The Golden Gate International Exposition (GGIE) was a massive undertaking. The city of San Francisco had long looked for a site for a new airport to service the Pacific market, and the fair provided the impetus to build Treasure Island, a man-made island that would eventually service the massive seaplanes in use at the time. The GGIE also helped cement the Bay Area as a tourism and business center, competing directly with the 1939-1940 New York World's Fair. While New York centered more on the industrial side, the GGIE showcased the many natural wonders of the West, with expansive gardens and complementing architecture. The GGIE was a success on all counts, enticing millions of visitors to travel to the region. When the fair was over, Treasure Island became an important naval base during World War II.
A magical city sat next to the San Francisco Bay in 1915 to celebrate the construction of the Panama Canal and America's success in the World. Known as the Panama-Pacific International Exposition, The San Francisco World's Fair was a massive event that entertained more than 18 million people who visited the Western United States while The Great War raged across the World in Europe. More than 20 countries participated and enthralled guests with a visionary display of palaces, technological achievements and art. The Panama-Pacific International Exposition Company first printed this book as "The Blue Book" in 1915, a lavish celebration of the success of the fair. Restored by World's Fair historian, Mark Bussler (Director of Expo: Magic of the White City and author of The World's Fair of 1893 Ultra Massive Photographic Adventure Series), this massive reprinting preserves the original pictures, text, and type font while adding new spreads and modern layouts.
Timed with the centennial of the Panama-Pacific International Exposition (PPIE) of 1915, Jewel City presents a large and representative selection of artworks from the fair, emphasizing the variety of paintings, sculptures, photographs, and prints that greeted attendees. It is unique in its focus on the works of art that were scattered among the venues of the expositionÑthe most comprehensive art exhibition ever shown on the West Coast. Notably, the PPIE included the first American presentations of Italian Futurism, Austrian Expressionism, and Hungarian avant-garde painting, and there were also major displays of paintings by prominent Americans, especially those working in the Impressionist style. This lavishly illustrated catalogue features works by masters such as Winslow Homer, John Singer Sargent, Claude Monet, Paul CŽzanne, Robert Henri, Edward Weston, Imogen Cunningham, Edvard Munch, Oskar Kokoschka, Umberto Boccioni, and many more. The volume also explores the PPIEÕs distinctive murals program, developments in the art of printmaking, and the legacy of the French Pavilion, which hosted an abundance of works by Auguste Rodin and inspired the founding and architecture of the Legion of Honor museum in San Francisco. A rich and fascinating study of a critical moment in American and European art history, Jewel City is indispensable for understanding both the United StatesÕ and CaliforniaÕs role in the reception of modernism as well as the regionÕs historical place on the international art stage. Published in association with the Fine Arts Museums of San Francisco. Exhibition dates: de Young Museum, San Francisco: October 17, 2015ÐJanuary 10, 2016
Published on the occasion of the expo's 75th anniversary, Into the Void Pacific is the first architectural history of the 1939 San Francisco WorldÕs Fair. While fairs of the 1930's turned to the future as a foil to the Great Depression, the Golden Gate International Exposition conjured up geographical conceits to explore the nature of the city's place in what organizers called "Pacific Civilization." Andrew Shanken adopts D.H. LawrenceÕs suggestive description of California as a way of thinking about the architecture of the Golden Gate International Exposition, using the phrase Òvoid PacificÓ to suggest the isolation and novelty of California and its habit of looking West rather than back over its shoulder to the institutions of the East Coast and Europe. The fair proposed this vision of the Pacific as an antidote to the troubled Atlantic world, then descending into chaos for the second time in a generation. Architects took up the theme and projected the regionalist sensibilities of Northern California onto Asian and Latin American architecture. Their eclectic, referential buildings drew widely on the cultural traditions of ancient Cambodia, China, and Mexico, as well as the International Style, Art Deco, and the Bay Region Tradition. The book explores how buildings supported the cultural and political work of the fair and fashioned a second, parallel world in a moment of economic depression and international turmoil. Yet it is also a tale of architectural compromise, contingency, and symbolism gone awry. With chapters organized around the creation of Treasure Island and the key areas and pavilions of the fair, this study takes a cut through the work of William Wurster, Bernard Maybeck, Timothy Pflueger, and Arthur Brown, Jr., among others. Shanken also looks closely at buildings as buildings, analyzing them in light of local circumstances, regionalist sensibilities, and national and international movements at that crucial moment when modernism and the Beaux-Arts intersected dynamically.
Starting in San Francisco in 1854, the California State Fair and Exposition began as a vehicle to showcase, encourage, and expand California's agricultural industry. It quickly became an attraction for thousands of residents, both local and from across the state. By 1884, it occupied the largest exhibit hall in the United States. Within 100 years, it became the largest fair in the country by adding horse racing, elaborate exhibits from every county in the state and from around the world, thrill rides, top-flight entertainment, and, of course, the best food. The original goal of the fair was met some 50 years ago, as California remains the nation's top producer of agricultural products.
From National Book Award and Pulitzer Prize–winning author Alice Walker and edited by critic and writer Valerie Boyd, comes an unprecedented compilation of Walker’s fifty years of journals drawing an intimate portrait of her development over five decades as an artist, human rights and women’s activist, and intellectual. For the first time, the edited journals of Alice Walker are gathered together to reflect the complex, passionate, talented, and acclaimed Pulitzer Prize winner of The Color Purple. She intimately explores her thoughts and feeling as a woman, a writer, an African American, a wife, a daughter, a mother, a lover, a sister, a friend, a citizen of the world. In an unvarnished and singular voice, she explores an astonishing array of events: marching in Mississippi with other foot soldiers of the Civil Rights Movement, led by Martin Luther King, Jr.; her marriage to a Jewish lawyer, defying laws that barred interracial marriage in the 1960s South; an early miscarriage; writing her first novel; the trials and triumphs of the Women’s Movement; erotic encounters and enduring relationships; the ancestral visits that led her to write The Color Purple; winning the Pulizter Prize; being admired and maligned, sometimes in equal measure, for her work and her activism; and burying her mother. A powerful blend of Walker’s personal life with political events, this “revelation, a road map, and a gift to us all” (Tayari Jones, New York Times bestselling author of An American Marriage) offers rare insight into a literary legend.
The world’s fair of 1915 celebrated both the completion of the Panama Canal and the rebuilding of San Francisco following the devastating 1906 earthquake and fire. The exposition spotlighted the canal and the city as gateways to the Pacific, where the American empire could now expand after its victory in the Spanish-American War. Empire on Display is the first book to examine the Panama-Pacific International Exposition through the lenses of art history and cultural studies, focusing on the event’s expansionist and masculinist symbolism. The exposition displayed evidence—visual, spatial, geographic, cartographic, and ideological—of America’s imperial ambitions and accomplishments. Representations of the Panama Canal play a central role in Moore’s argument, much as they did at the fair itself. Embodying a manly empire of global dimensions, the canal was depicted in statues and a gigantic working replica, as well as on commemorative stamps, maps, murals, postcards, medals, and advertisements. Just as San Francisco’s rebuilding symbolized America’s will to overcome the forces of nature, the Panama Canal represented the triumph of U.S. technology and sheer determination to realize the centuries-old dream of opening a passage between the seas. Extensively illustrated, Moore’s book vividly recalls many other features of the fair, including a seventy-five-foot-tall Uncle Sam. American railroads, in their heyday in 1915, contributed a five-acre scale model of Yellowstone, complete with miniature geysers that erupted at regular intervals. A mini–Grand Canyon featured a village where some twenty Pueblo Indians lived throughout the fair. Moore interprets these visual and cultural artifacts as layered narratives of progress, civilization, social Darwinism, and manliness. Much as the globe had ostensibly shrunk with the completion of the Panama Canal, the Panama-Pacific International Exposition compressed the world and represented it in miniature to celebrate a reinvigorated, imperial, masculine, and technologically advanced nation. As San Francisco bids to host another world’s fair, in 2020, Moore’s rich analytic approach gives readers much to ponder about symbolism, American identity, and contemporary parallels to the past.
