Abstract

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.

中文翻译：

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通过展览设计“成行”米莎·布莱克（Misha Black）和纠缠

摘要

在许多历史记载中，与特定的政治或文化事件有关的展览都是孤立的。本文将展览视为个人和专业“纠缠”的相互联系的站点，相互联系的实体具有维持和发展多种关系的能力，在这种情况下，是贯穿单个设计师米莎·布莱克（Misha Black（1910–1977））的职业生涯。通过历任委员会的委托，布莱克就有关展览的交流和宣传提出了自己的想法，并为专业设计实践发展了他的网络和建模形式。布莱克工作的展览在这里进行了讨论，包括伊比利亚美洲展览，塞维利亚，1929–1930年；火星小组展览，1938年；格拉斯哥帝国展览，1938年；1939年至1940年，纽约世界博览会；