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This book argues for the importance of bringing women and gender more directly into the dynamic field of exposition studies. Reclaiming women for the history of world fairs (1876-1937), it also seeks to introduce new voices into these studies, dialoguing across disciplinary and national historiographies. From the outset, women participated not only as spectators, but also as artists, writers, educators, artisans and workers, without figuring among the organizers of international exhibitions until the 20th century. Their presence became more pointedly acknowledged as feminist movements developed within the Western World and specific spaces dedicated to women’s achievements emerged. International exhibitions emerged as showcases of "modernity" and "progress," but also as windows onto the foreign, the different, the unexpected and the spectacular. As public rituals of celebration, they transposed national ceremonies and protests onto an international stage. For spectators, exhibitions brought the world home; for organizers, the entire world was a fair. Women were actors and writers of the fair narrative, although acknowledgment of their contribution was uneven and often ephemeral. Uncovering such silence highlights how gendered the triumphant history of modernity was, and reveals the ways women as a category engaged with modern life within that quintessential modern space—the world fair.

Reports of the United States Commissioners to the Paris Universal Exposition, 1878. Published Under Direction of the Secretary of State by Authority of Congress: Report of the commissioner-general, with accompanying papers, including lists of exhibitors and of awards.-v.2 Fine arts, W.W. Story. Education, J.L. Chamberlain. Political education, A.D. White. Manual training schools, E.C. Jewett. Wood-carving, J.T. Norton. Textile fabrics, Henry Howard.-v.3. Iron and steel, D.J. Morrell, Ceramics, W.P. Blake. Glass and glass-ware, W.P. Blake. Forestry, F.P. Baker. Cotton culture, P.M.B. Young.-v.4 Chemical processes, T.E. Jenkins. Mining industries, J.D. Hague. Steam and gas engines, A.J. Sweeney. Machines and machine tools, W.T. Porter. Clocks and watches, E.H. Knight. Railway apparatus, W.A. Anderson.-v.5. Agricultural implements, E.H. Knight. Agricultural products, J.J. Woodman. Live stock, Samuel Dysart. Horticulture, G.W. Campbell. Pisciculture, T.B. Ferguson

United States. Commission to the Paris exposition, 1878

Published: 1880

Total Pages: 548


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This intriguing study of Mexico's participation in world's fairs from 1889 to 1929 explores Mexico's self-presentation at these fairs as a reflection of the country's drive toward nationalization and a modernized image. Mauricio Tenorio-Trillo contrasts Mexico's presence at the 1889 Paris fair—where its display was the largest and most expensive Mexico has ever mounted—with Mexico's presence after the 1910 Mexican Revolution at fairs in Rio de Janeiro in 1922 and Seville in 1929. Rather than seeing the revolution as a sharp break, Tenorio-Trillo points to important continuities between the pre- and post-revolution periods. He also discusses how, internationally, the character of world's fairs was radically transformed during this time, from the Eiffel Tower prototype, encapsulating a wondrous symbolic universe, to the Disneyland model of commodified entertainment. Drawing on cultural, intellectual, urban, literary, social, and art histories, Tenorio-Trillo's thorough and imaginative study presents a broad cultural history of Mexico from 1880 to 1930, set within the context of the origins of Western nationalism, cosmopolitanism, and modernism. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1997.