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128 rare, vintage photographs: 200 buildings — 79 of foreign governments, 38 of U.S. states — the original ferris wheel, first midway, Edison's kinetoscope, much more. 128 black-and-white photographs. Captions. Map. Index.
What came to be known as the World s Columbian Exposition was planned to commemorate the 400th anniversary of Christopher Columbus s 1492 landfall in the New World. Chicago beat out New York City, St. Louis, Missouri, and Washington, DC, in its bid as host a coup for the Windy City. The site finally selected for the fair was Jackson Park, originally designed by Frederick Law Olmsted and Calvert Vaux, a marshy area covered with dense, wild vegetation. Daniel H. Burnham and John W. Root were selected as chief architects, creating the famous White City. The fair featured several different thematic areas: the Great Buildings, Foreign Buildings, State Buildings, and the Midway Plaisance, a nearly mile-long area that featured exotic exhibits. The exposition also showcased the world s first Ferris Wheel and introduced fairgoers to new sensations like Cracker Jack, Pabst Beer, and ragtime music. The World s Columbian Exposition, covering 633 acres, opened on May 1, 1893. Admission prices were 50cents for adults, 25cents for children under 12 years of age, and free for children under six. Unfortunately, by 1896, most of the fair s buildings had been removed or destroyed, but this collection takes readers on a tour of the grounds as they looked in 1893."
As did millions of others, Williams traveled by train to Chicago in 1893 and immersed himself in the captivating sights and events of the greatest world's fair-- the watershed and record-breaking World Columbian Exposition, popularly called "The White City."
Built as a temporary structure and made of ephemeral materials, "Cairo Street" had a dual nature. On the one hand it was a purely scientific installation, a piece of anthropology. On the other, it became the most popular entertainment venue at the World's Columbian Exposition of Chicago (1893), a place where "people went wild with excitement". Far from being a copy of any actual street, it was an assemblage of authentic architectural elements put together in such a way as to conjure up the atmosphere of the Arab-Islamic metropolis, the city of the Thousand and One Nights. Its impact was greatly enhanced by the presence of local Cairo inhabitants, who plied their trade, some of them with their camels, donkeys, monkeys, and even snakes. The belly dancing on Cairo Street caused an enormous stir: many claimed that it was immoral and called for its immediate suspension; others regarded it as a performance of important scientific and ethnological value. It was never suspended-and people flocked to see it. An immense amount has been written about world's fairs. This monograph represents a novel approach in that it subjects a single project, the Cairo Street, to detailed analysis, placing particular emphasis on interpreting it within the context of the Fair as a whole. What was the great uproar about the belly dancing? What motivated it? In order to answer these questions, this monograph attempts to offer a complex, multi-faceted, interpretation within the context of the society of the time. Cairo Street was the sensation of the World's Columbian Exposition, a fair which many sold their stoves, mortgaged their houses, spent their life savings or their funeral money to see. This monograph is enhanced with a ground plan and 168 illustrations.
Unfair Labor? is the first book to explore the economic impact of Native Americans who participated in the 1893 World's Columbian Exposition held in Chicago. By the late nineteenth century, tribal economic systems across the Americas were decimated, and tribal members were desperate to find ways to support their families and control their own labor. As U.S. federal policies stymied economic development in tribal communities, individual Indians found creative new ways to make a living by participating in the cash economy. Before and during the exposition, American Indians played an astonishingly broad role in both the creation and the collection of materials for the fair, and in a variety of jobs on and off the fairgrounds. While anthropologists portrayed Indians as a remembrance of the past, the hundreds of Native Americans who participated were carving out new economic pathways. Once the fair opened, Indians from tribes across the United States, as well as other indigenous people, flocked to Chicago. Although they were brought in to serve as displays to fairgoers, they had other motives as well. Once in Chicago they worked to exploit circumstances to their best advantage. Some succeeded; others did not. Unfair Labor? breaks new ground by telling the stories of individual laborers at the fair, uncovering the roles that Indians played in the changing economic conditions of tribal peoples, and redefining their place in the American socioeconomic landscape.
This handsomely illustrated book is a welcome addition to the history of women during America’s Gilded Age. Wanda M. Corn takes as her topic the grand neo-classical Woman’s Building at the 1893 Columbian Exposition in Chicago, a structure celebrating modern woman’s progress in education, arts, and sciences. Looking closely at the paintings and sculptures women artists made to decorate the structure, including the murals by Mary Cassatt and Mary MacMonnies, Corn uncovers an unspoken but consensual program to visualize a history of the female sex and promote an expansion of modern woman’s opportunities. Beautifully written, with informative sidebars by Annelise K. Madsen and artist biographies by Charlene G. Garfinkle, this volume illuminates the originality of the public images female artists created in 1893 and inserts them into the complex discourse of fin de siècle woman’s politics. The Woman’s Building offered female artists an unprecedented opportunity to create public art and imagine an historical narrative that put women rather than men at its center.