'Lines of Becoming' Misha Black and Entanglements through Exhibition Design
'Lines of Becoming' Misha Black and Entanglements through Exhibition Design
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“生成之线”米莎·布莱克和展览设计中的纠葛
DOI：
10.1093/jdh/epaa046
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发表时间：
2021
影响因子：
0.2
通讯作者：
Atkinson H
中科院分区：
文献类型：
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作者：
Atkinson H
在许多历史记载中，展览被认为是孤立的，与特定的政治或文化事件有关。相反，本文将展览视为个人和职业“纠缠”的相互关联的场所，连接的实体有能力维持和发展多种关系，在这种情况下，跨越了单个设计师米莎·布莱克（Misha Black，1910-1977）的职业生涯。通过连续的委托，布莱克发展了关于展览作为沟通和宣传的想法，并为专业设计实践发展了他的网络和建模形式。这里讨论的布莱克参与的展览包括伊比利亚美洲展览，塞维利亚，1929-1930 年；火星群展，1938；格拉斯哥帝国展览，1938；纽约世界博览会，1939 年至 1940 年；信息部在第二次世界大战和 1951 年英国艺术节期间举办的展览。
In many historical accounts exhibitions are considered in isolation, in relation to specific political or cultural events. This article instead interrogates exhibitions as interlinked sites of personal and professional ‘entanglement’, connected entities that have capacity to sustain and develop multiple relationships, in this case across the career of a single designer, Misha Black (1910–1977). Through successive commissions, Black developed ideas about exhibitions as communication and propaganda, as well as developing his network and modelling formations for professional design practice. Exhibitions Black worked on which are discussed here included The Ibero-American Exhibition, Seville, 1929–1930; MARS Group Exhibition, 1938; Glasgow Empire Exhibition, 1938; New York World’s Fair, 1939–1940; Ministry of Information exhibitions mounted during the Second World War and the Festival of Britain, 1951.