Frank Wiggins in this book shares a report of the governor's representatives at the Alaska-Yukon-Pacific Exposition, held in Seattle, Washington, from June 1st to October 15th, 1909. This book contains a detailed note, financial statements, and a list of awards made to California exhibitors. It is a reference book for the Californian government, interested delegates, and individuals.
This richly illustrated and well-researched volume recounts in detail the history of the fair that brought Seattle and Washington into the national spotlight. The A-Y-P Exposition, held in Seattle in 1909 on the future site of the University of Washington, welcomed 3.7 million visitors and was the first world's fair to make a profit.
Inspired by Chicago’s successful 1893 World Columbian Exposition, the cities of Portland, Seattle, San Diego, and San Francisco all held fairs between 1905 and 1915. From the start of the Lewis and Clark Exposition to the close of the Panama-California Exposition a decade later, millions of Americans visited exhibits, watched live demonstrations and performances, and wandered amusement zones. Millions more thumbed through brochures or read news articles. Fair publicity directors embraced the emerging science of consumer marketing. Conceived to attract new citizens, showcase communities, and highlight farming and industrial opportunities, the four expositions’ promotional campaigns and vendor and exhibit choices offer a unique opportunity to examine western leaders’ perceptions of their city and region, as well as their future goals and how they both fed and tried to mitigate misconceptions of a wild, wooly West. They also expose biased attitudes toward Native Americans, Mexican Americans, Filipinos, and others. Boosting a New West explores the fairs’ cultural and social meaning by focusing on and comparing the promotions that surrounded them. It details their origins and describes why each city chose to host, conveying the expected economic, social, and cultural benefits. It also shows how organizers articulated their significance to urban, regional, and national audiences, and how they attempted to shape a new western identity.
From Seattle's earliest days as a Gold Rush boomtown to its celebration of the future during the 1962 World's Fair, local artists have created public art installations--statuary, reliefs and other sculpture--that have become familiar features of the city's landscape. This comprehensive study of 12 Seattle sculptors and their works examines the motivations of the artists and their benefactors, the development of the city's public art policy, and the political forces behind the pieces that are now part of the city's rich history. Biographical details and historical perspective are provided for such artists as Lorado Taft, Alice Robertson Carr, John Carl Ely, Max P. Nielsen, August Werner and James FitzGerald.
