This controversial 234 page book, with over 80 photographs inspects the history of the World Expositions between 1851-1915. Beautiful 700-acre sites that resembled Ancient Rome were built, then immediately destroyed. Why? Or maybe they were not built, perhaps they were the restored buildings of an ancient civilization?

Expositions Exposed 2021 is a fully revised and edited version of the 2019 original. Have we have been lied to? During 1850-1915 Great Expositions (Fairs) were built worldwide including: Chicago 1893, Paris 1900, St. Louis 1904, San Francisco 1915. These giant 7-1200 acre expos were built in impossible times of less than two years, then following the end of the event, they were demolished, destroyed, and thrown into landfills. Each of these fairs were built to resemble Ancient Rome, and I now feel that is no accident. But were the buildings of these World Expositions new ones being built, or old ones being restored- part of a civilization that was coexisting with Ancient Rome and Greece? This controversial 198 page book, inspects the history of the World Expositions between 1851-1915 and the strange time frame they were associated with.

128 rare, vintage photographs: 200 buildings — 79 of foreign governments, 38 of U.S. states — the original ferris wheel, first midway, Edison's kinetoscope, much more. 128 black-and-white photographs. Captions. Map. Index.

Druids in Vermont? Phoenicians in Iowa? These are just a few of the interesting bits of information contained in this volume of American pre-history. This groundbreaking work shatters many of the myths of America centuries ago.

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.

This book is a fascinating journey along the history of architectural structures over the last 150 years, taking the World Expos as an original unifying thread. Nevertheless, it does not solely focus on the exhibition buildings; on the contrary, these are continuously being related to buildings beyond the scope of the Expos, thus ultimately providing a general vision of the history of modern structures. This essay is destined to become an essential work of reference within the history of architectural structures. It is generously illustrated with more than nine hundred large-scale illustrations, many of which have not appeared in contemporary publications. It offers innumerable facts that will interest architects, engineers or art historians. Likewise, members of the general public far-removed from these fields will also be able to enjoy many of the passages which are accessible to those who do not have any specific knowledge of architecture or engineering.