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"The Materialisation of Persuasion": Modernist Exhibitions in Britain for Propaganda and Resistance, 1933 to 1953

“说服的物化”：英国现代主义宣传与抵抗展览，1933年至1953年

基本信息

批准号：
AH/S001883/1
负责人：
Harriet Atkinson
金额：
$ 22.12万
依托单位：
University of Brighton
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2019
资助国家：
英国
起止时间：
2019 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FS001883%2F1
关键词：
Materialisation Persuasion Modernist Exhibitions Britain

项目摘要

'"The Materialisation of Persuasion": Modernist Exhibitions in Britain for Propaganda and Resistance, 1933 to 1953' investigates exhibitions developed for communication of propaganda and resistance from the inter- to the post-war period in Britain. The exhibitions that are central to this project were intended to influence or persuade, with ideas, not objects, as the central focus. Pivotal to this project is a vision, which the designers shared, of such exhibitions as active and participative 'demonstrations', as acts of provocation, rather than as 'displays' seen by a passive audience, primarily acting as platforms for displaying the fruits of commerce, trade, industry or the arts. This vision was initially inspired by exhibitions held in Russia and Germany and informed the visual language of the early British welfare state. This project will focus, in particular, on a range of exhibitions developed by the Artists' International Association (AIA) from 1933 and the Ministry of Information from 1940, intended to inspire hope, pride and to teach the populous new skills. These can, as shorthand, be described as "propaganda" or "information" exhibitions, although the complexities and contradictions of these titles will be addressed within this project. These were mounted by a network of designers including Misha Black (1910-1972), F.H.K. Henrion (1914-1990), James Holland (1905-1996), Milner Gray (1899-1997) and Richard Levin (1910-2000), all of whom worked on exhibitions during the two decades from 1933 and were members of interlinking personal, professional and activist networks, many of them recent arrivals fleeing the Nazi threat. AIA artist-members included many of the most significant British artists of the time: Henry Moore (1898-1986), Eric Gill (1882-1940), Augustus John (1878-1961), Vanessa Bell (1879-1961) and Paul Nash (1889-1946); while the Ministry of Information's Exhibitions Division employed celebrated Modernist architects Frederick Gibberd (1908-1984) and Peter Moro (1911-1998). This research will connect propaganda exhibitions held across a range of locations around, and beyond, Britain during these decades. They were mounted by an extended network of designers, for whom group-work was an important manifestation of a belief in collaboration and collectivity. It will assert this as a key, but largely overlooked, element in British Modernism. Particular case studies will include various AIA exhibitions mounted from 1934 (for example 'Art for the People', 1939 held at Whitechapel Art Gallery and 'For Liberty', 1943, held on a London bombsite); The Peace Pavilion at the Paris World Fair, 1937; The Modern Architecture Group (or MARS) exhibition, 1937; Picasso's Guernica touring sites around Britain including a car showroom, 1937-8; Empire Exhibition, Glasgow, 1938 (in particular installations by Misha Black); the British Pavilion at New York World's Fair, 1939; Aid to Russia, 1942; Ministry of Information exhibitions mounted in sites such as Charing Cross Underground Station and travelling round Britain to shops and village halls from 1940-45; and by Central Office of Information from 1946; and Britain Can Make It, V&A, 1946, (specifically installations by Design Research Unit). Drawing on primary and secondary sources, this project will also make comparisons of the style, content and ideological impetus of other exhibitions mounted across Europe and North America during the same period.Major outputs of "The Materialisation of Persuasion" will be: a monograph entitled 'Modernism, Propaganda and the Public: Exhibitions in Britain 1933-1953'; a co-edited essay collection 'Beyond Boundaries: Art and Design Exhibitions as Transnational Exchange from 1945'; a methodologically-focused journal article; and a documentary film exploring British propaganda exhibitions during this period and assessing their significance today.

“说服的物质化”：1933年至1953年英国现代主义宣传与抵抗展览”调查了战后至战后英国为宣传与抵抗交流而发展的展览。展览是这个项目的核心，目的是影响或说服，以思想，而不是物体，作为中心焦点。这个项目的关键是设计师分享的一个愿景，即这样的展览是积极的和参与性的“示范”，作为挑衅的行为，而不是被动的观众看到的“展示”，主要作为展示商业、贸易、工业或艺术成果的平台。这一愿景最初受到在俄罗斯和德国举办的展览的启发，并影响了早期英国福利国家的视觉语言。该项目将特别侧重于艺术家国际协会（AIA）从1933年和信息部从1940年开发的一系列展览，旨在激发希望、自豪感和教授人口众多的新技能。这些展览可以简单地描述为“宣传”或“信息”展览，尽管这些标题的复杂性和矛盾性将在本项目中得到解决。这些展览由米沙·布莱克（1910-1972）、F.H.K.亨利恩（1914-1990）、詹姆斯·霍兰德（1905-1996）、米尔纳·格雷（1899-1997）和理查德·莱文（1910-2000）等设计师组成，他们都在1933年起的20年里参与展览，是相互联系的个人、专业和活动家网络的成员，其中许多人是最近逃离纳粹威胁而来的。AIA的艺术家成员包括当时许多最重要的英国艺术家：亨利·摩尔（1898-1986）、埃里克·吉尔（1882-1940）、奥古斯都·约翰（1878-1961）、凡妮莎·贝尔（1879-1961）和保罗·纳什（1889-1946）；而信息部的展览部则雇佣了著名的现代主义建筑师弗雷德里克·吉伯德（Frederick Gibberd, 1908-1984）和彼得·莫罗（Peter Moro, 1911-1998）。这项研究将把这几十年来在英国周围和以外的一系列地点举行的宣传展览联系起来。它们是由设计师组成的扩展网络，对他们来说，团队工作是协作和集体信念的重要体现。它将断言这是英国现代主义的一个关键因素，但在很大程度上被忽视了。具体案例研究将包括1934年以来举办的各种AIA展览（例如，1939年在白教堂美术馆举行的“为人民的艺术”和1943年在伦敦爆炸现场举行的“为自由”）；1937年巴黎世博会的和平馆；现代建筑组（MARS）展览，1937年；毕加索的《格尔尼卡》在英国各地巡回演出，包括1937年至1938年的一个汽车陈列室；帝国展览，格拉斯哥，1938年（特别是米沙·布莱克的装置作品）；1939年纽约世界博览会英国馆；对俄援助，1942年；从1940年到1945年，信息部在查令十字地铁站等地点举办展览，并在英国各地的商店和村庄大厅展出；从1946年起由中央新闻处；《英国能制造它》，V&A， 1946年（特别由Design Research Unit设计）。该项目还将借鉴一手和二手资料，对同期在欧洲和北美举办的其他展览的风格、内容和思想动力进行比较。“说服的物质化”的主要产出将是：题为“现代主义、宣传和公众：英国1933-1953年的展览”的专著；合编散文集《超越边界：1945年以来作为跨国交流的艺术与设计展览》；一篇以方法论为重点的期刊文章；以及一部探索这一时期英国宣传展览并评估其今天意义的纪录片。