLUENCE OF CIRCUMSTANCE
	NOTES
8 “A WHOLLY AMERICAN PLASTIC PACKAGE”: TRANSNATIONALISM, TECHNOLOGY, AND THEOLOGY AT THE VATICAN PAVILION IN THE 1964–1965 NEW YORK WORLD’S FAIR
	SETTING THE STAGE
	THE AMERICAN PLASTIC PACKAGE
	THE BUILDING
	THE NEW LITURGY
	PACEM IN TERRIS
	JO MIELZINER STAGES THE PIETA
	REACTIONS
	FAITH IN THE SPACE AGE
	ACKNOWLEDGMENTS
	NOTES
9 “THE GENTLE ART OF COOKERY”: EXHIBITING TRANSNATIONAL ANGLO RUSSIANDIPLOMATIC HISTORY DURING THE COLD WAR, 1967
	TRANSNATIONAL COLD WAR DIPLOMACY
	“IT WAS ALL DONE WITH SMILES”
	“AN EXHIBITION WITHOUT SALT”?
	RESHAPING HISTORICAL NARRATIVES?
	ACKNOWLEDGMENTS
	NOTES
10 FROM FESMAN ’66 TO FESTAC ’77: COMPETING CURATORIAL STRATEGIES FOR AFRICAN-AMERICAN ART AT PAN-AFRICAN FESTIVALS
	ORGANIZING THE US CONTRIBUTIONS TO FESMAN’S TRENDS AND CONFRONTATIONS
	US FESMAN CONVERSATIONS ERUPT
	FESMAN BECOMES FOIL TO FESTAC
	FESTAC (ALMOST NOT) REALIZED
	US ARTISTS EXPERIENCE FESTAC
	ACKNOWLEDGMENTS
	NOTES
11 DESIGNING STABILITY: HONG KONG’S PAVILION AT EXPO 70 AND LOCAL EXPOSITIONS
	THE “BERLIN OF THE EAST”: HONG KONG AS A STRATEGIC ADMINISTRATIVE ZONE
	HONG KONG WEEK AND HKBPE
	“76 NATIONS AND ONE SPECIAL ADMINISTRATIVE ZONE”: HONG KONG IN EXPO 70
	“JUST A BLOCKHOUSE WITH A LOT OF SAILS ON IT”
	RE-INVENTING TRADITIONS
	POSTSCRIPT
	ACKNOWLEDGMENTS
	NOTES
12 PHARAOH DIPLOMACY: THE SOFT POWER OF THE TREASURES OF TUTANKHAMUN
	“TUT—EGYPT’S SPECIAL AMBASSADOR”
	MUSEUM DIPLOMACY: THE INTERESTS OF THE WESTERN MUSEUM DIRECTORS
	THE CULTURAL DIPLOMACY OF OIL: THE US, BRITISH, AND GERMAN GOVERNMENTS’ INTERESTS IN EGYPTIAN RESOURCES
	OBJECT DIPLOMACY: WESTERN APPROPRIATION OF EGYPTIAN MATERIAL CULTURE
	WHOSE POWERS?
	NOTES
13 A “TROPIC-PROOF CONTAINER EXHIBITION”: THE ROLE OF ENVIRONMENTAL FACTORS IN CONFIGURING DESIGN, A DUTCH CASE STUDY
	DUTCH CULTURAL DIPLOMACY BETWEEN IMMUTABILITY AND MOBILITY
	DESIGN EXHIBITIONS AS “PLASTIC DIPLOMACY”
	DESIGNING MOBILITY AND MOBILIZING DESIGN
	DUTCH DESIGN AS HUMANE MODERN GRAPHIC DESIGN
	REAPPRAISING THE ROLE OF ENVIRONMENTAL FACTORS
	NOTES
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