DOCSLIB.ORG

Encyclopedia and Expositions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Encyclopedia and Expositions Encyclopedia of World's Fairs and Expositions Edited by ]OHNE. FINDLING and KIMBERLY D. PELLE Foreword by Vicente Gonzalez Loscertales McFarland &. Company, lnc., Publishers Jefferson, North Carolina, and London For Lorelei Knobloch Hull and Charles Ellis Findling LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA Encyclopedia ofworld's fairs and expositions I edited by John E. Findling and Kimberly D. Pelle ; foreword by Vicente Gonzalez Loscertales. p. cm. Includes bibliographical references and index. ISBN 978-0-7864-3416-9 softcover : 50# alkaline paper § 1. Exhibitions- History. I. Findling, John E. li. Pelle, Kimberly D. T395.F56 2008 907.4-dc22 2008011205 British Library cataloguing data are available ©2008 John E. Findling and Kimberly D. Pelle. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. Cover photograph ©2008 Shutterstock Manufactured in the United States of America McFarland & Company, Inc., Publishers Box 611, lefferson, North Carolina 28640 www.mcfarlandpub.com Table of Contents Foreword by Vicente Gonzalez Loscertales Preface 3 London 1851 Philadelphia 1876 (lohn R. Davis) 9 (Alfred Heller) 52 Dublin 1853 Paris 1878 (TammyLau) 15 (Andrea C. Roeber) 59 NewYork 1853 Sydney 1879-1880 (Ivan D. Steen) 17 (Kirsten Orr) 65 Paris 1855 Melbourne 1880-1881 (Barrie M. Ratclijfe) 21 (David Dunstan) 67 London 1862 Atlanta 1881 (Thomas Prasch) 27 (/ames M. Russell) 70 Dublin 1865 Amsterdam 1883 (Miglena Ivanova) 33 (lohn E. Findling) 72 Dunedin 1865 Boston 1883 (Conal McCarthy) 34 (Noah W. Sobe) 74 Paris 1867 Calcutta 1883-1884 (Volker Barth) 37 (Thomas Prasch) 75 London 1871-1874 Louisville 1883-1887 (Catherine Dibello and the Editors) 44 ( Carl E. Kramer) 77 Vienna 1873 New Orleans 1884-1885 (Nadine Rottau) 46 (Miki Pfeffer) 79 vü Table of Contents viii ix Table of Contents Antwerp 1885 Nashville 1897 Brussels 1910 Brussels 1935 (Matthew G. Stanard) 84 ( Char/ene G. Garjinkle) 141 (Paul Greenha/gh) 206 (Johan Lagae) 277 Edinburgh 1886 Stockholm 1897 Nanking 1910 San Diego 1935-1936 (Laurie Da/ton) 87 (Lars F. ]ohansson) 145 (Kimberly D. Pelle) 209 (Matthew Bokovoy) 282 London 1886 Omaha 1898 London 1911 Johannesburg 1936-1937 (Thomas Prasch) 88 (Char/ene G. Garjinkle) 146 (Susan Bennett) 211 (Deborah L. Hughes) 288 Adelaide 1887 Paris 1900 Ghent 1913 Paris 1937 (Lara Anderson) 92 (Robert W. Brown) 149 (lohnE. Findling) 213 (Arthur Chand/er, updated by Philip Whalen) 290 Barcelona 1888 Buffalo 1901 San Francisco 1915 Glasgow 1938 (Gary McDonogh) 94 (Lewis L. Gould and (Burton Benedict) 215 (lohn MacKenzie) 297 Kris L. Brackett) 157 Glasgow 1888 San Diego 1915-1916 New York 1939-1940 (Susan Bennett) 95 Glasgow 1901 (Matthew Bokovoy) 222 (Paul T. Sayers) 299 ( Cristina Carbone) 164 Melbourne 1888-1889 Rio de Janeiro 1922-1923 San Francisco 1939-1940 (David Dunstan) 97 Charleston 1901-1902 (Bruno Bontempi, ]r., and (Don Larson) 305 (James M. Beeby) 166 Noah W. Sobe) 228 Paris 1889 Wellington 1939-1940 (Anthony Swift) 100 Torino 1902 Wembley 1924-1925 (Cona/ McCarthy) 309 ( Cristina Carbone) 168 (Alexander C. T. Geppert) 230 Dunedin 1889-1890 Lisbon 1940 ( Conal McCarthy) 108 Hanoi 1902-1903 Paris 1925 (lohn E. Findling) 313 (Robert W. Rydell) 170 (Philip Whalen) 236 Kingston 1891 Port-au-Prince 1949-1950 (Ronald ]. Mahoney) 110 St. Louis 1904 Dunedin 1925-1926 (Kimberly D. Pelle) 314 (Astrid Böger) 171 (lennifer Wagelie) 243 Madrid 1892 London 1951 (David R. Watters) 112 Liege 1905 Philadelphia 1926 (Harriet Atkinson) 316 (Matthew G. Stanard) 178 (David Glassberg) 246 Chicago 1893 Brussels 1958 (R. Reid Badger) Portland 1905 Long Beach 1928 116 (Robert W. Rydell) 318 ( Carl Abbott) 181 (Kaye Briegel) 250 Antwerp 1894 Seattle 1962 (Matthew G. Stanard) Milan 1906 Barcelona 1929-1930 125 (lohn M. Findlay) 323 (lohn E. Findling) 185 (lohn E. Findling) 251 San Francisco 1894 New York 1964-1965 (Arthur Chandler and Christchurch 1906-1907 Seville 1929-1930 (Andrew V. Uroskie) 330 Marvin Nathan) 127 (Conal McCarthy) 187 (Cristina Carbone) 254 Montreal1967 Hobart 1894-1895 Dublin 1907 Antwerp/Liege 1930 (Krista L. Bennett) 335 (Lara Anderson) 132 (Miglena Ivanova) 190 (Paul Greenhalgh) 257 San Antonio 1968 Atlanta 1895 Jamestown 1907 Stockholm 1930 ( Ursufo Lindqvist) 259 (Shirley M. Eujf) 342 (Charlene G. Garfinkle) 134 (!. D. BoweTs) 193 Osaka 1970 Brussels 1897 London 1908 Paris 1931 (Mare Lagana) 263 (David Anderson) 345 (Matthew G. Stanard) 136 (Jane Kimber) 198 Spokane1974 Guatemala City 1897 Seattle 1909 Chicago 1933-1934 (lohn E. Findling) 268 (Arlin C. Migliazzo) 350 (Laurie Dalton) 139 (1. D. BoweTs) 202 Table of Contents X Okinawa 1975-1976 Taejon 1993 (Martin Manning) 353 (lohn R. McGregor) 386 Knoxville 1982 Lisbon 1998 (Carl E. Kramer) 356 (Laura Huntoon) 389 New Orleans 1984 Hanover 2000 (Miki Pfeffer) 360 (Larry Maloney) 393 Foreword Tsukuba 1985 Aichi 2005 (Tatsushi Narita) 364 (Alfred Heller) 399 by Vicente Gonzalez Loscertales Vancouver 1986 Zaragoza 2008 (lohn E. Findling) 367 (Bureau of International Expositions) 404 In the 21st century, while world expos brought two Contradietory phenomena into the Brisbane 1988 continue to display an impressive power of forefront. On the one hand, there are discus­ (Martin Manning) 370 Shanghai 2010 attraction for both visitors and participating sions as to the value and adaptability of expos (Susan Fernsebner) 407 countries, the global context requires a contin­ to the needs of the 21st century, and on the Genoa 1992 uous effort to maintain their relevance in a rap­ other hand, there is a steady increase in the (Martin Manning) 374 idly changing world. This is why the pub­ number of visitors at expos and a growing lication of the Encyclopedia ofWorld's Pairsand number of candidate countries bidding to host Seville 1992 Expositions is particularly timely and impor­ future exhibitions. (Veronique Marteau) 377 tant. This situation obliges the Bureau oflnter­ The Encyclopedia of World's Pairs and national Expositions and both present and Expositions is an impressive endeavor that future exhibition organizers to carry out a Appendix A: The Bureau of International Expositions matches the scale of these great events. The dic­ thorough reflection, in order to give expos of (Vicente Gonzalez Loscertales) 411 tionary is both a tool for understanding the his­ the 21st century the value and usefulness that torical roots of expos while giving readers a public opinion demands. The globalization of Appendix B: Fair Statistics 413 map that helps them see how they have been political, economic, and social exchanges as Appendix C: Fair Officials 418 able to capture the mood, the innovations, and well as the increasing value given to the respect the specific visions of their time. of cultural diversity proves that civil society, Appendix D: Pairs Not Included 422 Through the gathering of the international corporations, cities, and regions all find them­ Appendix E: Pairs That Never Were 428 community, world's fairs attract millians of vis­ selves in a key position for national presenta­ itors around a theme. No other human event tions at world's fairs. General Bibliography 435 has the same force ofinvolvement. Today, when The economic and political opening of new we refer to the international community, we do regions such as Asia, Latin America, and the Internet Resources 443 not mean just countries or govemments, but Pacific in the last twenty years has transformed About the Editors and Contributors 457 also civil society, corporations, and ordinary the international scene and brought new actors citizens. into the world of expos. The 140 nations that Index 463 Expos are platforms for innovation and comprise the BIE reflect this new reality, which for showing citizens the problems that the requires that these great events be taken into new global society faces in different cultures and geographic areas to ensure a greater equality in different latitudes. Expos also show the effort the distribution of future expos. Artide 7 of the made by corporations, govemments, and non­ BIE Convention, therefore, acquires, in the 21st govemmental organizations in order to to meet century, a role which had not been available the challenges for the day-to-day life of the cit­ throughout the 20th century. izens. This is what expos are about and their From the very beginning, world expos great value lies in their power to gather around have had a tremendous impact on their host a relevant theme all ofhumankind. cities. Although most large events tend to The first decade of the 21st century has impact one particular sector of a city, expos I Wembley 1924-1925 230 231 Wembley 1924-1925 Centennial Exposition in the style of an ancient Hughes, who visited in part as a gesture in the Bois de Vincennes in southeastern Paris. piece. In 1923, businessman and public servant pagoda, as it bad at earlier expositions. Japanese intended to reciprocate the visit of a Brazilian As the first Parisian exhibition solely devoted James Lord Stevenson was appointed chairman silk, porcelain and handicrafts were displayed. delegation to Philadelphia in 1876. Though ini­ to French overseas expansion on such a scale, of the Board ofManagement, with Lieut.-Gen. The U. S. exhibits were stored in temporary tially scheduled to close on March 31, 1923 the the Exposition Coloniale et Internationale of Sir Travers E. Clarke as deputy chairman and quarters until the official pavilion was com­ expositionwas extended to run through July 2, 1931 corresponded to Wembley in many ways. chief administrator. pleted on December 23, 1922, more than three 1923. Like its Parisian counterpart, the Wemb­ In the meantime, the scheme had also months late because of construction delays. ley exhibition was planned to take place long been approved by the Board of Trade whose Designed by Frank L.
Load more

Recommended publications
  • Football IS Coming Home! on Sunday (11 July 2021) England Will Be Playing Italy in the Final of the Euros Football Tournament at Wembley Stadium
    Football IS coming home! On Sunday (11 July 2021) England will be playing Italy in the final of the Euros football tournament at Wembley Stadium. There is nowhere else in our country more appropriate for this historic match, but why is that? 1. Wembley Stadium and its new steps, April 2021. (Photo by Philip Grant) One hundred years ago, when the British Empire Exhibition was being planned, the then Prince of Wales, who was President of its organising committee, wanted it to include ‘a great national sports ground’. His wish was granted, and the giant reinforced concrete Empire Stadium, with its iconic twin towers, was built in just 300 days. It hosted the FA Cup final in April 1923, and a year later its first England international football match, against Scotland (a 1-1 draw). 2. The Empire Stadium at Wembley in 1924. (Image from the Wembley History Society Colln. at Brent Archives) The long-term future of the stadium was in doubt, until it was saved from demolition in 1927 by Arthur Elvin. He ensured that annual events, like the FA Cup and Rugby League Challenge Cup finals were popular days out for spectators, as well as making the stadium pay its way with regular greyhound and speedway racing meetings. Although cup finals made the stadium famous in this country, the 1948 Olympic Games put Wembley on the world map. The Olympic football final at Wembley saw Sweden beating Yugoslavia 3-1, with Denmark taking the bronze medal after a 5-3 victory over Great Britain. 3. An aerial view of Wembley Stadium during the 1937 FA Cup final.
    [Show full text]
  • 6Th ICCN INTERNATIONAL CONFERENCE on CLINICAL NEONATOLOGY 22-24 September 2016 Centro Congressi Unione Industriale Torino - Turin
    6th ICCN INTERNATIONAL CONFERENCE ON CLINICAL NEONATOLOGY 22-24 September 2016 Centro Congressi Unione Industriale Torino - Turin RATIONAL/AIM: The Division of Neonatology and NICU of Sant’Anna Hospital in affiliation with the “Crescere Insieme al Sant’Anna” Scientific and Research Neonatology Foundation is proud to announce the 6th edition of the “International Conference on Clinical Neonatology”, which will be held in Torino, Italy from the 22nd to the 24th of September 2016. In line with the spirit of the previous successful editions, held in November 2009, March 2010, May 2012, June 2013 and September 2014 the goal of this Conference is to present the latest, updated scientific evidence on the care, treatment and follow-up of preterm neonates. Once more, the congress will be a multidisciplinary program of neonatal and perinatal research and practice, giving the opportunity to interact and share clinical and research experiences with colleagues in the Neonatology community. Prominent international speakers from all the fields of Neonatology and Pediatrics will provide comprehensive, up-to-date, research-based answers to the most frequent questions that arise at patient’s bedside in everyday practice. TOPICS: ECMO: Indications, risks and benefits Nutrition of preterm infants NIDCAP and family-centered care Respiratory viral infections in neonates and infants Kidney and the neonate BPD and lung injury in the preterm infant Pulmonary hypertension in term and preterm neonates Bioactive substances and their role in the preterm neonate NEC: an update To close or not to close: how to survive with an open PDA Late pulmonary function in preterm infants Optimal enteral feeding of premature infants Steroids in neonatology – an update “Omics” in neonatology Oximetry in the NICU Multi resistant organisms: challenges and solutions Laboratory at bedside: what’s new in the NICU? Less surfactant and less intubation: has this policy improved the outcomes? GENERAL INFORMATION Prof.
    [Show full text]
  • Joint Evaluation of Joint Programmes on Gender Equality in the United Nations System
    THEMATIC EVALUATION JOINT EVALUATION OF JOINT PROGRAMMES ON GENDER EQUALITY IN THE UNITED NATIONS SYSTEM Final Synthesis Report – Annexes and Appendix November 2013 in partnership with ©2013 UN Women. All rights reserved. Acknowledgements Evaluation Team: A number of people contributed to this report. The evaluation was conducted by IOD PARC, an external and IOD PARC Julia Betts, Team Leader independent evaluation firm and expresses their views. Cathy Gaynor, Senior Gender and Evaluation Expert The evaluation process was managed by an Evaluation Angelica Arbulu, Gender Specialist Management Group that was chaired by the United Hope Kabuchu, Gender Specialist Nations Entity for Gender Equality and the Empowerment Hatty Dinsmore, Research Support of Women (UN Women) and composed of representa- Laura McCall, Research Support tives from the independent evaluation offices of the Judith Friedman, Research Support commissioning entities - United Nations Development Programme (UNDP), the United Nations Children’s Fund Evaluation Management Group: (UNICEF), the United Nations Population Fund (UNFPA), UN Women and the Millennium Development Goals Achievement Fund Shravanti Reddy (MDG-F) in partnership with the Governments of Spain and Belen Sanz Norway. Marco Segone Isabel Suarez The evaluation also benefitted from the active participation Chelsey Wickmark of reference groups. A global reference group was composed of United Nations staff with expertise in gender equality UNICEF and women empowerment, joint programmes, and United Colin Kirk Nations
    [Show full text]
  • Kutlug Ataman
    KUTLUG ATAMAN Born: Istanbul, Turkey, 1961 Lives: Buenos Aires, Argentina, London, England and Istanbul, Turkey Education 1988 University of California, Los Angeles, MFA in Film 1985 University of California, Los Angeles, BA in Film 1983 Santa Monica College, Associate in Arts, Liberal Arts Selected Solo Exhibitions 2009 Solo, Ludwig Museum, Ludwig, Germany Mesopotamian Dramaturgies, Lentos Museum, Linz, Austria fff, Thomas Dane Gallery, London, UK 2008 Paradise and Küba, Vancouver Art Gallery, Vancouver, British Columbia. Paradise, Harris Museum & Art Gallery, Preston, England Küba, Tanas Berlin 2007 Art Basel Art Unlimited, Basel, Switzerland Paradise, Orange County Museum of Art, Newport Beach, California. Exhibition travels to BAK, Basis voor Actuele Kunst, Utrecht, The Netherlands Küba, Civic Centre, Southampton, UK 2006 Küba: Journey Against the Current, organized by Thyssen- Bornemisza Art Contemporary, Vienna, Austria. Exhibition travels to 13 destinations along the Danube * Küba, Harris Museum and Art Gallery, Preston, England DeRegulation with the Work of Kutlug Ataman, Museum van Hedendaagse Kunst, Antwerp, Belgium. Exhibition travels to Herzliya Museum of Art, Herzliya, Israel Küba, Extra City, Antwerp, Belgium Sherman Galleries, Syndey, Australia 2005 Küba, Artangel, London* Küba, Theater der Welt, Stuttgart, Germany Perfect Strangers, Museum of Contemporary Art, Sydney, Australia* Stefan’s Room, Rhona Hoffman Gallery, Chicago 2004 Stefan’s Room, Lehmann Maupin, New York 2003 Long Streams, Serpentine Gallery, London Long Streams, GEM, Museum voor Aktuele Kunst, The Hague 2002 Never My Soul! Lehmann Maupin Gallery, New York Long Streams, Nikolaj, Copenhagen, Denmark* Women Who Wear Wigs, Istanbul Contemporary Arts Museum A Rose Blooms in the Garden of Sorrows, BAWAG Foundation, Vienna, Austria* Context: Europe 2002 – Impulses from South-Eastern Europe, Theater Des Augenblicks, Vienna.
    [Show full text]
  • This Is Wembley P2 Contents
    This is Wembley p2 Contents Contents This is Wembley p3 - 4 Wembley’s 2012 Sporting Event Calendar Highlights p5 The Business of Wembley p6 1. Club Wembley p6 2. Conference and Banqueting p6 3. Location Filming p7 4. Wembley Tour p7 5. Wembley Store p7 6. Wembley Way p8 7. Wembley Stadium Consultancy p8 8. Centre of Excellence p8 Wembley: A Force For Good p9 1. Green Wembley p9 2. Community p9 3. Education p9 4. Charity p10 Awards p10 Olympics p11 1. 1948 Olympic Games p11 2. Olympic Football Groups and Wembley Match Schedule p12 3. Olympic Facts and Stats p12 4. Team GB Managers p13 Feature Articles p14 7. Countdown to the 2013 Champions League Final at Wembley p14 8. Rugby at Wembley p15 9. Wembley’s Historical Past p15 The Stadium p16 1. Wembley Facts and Stats p16 2. Food and Drink p17 3. The Arch and Roof p17 4. Seats p18 5. Wembley in Numbers p18 6. Historical Treasures p19 7. Celebrity Quotes p19 8. Wembley Family of Sponsors p20 9. Access for All p20 10. Transport p20 11. Destination Wembley p20 The Media 1. Media p21 2. Accreditation p21 3. Contact Us p21 p3 Introduction This is Wembley Wembley is one of the most famous stadiums in the world. It has a rich and unique heritage, having staged some of the most important events in sport and entertainment history. Wembley was re-built into a world-class 90,000 seat sports and entertainment venue in 2007 setting new standards for spectators and performers alike. A London landmark, instantly recognisable around the World, Wembley continues to attract the biggest live events on the sports and music calendar.
    [Show full text]
  • Download the Working Paper
    Working Paper Series #2016-061 Patents, exhibitions and markets for innovation in the early twentieth century: Evidence from Turin 1911 International Exhibition Giacomo Domini Maastricht Economic and social Research institute on Innovation and Technology (UNU‐MERIT) email: [email protected] | website: http://www.merit.unu.edu Maastricht Graduate School of Governance (MGSoG) email: info‐[email protected] | website: http://www.maastrichtuniversity.nl/governance Boschstraat 24, 6211 AX Maastricht, The Netherlands Tel: (31) (43) 388 44 00 UNU-MERIT Working Papers ISSN 1871-9872 Maastricht Economic and social Research Institute on Innovation and Technology UNU-MERIT Maastricht Graduate School of Governance MGSoG UNU-MERIT Working Papers intend to disseminate preliminary results of research carried out at UNU-MERIT and MGSoG to stimulate discussion on the issues raised. Patents, exhibitions and markets for innovation in the early twentieth century: Evidence from Turin 1911 International Exhibition Giacomo Domini* Abstract. This work contributes to the recent literature on international exhibitions, and on the use of data from these events as a proxy for innovation in economic history. In particular, it investigates the nature of international exhibitions, the role they played in the early twentieth century, the reasons why economic agents attended them, the relationship between exhibition data and patent data, and their suitability for measuring innovation. To do so, it makes an in-depth analysis of the International Exhibition held in Turin in 1911, and it matches a new database, built from the catalogue of this event, with data about patents granted in Italy. It is found that exhibiting and patenting did mostly occur separately, as exhibitions mainly worked as markets for products, which attracted firms, while patents were primarily taken out by individuals, most of whom might not be interested in that function.
    [Show full text]
  • A Critical Summary of Observations, Data and Hypotheses
    TThhee SShhrroouudd ooff TTuurriinn A Critical Summary of Observations, Data and Hypotheses If the truth were a mere mathematical formula, in some sense it would impose itself by its own power. But if Truth is Love, it calls for faith, for the ‘yes’ of our hearts. Pope Benedict XVI Version 4.0 Copyright 2017, Turin Shroud Center of Colorado Preface The purpose of the Critical Summary is to provide a synthesis of the Turin Shroud Center of Colorado (TSC) thinking about the Shroud of Turin and to make that synthesis available to the serious inquirer. Our evaluation of scientific, medical forensic and historical hypotheses presented here is based on TSC’s tens of thousands of hours of internal research, the Shroud of Turin Research Project (STURP) data, and other published research. The Critical Summary synthesis is not itself intended to present new research findings. With the exception of our comments all information presented has been published elsewhere, and we have endeavored to provide references for all included data. We wish to gratefully acknowledge the contributions of several persons and organizations. First, we would like to acknowledge Dan Spicer, PhD in Physics, and Dave Fornof for their contributions in the construction of Version 1.0 of the Critical Summary. We are grateful to Mary Ann Siefker and Mary Snapp for proofreading efforts. The efforts of Shroud historian Jack Markwardt in reviewing and providing valuable comments for the Version 4.0 History Section are deeply appreciated. We also are very grateful to Barrie Schwortz (Shroud.com) and the STERA organization for their permission to include photographs from their database of STURP photographs.
    [Show full text]
  • Download Resume
    EUGENE RODRIGUEZ [email protected] eugenerodriguez7408 www.eugenerodriguez.com SELECTED SOLO EXHIBITIONS PAINTING and FILM 2020 APARTAMENTOS TENDILLAS DE SANTA ANA, Granada, Spain. 2013 MERCED COLLEGE ART GALLERY, Merced, CA. 2012 ENCANTADA GALLERY OF FINE ARTS, San Francisco, CA. 2009 MACLA, San Jose, CA. “Another Country”. Catalogue. 2007 ENCANTADA GALLERY OF FINE ARTS, San Francisco, CA. 2006 TRIBES GALLERY, New York, NY. International Juried Exhibition, Juror - Robert Storr. Film Screenings – Echo Of A Screen, WIN, and Future Tense. ENCANTADA GALLERY OF FINE ARTS, San Francisco, CA. 2004 GALLERY 49, New York, NY. ENCANTADA GALLERY OF FINE ARTS, San Francisco, CA. 2002 ENCANTADA GALLERY OF FINE ARTS, San Francisco, CA. 2000 ENCANTADA GALLERY OF FINE ARTS, San Francisco, CA. SANCHEZ ART CENTER, Pacifica, CA. 1994 FRANKLIN FURNACE, New York, NY. “Doubting the House of Fiction”, Multi-Media Installation. Juried by Guillermo Gomez-Pena. SELECTED GROUP EXHIBITIONS PAINTING AND FILM 2020 SUPERFINE! ART FAIR, San Francisco, CA. 2019 STATE OF CALIFORNIA BUILDING, OFFICE OF STATE SENATOR SCOTT WIENER, San Francisco, CA, “We Belong-Pertenecemos”. MANIFEST DESTINY ART, Barcelona, Spain. “Nostalgia”. 1 CHIMMAYA GALLERY, Los Angeles, CA.2018 CHIMMAYA GALLERY, Los Angeles, CA. JEFF KING & COMPANY, San Francisco, CA. RIALTO MERCATO, San Francisco, CA. 2017 RIALTO MERCATO, San Francisco, CA. CHIMMAYA GALLERY, Los Angeles, CA. bG GALLERY, Santa Monica, CA. Spectrum 4. 2016 BERKELEY ART CENTER, Berkeley, CA. Artists’ Annual. MACLA, “The Chicana/o Biennial”, San Jose, CA. Co-Curator. OLD WEST MUSEUM, Cheyenne, WY. 2015 BRAND LIBRARY ART GALLERY, Glendale, CA. BRAND 43 Works on Paper. Catalogue. AXIS GALLERY, Sacramento, CA. National Juried Exhibition.
    [Show full text]
  • Success of the UAE Publishing Market Around the World
    Success of the UAE Publishing Market around the World Over the past four decades, the UAE publishing industry has grown from a fledgling industry into a regional trade hub Timeline UAE gains independence; only 48% of the adult population is literate; 1971 38% literacy among females 1979 Number of books published in the UAE reaches 6 1980 Press and Publications Law introduced 1982 Sharjah International Book Fair held for the first time 1984 UAE Writers Union established 1992 Law on the Protection of Intellectual Works and Copyright introduced 1996 Signatory to the WTO TRIPS Agreement Signatory to the WIPO Copyright Treaty and the Berne Convention for the 2004 Protection of Literary and Artistic Works 2007 Abu Dhabi International Book Fair held for the first time in its new format 2009 Emirates Publishers Association (EPA) is established Emirates Intellectual Property Association and the UAE Board on Books 2010 for Young People established 2012 EPA becomes a full member of the International Publishers Association 2014 Book exports exceed $40 Million Literacy rate reaches 94% with literacy among females exceeding that of 2015 males by 2% Kalimat becomes first Emirati publishing house to win Bologna Children’s 2016 Book Fair Award Sharjah nominated as 2019 World Book Capital 2018 3 Sources: UNESCO Archives, Staff Analysis The Emirates Publishers Association is a national organization that was created to support capacity development of the UAE publishing industry EPA is a leading voice for change … … with 10 key priorities that guide its work . The Emirates Publishers Association (EPA) was established in 2009 1 Aligning key stakeholders to increase collaboration among publishing industry stakeholders to 2 Expanding markets address various industry challenges 3 Improving copyright and legal framework .
    [Show full text]
  • 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expression Quadrennial Periodic Report 2016-2019 - United Arab Emirates
    2005 Convention on the Protection and Promotion of the Diversity of Cultural Expression Quadrennial Periodic Report 2016-2019 - United Arab Emirates General Information Describe the multi-stakeholder consultation process established for the preparation of this report, including consultations with relevant ministries, public institutions, local governments and civil society organizations Official letters were sent to 103 stakeholders including federal and local governments, private and public institutions and civil society organizations, inviting them to appoint a focal point within their organizations who can work with the UAE National Commission to prepare the UAE’s QPR for the period 2016-2019. One-on-one meetings were held with each stakeholder to discuss the objectives of the report and address any questions regarding the report. All stakeholders provided their input to the report in writing. In many cases, multiple follow up phone calls and meetings were held with stakeholders to further refine the responses. Further, the National Commission team conducted extensive desk research to find examples of good practices. The responses from stakeholders were studied, and together with the results of the desk research served to shape the report as seen below. The UAE National Commission has had to edit, paraphrase, summarize, and supplement some information submitted by partners to ensure a holistic narrative, accuracy, readability, and suitability for the purposes of this report. Furthermore, it must be noted that the information provided in the report is a reflection of the data available at the time of writing and that, in some cases, what is included in this report may be adapted, refocused or amended.
    [Show full text]
  • Press Release Wembley Stadium Arch to Be Lit up for Diwali
    Press release 20 October 2006 Wembley Stadium Arch to be lit up for Diwali Wembley Stadiums giant Arch will be lit up on 21st October in honour of this years Diwali celebrations - the Hindu and Sikh Festival of Light. The idea to illuminate the iconic Wembley Arch came from the stadiums architect Lord Foster and Multiplex Andrew Roberts and was backed by stadium owner Wembley National Stadium Limited and Brent Council. The dramatic 133-metre-high arch soars above the stadium, and is visible from vantage points across London. Already a national symbol and a familiar landmark on the citys skyline, the stadium is a neighbour to Londons largest Hindu community, and the festival is traditionally marked by local celebrations. Every year, thousands of people light lanterns and fireworks that symbolise hope and the victory of good over evil. As a sign of appreciation to the local community as well as a wider message of optimism to the nation, the illumination of the arch will knit this great national symbol to the Hindu and Sikh communities of Wembley, the Capital and the UK. Notes to editors: Wembley National Stadium Limited (WNSL) is the company that is redeveloping Wembley Stadium as the world's leading sport and music venue. Offering 90,000 fans unrivalled views of the action in state-of-the-art facilities while generating an unbeatable atmosphere, WNSL will set new standards for supporters and performers alike. A subsidiary of The Football Association, profits generated by WNSL will provide an important revenue stream for The FA to reinvest in football at every level.
    [Show full text]
  • Wembley Stadium – Old and New
    Wembley Stadium – Old and New The Twin Towers, 1922-2002: In 1920 a government-backed company was formed to promote trade throughout the British Empire by holding a major Exhibition in London. Land at the vacant Wembley Park pleasure gardens was purchased (see “Wembley Park – its story up to 1922”) and the event planned for 1924. The Prince of Wales was President of the Exhibition’s organising committee, and was keen that the scheme should include ‘... a great national sports ground’. The Football Association took great interest, as plans for the stadium gave them the opportunity to use it as a permanent base for their Cup Finals. £750,000 was raised (including £175,000 from the government) and work on the Exhibition site was begun in early 1922 by Sir Robert McAlpine & Sons, on a design by Sir John Simpson and Maxwell Ayrton, using the new material of ferro-concrete for the Stadium (which Sir Robert called ‘... a triumph of modern engineering’ ) and the other buildings, as well as the six huge lions from which the Wembley emblem derived. The distinctive domed twin towers that were to become the building’s trademark were built in situ and were 126 feet high surmounted by concrete flagstaffs capped by concrete crowns. Work on the Stadium was completed by April 1923 with safety tests including 1,000+ men sitting, standing, marking time and marching in formation around the stands. These would seat 30,000 people, while terraces provided space for a further 100,000 standing spectators. The F.A. Cup Final on 28th April 1923 gained worldwide headlines and made Wembley inter- nationally famous before the British Empire Exhibition when mounted P.C.
    [Show full text]