Exhibitions Beyond Boundaries

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.

• List of FiguresAcknowledgmentsForeword, 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 ContributorsIndex