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Expanding Nationalisms at World’s Fairs: Identity, Diversity, and Exchange, 1851–1915 introduces the subject of international exhibitions to art and design historians and a wider audience as a resource for understanding the broad and varied political meanings of design during a period of rapid industrialization, developing nationalism, imperialism, expanding trade and the emergence of a consumer society. Its chapters, written by both established and emerging scholars, are global in scope, and demonstrate specific networks of communication and exchange among designers, manufacturers, markets and nations on the modern world stage from the second half of the nineteenth century into the beginning of the twentieth. Within the overarching theme of nationalism and internationalism as revealed at world’s fairs, the book’s essays will engage a more complex understanding of ideas of competition and community in an age of emergent industrial capitalism, and will investigate the nuances, contradictions and marginalized voices that lie beneath the surface of unity, progress, and global expansion.
Established in 1918, as a new state the First Czechoslovak Republic was keen to project a distinct image. Participation in World Fairs offered the perfect opportunity-. In this comprehensive account of Czechoslovak participation in international exhibitions of the interwar period Marta Filipová looks beyond the sleek façade of the modernist pavilions to examine the intersections of architecture, art and design with commercial interests, state agendas, individual action and the public, offering a complex insight into the production and reception of national displays. The rich collection of images – mainly photographs – provides a close look at the Czechoslovak pavilions. The design, content and context of the displays convey an idealized narrative that was created for the fairs and the myths on which the Czechoslovak nation and state were built. Heavy machinery, modern art, tourist destinations, and food and drink were presented as Czechoslovak, while many aspects of social life – particularly women or ethnic minorities – were strikingly underrepresented or absent. The book argues that the objects and ideas that the pavilion organizers put on display legitimized and validated the existence of the new state through the inclusion and exclusion of exhibits, people, and ideas. While Marta Filipová primarily focuses on Czechoslovakia, she also offers insights into how other emerging nations projected and sustained their image during this historical period and how interwar world’s fairs accommodated them.
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.
"International exhibitions were among the most significant cultural phenomena of the late nineteenth century. These vast events aimed to illustrate, through displays of physical objects, the full spectrum of the world's achievements, from industry and manufacturing, to art and design. But exhibitions were not just visual spaces. Music was ever present, as a fundamental part of these events' sonic landscape, and integral to the visitor experience. This book explores music at international exhibitions held in Australia, India, and the United Kingdom during the 1880s. At these exhibitions, music was codified, ordered, and all-round 'exhibited' in manifold ways. Displays of physical instruments from the past and present were accompanied by performances intended to educate or to entertain, while music was heard at exhibitors' stands, in concert halls, and in the pleasure gardens that surrounded the exhibition buildings. Music was depicted as a symbol of human artistic achievement, or employed for commercial ends. At times it was presented in nationalist terms, at others as a marker of universalism. This book argues, by interrogating the multiple ways that music was used, experienced, and represented, that exhibitions can demonstrate in microcosm many of the broader musical traditions, purposes, arguments, and anxieties of the day. Its nine chapters focus on sociocultural themes, covering issues of race, class, public education, economics, and entertainment in the context of music, trading these through the networks of communication that existed within the British Empire at the time. Combining approaches from reception studies and historical musicology, this book demonstrates how the representation of music at exhibitions drew the press and public into broader debates about music's role in society"--Page 4 of cover.
The Yenidze Cigarette Factory of 1909 became perceived as an industrial architectural advertising object that placed Dresden as an important center for the tobacco trade during the second half of the nineteenth century. Born from a unique client-architect relationship between Hugo Zietz and Martin Hammitzch, the factory’s importance to the modernist has been extremely understated. Smoke and Mirrors uncovers the history of the factory’s planning, design and construction, and for the first time, apart from the building’s historical narrative, places the addition to the Dresden skyline as consideration to the formative histories of the modernist movement.
Illustrated with contemporary case studies, Curating Design provides a history of and introduction to design curatorial practice both within and outside the museum. Donna Loveday begins by tracing the history of the collecting and display of designed objects in museums and exhibitions from the 19th century 'cabinet of curiosities' to the present day design museum. She then explores the changing role of the curator since the 1980s, with curators becoming much more than just 'keepers' of a collection, with a remit to create narrative and experiential exhibitions as well as develop the museum's role as a space of learning for its visitors. Curating as a practice now describes the production of a number of cultural and creative outputs, ranging from exhibitions to art festivals; shopping environments to health centres; conferences to film programming as well as museums and galleries. Loveday explores how design has come to the fore in curatorial practice, with new design museums opening around the world as well as blockbusting exhibitions of fashion and popular culture. Interviews with leading practitioners from international design and arts museums provide a spotlight on contemporary challenges and best practice in design curatorship.
This collection presents new narratives on the emergence of intellectual property rights in the law of nations during the late nineteenth century and early twentieth century. The collection reveals the extent to which various forms of intellectual property protection eventually shaped contemporary international law.
“The Spanish Element in Our Nationality” delves beneath the traditional “English-only” narrative of U.S. history, using Spain’s participation in a series of international exhibitions to illuminate more fully the close and contested relationship between these two countries. Written histories invariably record the Spanish financing of Columbus’s historic voyage of 1492, but few consider Spain’s continuing influence on the development of U.S. national identity. In this book, M. Elizabeth Boone investigates the reasons for this problematic memory gap by chronicling a series of Spanish displays at international fairs. Studying the exhibition of paintings, the construction of ephemeral architectural space, and other manifestations of visual culture, Boone examines how Spain sought to position itself as a contributor to U.S. national identity, and how the United States—in comparison to other nations in North and South America—subverted and ignored Spain’s messages, making it possible to marginalize and ultimately obscure Spain’s relevance to the history of the United States. Bringing attention to the rich and understudied history of Spanish artistic production in the United States, “The Spanish Element in Our Nationality” recovers the “Spanishness” of U.S. national identity and explores the means by which Americans from Santiago to San Diego used exhibitions of Spanish art and history to mold their own modern self-image.
In Touring China, Yajun Mo explores how early twentieth century Chinese sightseers described the destinations that they visited, and how their travel accounts gave Chinese readers a means to imagine their vast country. The roots of China's tourism market stretch back over a hundred years, when railroad and steamship networks expanded into the coastal regions. Tourism-related businesses and publications flourished in urban centers while scientific exploration, investigative journalism, and wartime travel propelled many Chinese from the eastern seaboard to its peripheries. Mo considers not only accounts of overseas travel and voyages across borderlands, but also trips within China. On the one hand, via travel and travel writing, the unity of China's coastal regions, inland provinces, and western frontiers was experienced and reinforced. On the other, travel literature revealed a persistent tension between the aspiration for national unity and the anxiety that China might fall apart. Touring China tells a fascinating story about the physical and intellectual routes people took on various journeys, against the backdrop of the transition from Chinese empire to nation-state.