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In the depths of the Great Depression, when America's future seemed bleak, nearly one hundred million people visited expositions celebrating the "century of progress." These fairs fired the national imagination and served as cultural icons on which Americans fixed their hopes for prosperity and power. World of Fairs continues Robert W. Rydell's unique cultural history—begun in his acclaimed All the World's a Fair—this time focusing on the interwar exhibitions. He shows how the ideas of a few—particularly artists, architects, and scientists—were broadcast to millions, proclaiming the arrival of modern America—a new empire of abundance build on old foundations of inequality. Rydell revisits several fairs, highlighting the 1926 Philadelphia Sesquicentennial, the 1931 Paris Colonial Exposition, the 1933-34 Chicago Century of Progress Exposition, the 1935-36 San Diego California Pacific Exposition, the 1936 Dallas Texas Centennial Exposition, the 1937 Cleveland Great Lakes and International Exposition, the 1939-40 San Francisco Golden Gate International Exposition, the 1939-40 New York World's Fair, and the 1958 Brussels Universal Exposition.
The 50th anniversary edition of this classic work on the art of Northwest Coast Indians now offers color illustrations for a new generation of readers along with reflections from contemporary Northwest Coast artists about the impact of this book. The masterworks of Northwest Coast Native artists are admired today as among the great achievements of the world’s artists. The painted and carved wooden screens, chests and boxes, rattles, crest hats, and other artworks display the complex and sophisticated northern Northwest Coast style of art that is the visual language used to illustrate inherited crests and tell family stories. In the 1950s Bill Holm, a graduate student of Dr. Erna Gunther, former Director of the Burke Museum, began a systematic study of northern Northwest Coast art. In 1965, after studying hundreds of bentwood boxes and chests, he published Northwest Coast Indian Art: An Analysis of Form. This book is a foundational reference on northern Northwest Coast Native art. Through his careful studies, Bill Holm described this visual language using new terminology that has become part of the established vocabulary that allows us to talk about works like these and understand changes in style both through time and between individual artists’ styles. Holm examines how these pieces, although varied in origin, material, size, and purpose, are related to a surprising degree in the organization and form of their two-dimensional surface decoration. The author presents an incisive analysis of the use of color, line, and texture; the organization of space; and such typical forms as ovoids, eyelids, U forms, and hands and feet. The evidence upon which he bases his conclusions constitutes a repository of valuable information for all succeeding researchers in the field. Replaces ISBN 9780295951027
When the United States entered the 1960s, the nation was swept up in the Space Race as the United States and the Soviet Union competed for supremacy in rocket and satellite technologies. Cities across the country hoped to attract new aerospace companies, but the city leaders of Seattle launched the most ambitious campaign of all. They invited the whole world to visit for the 1962 Seattle World's Fair, and more than nine million people took them up on the offer. A colorful collection of exhibits turned 74 acres of rundown buildings into a futuristic wonderland where dozens of countries and companies predicted life in the future. The entire city was transformed with the addition of the soaring Space Needle and the futuristic monorail. When the fair ended, the site became a complex of parks and museums that remains a vibrant part of Seattle city life today.
An image-rich history of the 1962 Seattle World's Fair, known as the Century 21 Expo.
The American West conjures up images of pastoral tranquility and wide open spaces, but by 1970 the Far West was the most urbanized section of the country. Exploring four intriguing cityscapes—Disneyland, Stanford Industrial Park, Sun City, and the 1962 Seattle World's Fair—John Findlay shows how each created a sense of cohesion and sustained people's belief in their superior urban environment. This first book-length study of the urban West after 1940 argues that Westerners deliberately tried to build cities that differed radically from their eastern counterparts. In 1954, Walt Disney began building the world's first theme park, using Hollywood's movie-making techniques. The creators of Stanford Industrial Park were more hesitant in their approach to a conceptually organized environment, but by the mid-1960s the Park was the nation's prototypical "research park" and the intellectual downtown for the high-technology region that became Silicon Valley. In 1960, on the outskirts of Phoenix, Del E. Webb built Sun City, the largest, most influential retirement community in the United States. Another innovative cityscape arose from the 1962 Seattle World's Fair and provided a futuristic, somewhat fanciful vision of modern life. These four became "magic lands" that provided an antidote to the apparent chaos of their respective urban milieus. Exemplars of a new lifestyle, they are landmarks on the changing cultural landscape of postwar America.
Contains captioned, archival photographs that trace the history of the 1904 World's Fair in St. Louis, Missouri, from the groundbreaking to the closing ceremonies.
A half-Chinese orphan whose mother sacrificed everything to give him a better chance is raffled off as a prize at Seattle's 1909 World's Fair, only to land in the ownership of the madam of a notorious brothel where he finds friendship and opportunities, in a story based on true events.
The contest was not without its controversy. When it was announced, rules stated that preference would be given to quilts which developed the Century of Progress theme. However, when the prizes were awarded, commemorative quilts were ignored in favor of traditional patterns. Disgruntled contestants complained to Sears that the judges were biased in favor of tradition. The winning quilt, called the Unknown Star, was entered by Margaret Rogers Caden of Lexington, Kentucky. Much of the work on Ms. Caden's quilt was done by seamstresses who sewed for hire, in violation of contest rules.