Greg Castillo
Biographic Data
| ID | 3940603 |
|---|---|
| NAME | Greg Castillo |
| GIVEN NAMES | Greg |
| FAMILY NAME | Castillo |
| SIGNATURE | CASTILLO G |
| AFFILIATIONS | University of California, Berkeley |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 13 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1995 |
| LATEST PUBLICATION YEAR | 2012 |
| H-INDEX | 2 |
Making a Spectacle of Restraint
The Deutschland pavilion at the 1958 Brussels World’s Fair depicted West Germany not only as culturally and technologically modern but also as the antithesis of socialist East Germany and the disgraced Third Reich. International-style architecture and modernist exhibition design were mobilized as instruments of cultural soft power to convey these multiple messages. Hans Schwippert of the postwar German Werkbund choreographed exhibition design, de…
East as True West
East as True WestRedeeming Bourgeois Culture, from Socialist Realism to Ostalgie Greg Castillo (bio) Depicting the postwar world as sundered and under siege, Winston Churchill's "Sinews of Peace" speech of March 1946 catapulted the phrase "Iron Curtain" into public discourse and U.S. foreign policy. Churchill warned of a West jeopardized by communist infiltrators—a far cry from the eastern menace posed by the Golden Horde of yore. The literary he…
Promoting Socialist Cities and Citizens
Blueprint for a Cultural Revolution
Socialist realism, introduced to the East German architectural establishment as their nation's new design culture in 1950, brought with it much more than just the USSR's Stalin-era aesthetic. It presented new models of cultural authority, expectations of architects as socialist role models, and innovative systems of reward and discipline — all of these managed by a centralized design bureaucracy linked to party and state through a complex web of …
Domesticating the Cold War
The origins of the US use of model home exhibitions as Cold War cultural propaganda are traced in this article from the campaign’s inception in occupied Germany in the late 1940s, to the Nixon/Khrushchev debate at the American National Exhibition in Moscow in 1959. The US State Department employed federal design specialists and civilian talent, including Edgar Kaufmann Jr of New York’s Museum of Modern Art, to mount exhibits that broadcast the Ma…
Peoples at an Exhibition
Research Article| July 01 1995 Peoples at an Exhibition: Soviet Architecture and the National Question Greg Castillo Greg Castillo Search for other works by this author on: This Site Google South Atlantic Quarterly (1995) 94 (3): 715–746. https://doi.org/10.1215/00382876-94-3-715 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Greg Castillo; Peoples at an Exhibition: Soviet Architecture and the Na…
Domesticating the Cold War
The origins of the US use of model home exhibitions as Cold War cultural propaganda are traced in this article from the campaign’s inception in occupied Germany in the late 1940s, to the Nixon/Khrushchev debate at the American National Exhibition in Moscow in 1959. The US State Department employed federal design specialists and civilian talent, including Edgar Kaufmann Jr of New York’s Museum of Modern Art, to mount exhibits that broadcast the Ma…
Making a Spectacle of Restraint
The Deutschland pavilion at the 1958 Brussels World’s Fair depicted West Germany not only as culturally and technologically modern but also as the antithesis of socialist East Germany and the disgraced Third Reich. International-style architecture and modernist exhibition design were mobilized as instruments of cultural soft power to convey these multiple messages. Hans Schwippert of the postwar German Werkbund choreographed exhibition design, de…
Peoples at an Exhibition
Research Article| July 01 1995 Peoples at an Exhibition: Soviet Architecture and the National Question Greg Castillo Greg Castillo Search for other works by this author on: This Site Google South Atlantic Quarterly (1995) 94 (3): 715–746. https://doi.org/10.1215/00382876-94-3-715 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Greg Castillo; Peoples at an Exhibition: Soviet Architecture and the Na…
Peoples at an Exhibition
Research Article| July 01 1995 Peoples at an Exhibition: Soviet Architecture and the National Question Greg Castillo Greg Castillo Search for other works by this author on: This Site Google South Atlantic Quarterly (1995) 94 (3): 715–746. https://doi.org/10.1215/00382876-94-3-715 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Greg Castillo; Peoples at an Exhibition: Soviet Architecture and the Na…
Blueprint for a Cultural Revolution
Socialist realism, introduced to the East German architectural establishment as their nation's new design culture in 1950, brought with it much more than just the USSR's Stalin-era aesthetic. It presented new models of cultural authority, expectations of architects as socialist role models, and innovative systems of reward and discipline — all of these managed by a centralized design bureaucracy linked to party and state through a complex web of …
Domesticating the Cold War
The origins of the US use of model home exhibitions as Cold War cultural propaganda are traced in this article from the campaign’s inception in occupied Germany in the late 1940s, to the Nixon/Khrushchev debate at the American National Exhibition in Moscow in 1959. The US State Department employed federal design specialists and civilian talent, including Edgar Kaufmann Jr of New York’s Museum of Modern Art, to mount exhibits that broadcast the Ma…
Promoting Socialist Cities and Citizens
East as True West
East as True WestRedeeming Bourgeois Culture, from Socialist Realism to Ostalgie Greg Castillo (bio) Depicting the postwar world as sundered and under siege, Winston Churchill's "Sinews of Peace" speech of March 1946 catapulted the phrase "Iron Curtain" into public discourse and U.S. foreign policy. Churchill warned of a West jeopardized by communist infiltrators—a far cry from the eastern menace posed by the Golden Horde of yore. The literary he…
Making a Spectacle of Restraint
The Deutschland pavilion at the 1958 Brussels World’s Fair depicted West Germany not only as culturally and technologically modern but also as the antithesis of socialist East Germany and the disgraced Third Reich. International-style architecture and modernist exhibition design were mobilized as instruments of cultural soft power to convey these multiple messages. Hans Schwippert of the postwar German Werkbund choreographed exhibition design, de…
European history and politics (5 works) · History (5 works) · Political science (5 works) · Art (4 works) · Art, Politics, and Modernism (4 works) · Law (4 works) · Politics (4 works) · Archaeology (3 works) · Architecture (3 works) · Art history (3 works)