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Beyond the world fairs in London, Paris or Chicago, numerous smaller, ambitious exhibitions took place in provincial cities and towns worldwide. This volume takes a novel look at the exhibitionary cultures of the period 1840-1940. By examining the motivations, scope, and impact of lesser-known exhibitions in, for example, Australia, Japan, Brazil, as well as a number of European countries, the volume opens up new angles in the way the global phenomenon of a great exhibition can be examined through the prism of the regional.
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.
Museums, International Exhibitions and China’s Cultural Diplomacy examines the role museums and, more specifically, international exhibitions, have played in shaping China’s international image to date. Drawing on theories and methods from museum studies and international relations, the book evaluates the contribution international exhibitions make to China’s cultural diplomacy strategy. Considering their impact on the country’s international image, Kong also probes the mechanisms and processes involved, examining in detail the policy of, and international activities promoted by, the Chinese government. The book also analyses the motives of the Chinese and overseas museums that host these exhibitions. Taking some major exhibitions that were on show in the UK during the 21st century as a representative case study, the book reveals the mechanisms by which these exhibitions were developed and shared overseas. Questioning who really shapes the image of China, Kong challenges Western assumptions and looks ahead to consider whether, moving forward, the Chinese government and museums could work together in a mutually beneficial way. Museums, International Exhibitions and China’s Cultural Diplomacy contributes to the growing literature on museums and diplomacy. As such, it will be of interest to academics and students engaged in the study of museums and heritage, international relations, culture, politics, China and wider Asia.
Replete with detailed engravings, this four-volume catalogue was published to accompany the International Exhibition of 1862. Held in South Kensington from May to November, the exhibition showcased the progress made in a diverse range of crafts, trades and industries since the Great Exhibition of 1851. Over 6 million visitors came to view the wares of more than 28,000 exhibitors from Britain, her empire and beyond. Featuring explanatory notes and covering such fields as mining, engineering, textiles, printing and photography, this remains an instructive resource for social and economic historians. The exhibition's Illustrated Record, its Popular Guide and the industrial department's one-volume Official Catalogue have all been reissued in this series. Including a floor plan of the main buildings, Volume 1 begins with a concise history of the exhibition written by John Hollingshead (1827-1904). It then catalogues and illustrates impressive examples of British manufacturing.
Reprint of the original, first published in 1876.
A pictorial and written description of 132 Eucharistic Miracles as they occurred throughout the world
The 1876 United States Centennial Exhibition in Philadelphia was not only the United States' first important world's fair, it signaled significant changes in the very shape of knowledge. Quarrels between participants in the exhibition represented a greater conflict as the world transitioned between two different kinds of modernity--the Enlightenment of the seventeenth and eighteenth centuries to the High Modern period of the nineteenth and twentieth centuries. At the center of this movement was a shift in the perceived relationship between seeing and knowing and in the perception of what makes an object valuable--its usefulness as a subject of study and learning versus its ability to be bought and sold on the market. Arguments over design of the Centennial reflected these opposing viewpoints. Initial plans were rigidly structured, dividing the exhibits by country and type. But as some exhibitors became more interested in the preferences of their audience, they adopted a more modern stance. Objects traditionally displayed in isolated glass boxes were placed in fictive context -- the necklace draped over a mannequin, the vase set on a table in a model room. As a result, the audience could more easily perceive these items as commodities suitable for their own environments and the fair as a place to find ideas for a material lifestyle. Designing the Centennial is a vital first look at the design process and the nature of the display. Bruno Giberti uses official reports of the U.S. Centennial Commission and photographs of the Centennial Photographic Company, as well as the ephemera of the exhibition and literary accounts in books, magazines, and newspapers to illuminate how the 1876 fair revealed changes to come: in future world's fairs, museums, department stores, and in the nature of display itself.