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Evoluon 2 (crop 1)

Evoluon, Eindhoven, 1968

Evoluon, Eindhoven, 1968

Science and technology exhibition, Evoluon, Eindhoven, 1968
UoB Design Archives

Evoluon 2 (crop 1)
Britain Can Make It 1 (crop 1)

Mural in the Furnished Room, Britain Can Make It, V&A, London, 1946
UoB Design Archives

Britain Can Make It 1 (crop 1)
Taiwan 1 (crop 1)

Sketch of exhibition layout,
National Museum of Natural Science, Taiwan, 1986-88
UoB Design Archives

Taiwan 1 (crop 1)
Britain Can Make It 2 (crop 1)

Tea Bar, Britain Can Make It, V&A, London, 1946
UoB Design Archives

Britain Can Make It 2 (crop 1)
Taiwan 2 (crop 1)

Interior view,
National Museum of Natural Science, Taiwan, 1986-88
UoB Design Archives

Taiwan 2 (crop 1)
Exhibition 1

Construction of exhibition space,
Britain Can Make It, V&A, London, 1946
UoB Design Archives

Exhibition 1
Taiwan 3 (crop 1)

Interior view,
National Museum of Natural Science, Taiwan, 1986-88
UoB Design Archives

Taiwan 3 (crop 1)
B&BwFord

President Ford, Robert Staples, and Barbara Fahs Charles
with model of the "Levitating White House," for the Ford Museum, 1980
Staples & Charles

B&BwFord
Francisco 2 059

Sketch of Australia section,
Commonwealth Institute, London, c. 1961
UoB Design Archives

Francisco 2 059
Festival of Britain 2 (crop 1)

Fashions Hall, Britain Can Make It, V&A, London, 1946
UoB Design Archives

Festival of Britain 2 (crop 1)
Evoluon 1 (crop 1)

Gallery view of The Senster,
Evoluon, Eindhoven, 1968
UoB Design Archives

Evoluon 1 (crop 1)
PhotographyandtheCityinstallSI19681

Installation view, Photography and the City,
Smithsonian Institution, Washington DC, 1968
Staples & Charles

PhotographyandtheCityinstallSI19681
Evoluon 3 (crop 1)

General view
Evoluon, Eindhoven, 1968
UoB Design Archives

Evoluon 3 (crop 1)
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Artists' books exhibitions

 

Susana Sanchez-Gonzalez
 Susana Sanchez-Gonzalez
Joined: 1 year ago
Posts: 4
Topic starter  

Hi Elisa, just wanted to let you know how much I've enjoyed your presentation. I particularly like the distinction you make between representational and experimental approaches to expository techniques. The subject of my PhD is also books and exhibitions, although I don't focus on artists' books. Perhaps, I'm more inclined to think in terms of "rare books", simply because they tend to dominate exhibition programmes in libraries, the main setting for my investigations. Likewise, my research is not (solely) driven by issues of design but by an interest in the visitor's emotional responses to the books on display, and the experiences elicited by their engagement with the book-object. However, I do contemplate different approaches to interpretation, and how they may impact on the visitor's exhibition experience. It would be great to talk further if you are interested. You can connect with me @theTLtweets or email me: susana.sanchez-gonzalez@manchester.ac.uk 


Elisa Noronha Nascimento
 Elisa Noronha Nascimento
Joined: 1 year ago
Posts: 1
 

Hi Susana,

Thank you very much for your message.
I'm very interested in knowing more about your research.
I’ll get in contact with you.


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Claire Wintle
 Claire Wintle
Admin
Joined: 2 years ago
Posts: 55
 

Dear Elisa, thanks for this fascinating paper (it was a great panel all round!) It says a lot about the status of museums (and my perception of them!) that I was shocked that the Bremen museum allowed visitors to make photocopies of the books in the gallery space and take them freely away. I wondered if you could reflect on that curatorial act a little more? It raised all sorts of issues for me, in terms of the museum team enabling a democratic, co-productive activity, as well as issues around object ‘aura’ and conservation.

Thanks so much, Claire Wintle


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