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The post–World War II science-based technological revolution inevitably found its way into almost all international expositions with displays on atomic energy, space exploration, transportation, communications, and computers. Major advancements in Cold War science and technology helped to shape new visions of utopian futures, the stock-in-trade of world’s fairs. From the 1940s to the 1980s, expositions in the United States and around the world, from Brussels to Osaka to Brisbane, mirrored Cold War culture in a variety of ways, and also played an active role in shaping it. This volume illustrates the cultural change and strain spurred by the Cold War, a disruptive period of scientific and technological progress that ignited growing concern over the impact of such progress on the environment and humanistic and spiritual values. Through the lens of world’s fairs, contributors across disciplines offer an integrated exploration of the US–USSR rivalry from a global perspective and in the context of broader social and cultural phenomena—faith and religion, gender and family relations, urbanization and urban planning, fashion, modernization, and national identity—all of which were fundamentally reshaped by tensions and anxieties of the Atomic Age.
The post–World War II science-based technological revolution inevitably found its way into almost all international expositions with displays on atomic energy, space exploration, transportation, communications, and computers. Major advancements in Cold War science and technology helped to shape new visions of utopian futures, the stock-in-trade of world’s fairs. From the 1940s to the 1980s, expositions in the United States and around the world, from Brussels to Osaka to Brisbane, mirrored Cold War culture in a variety of ways, and also played an active role in shaping it. This volume illustrates the cultural change and strain spurred by the Cold War, a disruptive period of scientific and technological progress that ignited growing concern over the impact of such progress on the environment and humanistic and spiritual values. Through the lens of world’s fairs, contributors across disciplines offer an integrated exploration of the US–USSR rivalry from a global perspective and in the context of broader social and cultural phenomena—faith and religion, gender and family relations, urbanization and urban planning, fashion, modernization, and national identity—all of which were fundamentally reshaped by tensions and anxieties of the Atomic Age.
This encyclopedia contains individual histories of each of the nearly 100 World's Fairs and expositions held in more than 20 countries since 1851. This revised and updated second edition of the book originally published as ""A Historical Dictionary of World's Fairs and Expositions"" in 1990 includes new entries, including essays on the World's Fairs that will be held in Zaragoza, Spain, in 2008 and in Shanghai, China, in 2010. Many of the original essays have been revised and expanded. The topics covered include goods, tourism, architecture, art and culture, and ""exhibition fatigue.""Each fair history includes its own annotated bibliography which provides, when possible, the location of relevant primary sources and comments on the quality of secondary sources. Several appendices provide information on the Bureau of International Expositions, as well as fair statistics, fair officials, fairs that did not qualify for inclusion, and fairs that were planned but never held. The book includes a foreword by Vicente G. Loscertales, the secretary general of the Bureau of International Expositions.
World's fairs were created to show off the wonders of the industrial revolution. But industrial progress has led to a polluted planet. This book provides an overview of world's fairs at the turn of the millenium. It describes the nature of fairs, shows how they evolved, & considers where they may be headed. The author demonstrates how fairs have tried to cope with the environmental consequences of the idea of progress they have traditionally celebrated. He suggests how fairs (& by implication the society as a whole) can do a better job of it in the future.
World's Fairs and International Exhibitions have always had a political as well as a commercial and cultural context. This was particularly true during the Cold War when America and the Soviet Union used architecture and design to represent their opposing political ideologies. Jack Masey served with the United States Information Agency from 1951 to 1979, for many years as Director of Design. This important new book draws on his recollections and extensive new illustrative material to detail the significant role played by architects and designers in shaping America's image during the cultural Cold War.
The first major history of the glamorous art biennial. Biennials have proliferated across the globe since the end of the Cold War and have now stabilized at about 200 a year. While this quintessentially contemporary form has significant roots in the world expositions of the 19th century, Jones argues that the biennial is also the platform for an important new aesthetic shift. Moving away from a focus on visual looking in the mid 20th century, the art world today embraces experience: art fairs give the feel of closeness and spaciousness, crowds, and they engage all our senses, even taste. Jones argues that the dominance of installation art and the simultaneous rise of biennialsor recurring art fairsneed to be examined as joint phenomenamutually reinforcing and linked to specific geo-political and aesthetic conditions. From the rise of tourism to the flows of art commerce, Jones hatches a new way to track the development of international art fairs in nearly every corner of the globe: from the early world fairs of London, Paris, Chicago, and New York to art fairs proper in Venice, Sao Paulo, Havana, Berlin, Lyon, and Beijing, as well as Kassel s Documenta, Whitney Biennial, and moreall explained through a rapidly evolving aesthetics of experience that has never, until now, been addressed in such a substantial way."
Our Lady of the World's Fair reveals the remarkable story of how two of New York's most influential leaders persuaded the Vatican to allow one of the world's greatest works of art to leave Europe for the first and only time. Driven by different motives, Robert Moses and Francis Cardinal Spellman had the same vision: to display Michelangelo's masterpiece, the Pietà, in the Vatican's pavilion at the 1964 World's Fair in New York City. As Ruth D. Nelson gracefully showcases, Moses believed this blockbuster would guarantee the fair's financial success. At the same time, Spellman, Cardinal of New York and the spiritual leader of Cold War America's Catholic community, hoped that at a time of domestic strife and global conflict, the Pietà's presence would have a positive spiritual impact on the nation. Although the fair did not turn out to be the financial bonanza that Moses expected, the Pietà drew record crowds of the faithful, art lovers, and the curious. Nelson's fascinating uncovering of the intensive planning that went into designing the pavilion, transporting the art piece across the Atlantic, and coordinating Pope Paul VI's visit to New York in 1965—the first papal visit to the Western Hemisphere—demonstrates the sheer scale and opportunity of the two men's endeavors. Our Lady of the World's Fair depicts the skepticism and fierce criticism that faced the two New York power brokers. Rather than letting the negative weigh them down, they united and called on every resource at their disposal to make this unlikely cultural coup possible.
The 1964-1965 New York World's Fair was the largest international exhibition ever built in the United States. More than one hundred fifty pavilions and exhibits spread over six hundred forty-six acres helped the fair live up to its reputation as "the Billion-Dollar Fair." With the cold war in full swing, the fair offered visitors a refreshingly positive view of the future, mirroring the official theme: Peace through Understanding. Guests could travel back in time through a display of full-sized dinosaurs, or look into a future where underwater hotels and flying cars were commonplace. They could enjoy Walt Disney's popular shows, or study actual spacecraft flown in orbit. More than fifty-one million guests visited the fair before it closed forever in 1965. The 1964-1965 New York World's Fair captures the history of this event through vintage photographs, published here for the first time.
Although cultural diplomacy has become an increasingly fashionable term embraced by academics, foreign-service personnel, and private sector commercial and cultural interests, the very practice of this idea remains conspicuously challenging to define. This book takes on this problem, advancing a new understanding of cultural diplomacy that results from a historical investigation of a single area of government and private sector partnership, and what became in the mid-twentieth century the most prominent manifestation of this alliance—the cultural exhibitions sent abroad to “tell America’s story” with the goal of “winning hearts and minds.” To illustrate this point, selected exhibitions and the intentions of the policymakers who proposed them are interrogated for the first time beside archival documentation, writings from the history of design, advertising, science, as well as art historical and museum studies theories that address various aspects of the history of collecting and display, all of which explore the reality of how these exhibitions were conceived and prepared for foreign audiences. Most importantly, personal interviews with the designers and government representatives responsible for the ultimate appearance of these events upturn preconceived notions of how these events came to be. Seventy-five photographs from the exhibits make this history come alive. Through this discussion these questions are answered: What was America showing of itself through these exhibitions? And, more urgently, what do these exhibitions tell us about U.S. interest in verisimilitude? This investigation spans the crucial years of American exhibitions abroad (1955-1975), beginning with the formation of an official system of exhibiting American commercial wares and political ideas at trade fairs, through official exchanges with the U.S.S.R., to pavilions at world's fairs, and finally to museum exhibitions that signaled a return to the display of founding American values. They are thus complex ideological symbols in which concepts of national identity, globalization, technology, consumerism, design, and image management both coincided and clashed. The investigation of these exhibitions enhances the understanding of a significant chapter of U.S. cultural diplomacy at the height of the Cold War and how America constantly reimagined itself.
Since the first world's fair in London in 1851, at the dawn of the era of industrialization, international expositions served as ideal platforms for rival nations to showcase their advancements in design, architecture, science and technology, industry, and politics. Before the outbreak of World War II, countries competing for leadership on the world stage waged a different kind of war—with cultural achievements and propaganda—appealing to their own national strengths and versions of modernity in the struggle for power. World's Fairs on the Eve of War examines five fairs and expositions from across the globe—including three that were staged (Paris, 1937; Dusseldorf, 1937; and New York, 1939-40), and two that were in development before the war began but never executed (Tokyo, 1940; and Rome, 1942). This coauthored work considers representations of science and technology at world's fairs as influential cultural forces and at a critical moment in history, when tensions and ideological divisions between political regimes would soon lead to war.