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.

In this accessible and attractive book, beautiful illustrations accompany an involving contextualization of life in Ireland's Cork City at the beginning of the 20th century. Focusing on the "International Exhibition of Manufactures, Arts, Products and Industries," a monumental event which opened its doors in the summer of 1902 and which Cork City has not paid witness to before or since, local historians Daniel Breen and Tom Spalding provide an enlightening account of an Irish city during a time when civic and cultural life was celebrated in the spirit of the age, and not obscured by the divisive politics that severely marked the preceding century and following decade. The book provides a picture of Edwardian Cork, going beyond reportage to instill a real sense of the age. The International Exhibition was emblematic of this remarkably cooperative period, seeing individuals of strongly opposing political backgrounds working in unison and interacting with a huge array of international exhibitors from as far away as Russia, China, and Turkey. As an exhibition devoted to art and industry, the Cork International Exhibition acted as a focal point that expanded upon contemporary art, architecture, music, sports, and more. Filled with colorful illustrations of archival material, this elegant book presents a complete picture of the astonishing scale and vibrancy of this immense occasion in Ireland's social history. Exhibitions of this kind were showcased in major global cities, such as London, Paris, Glasgow, St. Louis, and Chicago. The fact that it came to a burgeoning city such as Cork, ahead of Belfast or Dublin, was of historic importance within Ireland.

Reprint of the original, first published in 1876.

The International Exhibition of 1862 was a global showcase of art, science, industry, and culture. This beautifully illustrated guide offers readers a unique glimpse into the myriad wonders of this historic event. Filled with lavish full-color illustrations and detailed descriptions of the exhibits, this book is a treasure trove of information about the world as it was in the mid-19th century. From the latest technological innovations to the most breathtaking works of art, this book is a fascinating record of a pivotal moment in human history. A must-read for anyone interested in the history of exhibitions and world's fairs. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

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.

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.