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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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Fashioning Beaton Portraits:1928-1968 exhibition

 

Annebella Pollen
 Annebella Pollen
Joined: 1 year ago
Posts: 18
Topic starter  

Dear Marlene,

I enjoyed your presentation very much, especially it’s combination of museology, exhibition design history, fashion and photography (so many of my favourite things). I particularly relished the critical letters about the shortcomings of the display strategies, which seemed to veer from the theatrical and immersive to the deliberately antagonistic and distracting (almost literally smoke and mirrors). You gave a convincing reading of the exhibition’s achievements in the period but to my contemporary eyes it looks amateurish. What do you think were its shortcomings? What did Buckle do afterwards? What curatorial strategies did he continue to deploy?
Thanks,

 Bella 


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MARLÈNE VAN DE CASTEELE
 MARLÈNE VAN DE CASTEELE
Joined: 1 year ago
Posts: 3
 

Dear Annebella,

thank you so much for your interest in my presentation and your comment very relevant.

As it is a bit long to explain, you will find enclose my answer. I hope it can answer to your questions!

All the best,

Marlène 


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Annebella Pollen
 Annebella Pollen
Joined: 1 year ago
Posts: 18
Topic starter  

Marvellous Marlene! Thanks for such a full reply. I’m now fascinated by Buckle who I had only come across in relation to ballet history previously... Great to read those extra quotes too. Thanks again, Bella


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