Expositions Exposed

Expositions Exposed 2021 is a fully revised and edited version of the 2019 original. Have we have been lied to? During 1850-1915 Great Expositions (Fairs) were built worldwide including: Chicago 1893, Paris 1900, St. Louis 1904, San Francisco 1915. These giant 7-1200 acre expos were built in impossible times of less than two years, then following the end of the event, they were demolished, destroyed, and thrown into landfills. Each of these fairs were built to resemble Ancient Rome, and I now feel that is no accident. But were the buildings of these World Expositions new ones being built, or old ones being restored- part of a civilization that was coexisting with Ancient Rome and Greece? This controversial 198 page book, inspects the history of the World Expositions between 1851-1915 and the strange time frame they were associated with.

This controversial 234 page book, with over 80 photographs inspects the history of the World Expositions between 1851-1915. Beautiful 700-acre sites that resembled Ancient Rome were built, then immediately destroyed. Why? Or maybe they were not built, perhaps they were the restored buildings of an ancient civilization?

The notion of «exposure» underlies much modern thinking about identity, representation, ethics, desire and sexuality. This provocative notion is explored in a collection of essays selected from, and inspired by, the proceedings of a conference held in the Department of French at the University of Cambridge in 2002. The authors engage with exposure as both object and mode of representation in a range of cultural media: literature, critical theory, visual art and film. They analyse a variety of works from the medieval, early-modern, and modern periods, examining not only canonical texts such as Montaigne's Essais but also lesser-studied works such as the psychoanalytic theory of Didier Anzieu, the photomontage self-portraits of Claude Cahun, and the novel La Nouvelle Pornographie by Marie Nimier. This volume thus both illustrates and, more importantly, interrogates the richness of the term «exposure», in a way that is stimulating for students and researchers alike.

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Louis XIV, regency, rococo, neoclassical, empire, art nouveau, and historicist pastiche: furniture styles march across French history as regimes rise and fall. In this extraordinary social history, Leora Auslander explores the changing meaning of furniture from the mid-seventeenth to the early twentieth century, revealing how the aesthetics of everyday life were as integral to political events as to economic and social transformations. Enriched by Auslander's experience as a cabinetmaker, this work demonstrates how furniture served to represent and even generate its makers' and consumers' identities.