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.

The 1964-1965 New York World's Fair was the largest international exhibition ever built in the United States. More than one hundred fifty pavilions and exhibits spread over six hundred forty-six acres helped the fair live up to its reputation as "the Billion-Dollar Fair." With the cold war in full swing, the fair offered visitors a refreshingly positive view of the future, mirroring the official theme: Peace through Understanding. Guests could travel back in time through a display of full-sized dinosaurs, or look into a future where underwater hotels and flying cars were commonplace. They could enjoy Walt Disney's popular shows, or study actual spacecraft flown in orbit. More than fifty-one million guests visited the fair before it closed forever in 1965. The 1964-1965 New York World's Fair captures the history of this event through vintage photographs, published here for the first time.

Every time you chew a stick of Juicy Fruit, eat a hamburger, slip on a nylon, plug your phone into a wall socket, flick on a TV, withdraw money from an ATM, lick an ice-cream cone, switch on a computer, ride an escalator, play a DVR, watch a movie about dinosaurs, or pop a tranquilizer, you’re doing something that originated at a world’s fair or trade expo. In fact, each new technology and every novel product that rocked America and rolled the world, from the Colt revolver and the Corvette to fax machines and flush toilets, started at trade fairs, a $100 billion industry that includes world expos, trade shows, and state fairs. More than just promoting material things, however, trade fairs popularized and evangelized every social movement and cultural concept, too, including Manifest Destiny, the closing of the frontier, Nudism, Nazism, Fascism, eugenics, female suffrage, temperance, and technocracy. While there have been notable works on world’s fairs by Robert Rydell, Erik Larsen, Erik Mattie, and others, they only capture a fragment of the whole mosaic of these shows—a mosaic that makes the glitziest Las Vegas spectacle look like an Amish barn-raising. This amusing book covers, for example, the World’s Fair that featured a nudist colony (1935); Salvador Dali’s half-naked lobster women, their virtue barely secured by well-placed crustaceans (1939); a model of the Liberty Bell made of Oranges (1893); one of Thomas Edison’s lesser-known inventions, the prefabricated concrete home (1907); and the Bayer Company’s experiment with selling heroin. More memorable and culturally iconic debuts discussed here include electricity, radios, the Volkswagen and the Corvette, television, the X-ray machine, air conditioning, and even nylon stockings. Dozens of short, illustrated chapters take the reader through over 150 years of world and trade fairs, from the vibrators displayed by sexual health advocates at the 1900 World’s Fair to the first true IMAX film at Expo ’70 in Japan.

International expositions or "world's fairs" are the largest and most important stage on which millions routinely gather to directly experience, express, and respond to cultural difference. Rather than looking at Asian representation at the hands of colonizing powers, something already much examined, Asian Self-Representation at World's Fairs instead focuses on expressions of an empowered Asian self-representation at world's fairs in the West after the so-called golden age of the exhibition. New modes of representation became possible as the older "exhibitionary order" of earlier fairs gave way to a dominant "performative order," one increasingly preoccupied with generating experience and affect. Using case studies of national representation at selected fairs over the hundred-year period from 1915-2015, this book considers both the politics of representation as well as what happens within the imaginative worlds of Asian country pavilions, where the performative has become the dominant mode for imprinting directly on human bodies.

In this dazzling multidisciplinary tour of Mexico City, Mauricio Tenorio-Trillo focuses on the period 1880 to 1940, the decisive decades that shaped the city into what it is today. Through a kaleidoscope of expository forms, I Speak of the City connects the realms of literature, architecture, music, popular language, art, and public health to investigate the city in a variety of contexts: as a living history textbook, as an expression of the state, as a modernist capital, as a laboratory, and as language. Tenorio’s formal imagination allows the reader to revel in the free-flowing richness of his narratives, opening startling new vistas onto the urban experience. From art to city planning, from epidemiology to poetry, this book challenges the conventional wisdom about both Mexico City and the turn-of-the-century world to which it belonged. And by engaging directly with the rise of modernism and the cultural experiences of such personalities as Hart Crane, Mina Loy, and Diego Rivera, I Speak of the City will find an enthusiastic audience across the disciplines.

A description of lost building from the 1904 World's Fair. The bulk of the book is descriptions and pictures.

"The pictures in this book bring the argument about reuse and preservation into focus. What is worthy of retaining and what is dispensable? What are the criteria for considering whether a structure should be retained or demolished? How do you define the parameters of taste and utility in making decisions to preserve or destroy? How will future generations regard the destruction of certain structures, will we be considered cultural vandals for not having retained more of the structures that seemed irrelevant at the time? The preservation argument is heightened in the case of the exhibitions sites, as by definition an exhibition is considered a temporary event."--Page 9.