When Futurism Shocked San Francisco
'City Rising': San Francisco's Potemkin Village
Uke Fans Jam to Celebrate America’s 100-Year Love Affair with the Ukulele
1915 World’s Fair Put a Reborn San Francisco in the Spotlight
When the Ukulele Came to San Francisco
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She is the creator of KQED Arts’ three-time Webby Award-winning YouTube series \u003cem>If Cities Could Dance\u003c/em>, featuring dancers across the country representing their cities’ signature moves, and the director of \u003cem>When the Waters Get Deep\u003c/em>, a documentary about Oakland-based artists SOL Development and their work toward healing their communities’ trauma from gun violence.","avatar":"https://secure.gravatar.com/avatar/1a2b57e8a13abdcfc3d4966d9c0e1512?s=600&d=blank&r=g","twitter":"kellyfilmmaker","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["subscriber"]}],"headData":{"title":"Kelly Whalen | KQED","description":"Senior Video Producer","ogImgSrc":"https://secure.gravatar.com/avatar/1a2b57e8a13abdcfc3d4966d9c0e1512?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/1a2b57e8a13abdcfc3d4966d9c0e1512?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/kwhalen"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_11013839":{"type":"posts","id":"arts_11013839","meta":{"index":"posts_1591205157","site":"arts","id":"11013839","score":null,"sort":[1445022022000]},"guestAuthors":[],"slug":"travel-back-100-years-with-reunited-art-from-the-worlds-fair","title":"When Futurism Shocked San Francisco","publishDate":1445022022,"format":"standard","headTitle":"When Futurism Shocked San Francisco | KQED","labelTerm":{"term":837,"site":"arts"},"content":"\u003cp>As San Francisco’s \u003ca href=\"http://www.ppie100.org/\" target=\"_blank\" rel=\"noopener\">year-long celebration\u003c/a> of the Panama Pacific International Exposition’s (PPIE) centennial anniversary draws to a close, the de Young throws its hat in the historical ring with \u003ci>\u003ca href=\"http://deyoung.famsf.org/jewel-city\" target=\"_blank\" rel=\"noopener\">Jewel City\u003c/a>\u003c/i>, a reassembly of artworks exhibited at the 1915 world’s fair.\u003c/p>\n\u003cfigure id=\"attachment_11013847\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Sargent640.jpg\" alt=\"John Singer Sargent, 'The Sketchers,' 1913. Virginia Museum of Fine Arts, Richmond. Arthur and Margaret Glasgow Fund.\" width=\"640\" height=\"495\" class=\"size-full wp-image-11013847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Sargent640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Sargent640-400x309.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">John Singer Sargent, ‘The Sketchers,’ 1913.\u003cbr>Virginia Museum of Fine Arts, Richmond. Arthur and Margaret Glasgow Fund.\u003cbr> \u003ccite>(Photo: Katherine Wetzel © Virginia Museum of Fine Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to other features of the expo — including a Heinz condiment tower, a working model of the Panama Canal and a living “Pueblo Village” occupied by Zuni and Hopi families — the PPIE displayed over 11,000 paintings, sculptures, prints and photographs. Housed at the Palace of Fine Arts, its Annex and within national buildings like the French pavilion, the art of the PPIE satisfied audiences with majestic murals and salon walls of Impressionist canvases. \u003c/p>\n\u003cp>But thanks in large part to Norwegian-born J. Nilsen Laurvik, a special curatorial agent of international art, the fair also included a number of surprising (and radical, in the eyes of fair-goers) artworks. As World War I spread across Europe, Laurvik was remarkably successful in securing contributions from European nations. When a ship arrived via the Panama Canal two months after the fair’s opening, the PPIE quickly built the Annex near the Palace of Fine Arts to house its unexpected bounty of works from places like Finland, Hungary, Norway, Russia and Italy. \u003c/p>\n\u003cfigure id=\"attachment_11013843\" class=\"wp-caption alignright\" style=\"max-width: 517px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Severini640.jpg\" alt=\"Gino Severini, 'Spherical Expansion of Light, Centripetal,' 1913–1914.\" width=\"517\" height=\"640\" class=\"size-full wp-image-11013843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Severini640.jpg 517w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Severini640-400x495.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Severini640-485x600.jpg 485w\" sizes=\"(max-width: 517px) 100vw, 517px\">\u003cfigcaption class=\"wp-caption-text\">Gino Severini, ‘Spherical Expansion of Light, Centripetal,’ 1913–1914. \u003ccite>(Courtesy: Private Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Standouts include vibrant paintings by the Finnish artist Akseli Gallen-Kallela. In his \u003ci>Mäntykoski Waterfall\u003c/i> (1892-1894), a waterfall is foregrounded by five vertical gold stripes resembling the strings of a lyre, a jarring moment of abstraction in an otherwise realist landscape. Gallen-Kallela’s \u003ci>Self-Portrait with Cheetah\u003c/i> (1910) is as fresh and loose as any painting made today, with thickly-applied brushstrokes of orange and magenta showing a hunter hunched beside his trussed up conquest.\u003c/p>\n\u003cp>The wall text argues that Laurvik’s biggest curatorial accomplishment (even greater than whisking works out of nations actively engaged in battle) was convincing Filippo Tommaso Marinetti, leader of the Italian Futurism movement, to permit nearly 50 works to be shown at the PPIE, despite some hard feelings he harbored towards America at the time. Paintings by Giacomo Balla, Umberto Boccioni, Luigi Russolo and Gino Severini capture the movement’s preoccupation with motion, machinery and light in riotous explosions of color. War is just one step away.\u003c/p>\n\u003cfigure id=\"attachment_11013841\" class=\"wp-caption alignright\" style=\"max-width: 459px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Beaux640.jpg\" alt=\"Cecilia Beaux, 'Man with the Cat (Henry Sturgis Drinker),' 1898.\" width=\"459\" height=\"640\" class=\"size-full wp-image-11013841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Beaux640.jpg 459w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Beaux640-400x558.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Beaux640-430x600.jpg 430w\" sizes=\"(max-width: 459px) 100vw, 459px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Beaux, ‘Man with the Cat (Henry Sturgis Drinker),’ 1898. \u003ccite>(Courtesy: Smithsonian American Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What you will not find in \u003ci>Jewel City\u003c/i>: much work made by women, or any work made outside of the United States and Europe. Works by female artists were lightly — very lightly — scattered throughout the Palace of Fine Arts, but they also occupied a dedicated “women’s gallery,” where portraits by Cecilia Beaux earned a medal of honor. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other themed galleries included a room dedicated to Boston painters and the controversial “Chamber of Horrors,” a gallery of works by teachers and students of the Pennsylvania Academy of the Fine Arts. These horrors — slight experiments beyond impressionism — appear tame today, but they fanned a fire of controversy that allowed the public to think American art was keeping pace with radical European artistic movements.\u003c/p>\n\u003cp>A darker history of the PPIE art — and the somewhat advantageous timing of WWI — appears in snippets of wall text. The German artist Leo Putz’s painting \u003ci>On the Shore\u003c/i> was one of 39 pieces that came to the fair from an exhibition at the Carnegie Institute in Pittsburgh after being labeled “spoils of war.” A large portion of the Hungarian work remained on view in San Francisco after the close of the fair, but was later detained as “alien property” when the U.S. entered WWI, remaining in bureaucratic limbo for nearly a decade. \u003c/p>\n\u003cfigure id=\"attachment_11013844\" class=\"wp-caption alignright\" style=\"max-width: 521px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Tihanyi640.jpg\" alt=\"Lajos Tihanyi, 'Self-Portrait (Önarckép),' 1914.\" width=\"521\" height=\"640\" class=\"size-full wp-image-11013844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Tihanyi640.jpg 521w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Tihanyi640-400x491.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Tihanyi640-488x600.jpg 488w\" sizes=\"(max-width: 521px) 100vw, 521px\">\u003cfigcaption class=\"wp-caption-text\">Lajos Tihanyi, ‘Self-Portrait (Önarckép),’ 1914. \u003ccite>(Courtesy: Magyar Nemzeti Galéria, Budapest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, Hungarian art historian Gergely Barki, who contributed an essay to the \u003ci>Jewel City\u003c/i> catalog, says, “While the PPIE exhibition is hailed as the first representative display of modern Hungarian art in the United States, it also might be characterized as a ‘Bermuda Triangle,’ a site where many mysterious and unsolved disappearances have their origins.” \u003c/p>\n\u003cp>The PPIE is far enough in the past to make it difficult to identify with San Franciscans of 1915 and their reaction to the art. What was shocking then appears commonplace now. In \u003ci>Jewel City\u003c/i>, a much-reduced approximation of the original exposition exhibition, contemporary viewers can step back into the artistic concerns of the early 20th century. Reflected in all the works, regardless of country of origin, is the surrounding historical context: a moment of celebration for a rebuilt San Francisco, America’s neutral optimism regarding WWI and the dark chaos of war that was quickly engulfing Europe.\u003c/p>\n\u003cp>\u003ci>Jewel City\u003c/i> is on view Oct. 17, 2015 – Jan. 10, 2016. For tickets and more information visit \u003ca href=\"http://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener\">deyoung.famsf.org\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Saturday, Oct. 17, the de Young opens its doors to the public for free from 10am to 10pm in celebration of its own anniversary — 10 years in its “new” Herzog & de Meuron-designed building. Timed admission to \u003ci>Jewel City\u003c/i> will be available on a first-come first-served basis. \u003c/p>\n\n","blocks":[],"excerpt":"Works originally seen at the 1915 Panama Pacific International Exposition capture a time and place through art.","status":"publish","parent":0,"modified":1705046165,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":939},"headData":{"title":"When Futurism Shocked San Francisco | KQED","description":"Works originally seen at the 1915 Panama Pacific International Exposition capture a time and place through art.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"When Futurism Shocked San Francisco","datePublished":"2015-10-16T19:00:22.000Z","dateModified":"2024-01-12T07:56:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11013839/travel-back-100-years-with-reunited-art-from-the-worlds-fair","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As San Francisco’s \u003ca href=\"http://www.ppie100.org/\" target=\"_blank\" rel=\"noopener\">year-long celebration\u003c/a> of the Panama Pacific International Exposition’s (PPIE) centennial anniversary draws to a close, the de Young throws its hat in the historical ring with \u003ci>\u003ca href=\"http://deyoung.famsf.org/jewel-city\" target=\"_blank\" rel=\"noopener\">Jewel City\u003c/a>\u003c/i>, a reassembly of artworks exhibited at the 1915 world’s fair.\u003c/p>\n\u003cfigure id=\"attachment_11013847\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Sargent640.jpg\" alt=\"John Singer Sargent, 'The Sketchers,' 1913. Virginia Museum of Fine Arts, Richmond. Arthur and Margaret Glasgow Fund.\" width=\"640\" height=\"495\" class=\"size-full wp-image-11013847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Sargent640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Sargent640-400x309.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">John Singer Sargent, ‘The Sketchers,’ 1913.\u003cbr>Virginia Museum of Fine Arts, Richmond. Arthur and Margaret Glasgow Fund.\u003cbr> \u003ccite>(Photo: Katherine Wetzel © Virginia Museum of Fine Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to other features of the expo — including a Heinz condiment tower, a working model of the Panama Canal and a living “Pueblo Village” occupied by Zuni and Hopi families — the PPIE displayed over 11,000 paintings, sculptures, prints and photographs. Housed at the Palace of Fine Arts, its Annex and within national buildings like the French pavilion, the art of the PPIE satisfied audiences with majestic murals and salon walls of Impressionist canvases. \u003c/p>\n\u003cp>But thanks in large part to Norwegian-born J. Nilsen Laurvik, a special curatorial agent of international art, the fair also included a number of surprising (and radical, in the eyes of fair-goers) artworks. As World War I spread across Europe, Laurvik was remarkably successful in securing contributions from European nations. When a ship arrived via the Panama Canal two months after the fair’s opening, the PPIE quickly built the Annex near the Palace of Fine Arts to house its unexpected bounty of works from places like Finland, Hungary, Norway, Russia and Italy. \u003c/p>\n\u003cfigure id=\"attachment_11013843\" class=\"wp-caption alignright\" style=\"max-width: 517px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Severini640.jpg\" alt=\"Gino Severini, 'Spherical Expansion of Light, Centripetal,' 1913–1914.\" width=\"517\" height=\"640\" class=\"size-full wp-image-11013843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Severini640.jpg 517w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Severini640-400x495.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Severini640-485x600.jpg 485w\" sizes=\"(max-width: 517px) 100vw, 517px\">\u003cfigcaption class=\"wp-caption-text\">Gino Severini, ‘Spherical Expansion of Light, Centripetal,’ 1913–1914. \u003ccite>(Courtesy: Private Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Standouts include vibrant paintings by the Finnish artist Akseli Gallen-Kallela. In his \u003ci>Mäntykoski Waterfall\u003c/i> (1892-1894), a waterfall is foregrounded by five vertical gold stripes resembling the strings of a lyre, a jarring moment of abstraction in an otherwise realist landscape. Gallen-Kallela’s \u003ci>Self-Portrait with Cheetah\u003c/i> (1910) is as fresh and loose as any painting made today, with thickly-applied brushstrokes of orange and magenta showing a hunter hunched beside his trussed up conquest.\u003c/p>\n\u003cp>The wall text argues that Laurvik’s biggest curatorial accomplishment (even greater than whisking works out of nations actively engaged in battle) was convincing Filippo Tommaso Marinetti, leader of the Italian Futurism movement, to permit nearly 50 works to be shown at the PPIE, despite some hard feelings he harbored towards America at the time. Paintings by Giacomo Balla, Umberto Boccioni, Luigi Russolo and Gino Severini capture the movement’s preoccupation with motion, machinery and light in riotous explosions of color. War is just one step away.\u003c/p>\n\u003cfigure id=\"attachment_11013841\" class=\"wp-caption alignright\" style=\"max-width: 459px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Beaux640.jpg\" alt=\"Cecilia Beaux, 'Man with the Cat (Henry Sturgis Drinker),' 1898.\" width=\"459\" height=\"640\" class=\"size-full wp-image-11013841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Beaux640.jpg 459w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Beaux640-400x558.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Beaux640-430x600.jpg 430w\" sizes=\"(max-width: 459px) 100vw, 459px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Beaux, ‘Man with the Cat (Henry Sturgis Drinker),’ 1898. \u003ccite>(Courtesy: Smithsonian American Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What you will not find in \u003ci>Jewel City\u003c/i>: much work made by women, or any work made outside of the United States and Europe. Works by female artists were lightly — very lightly — scattered throughout the Palace of Fine Arts, but they also occupied a dedicated “women’s gallery,” where portraits by Cecilia Beaux earned a medal of honor. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other themed galleries included a room dedicated to Boston painters and the controversial “Chamber of Horrors,” a gallery of works by teachers and students of the Pennsylvania Academy of the Fine Arts. These horrors — slight experiments beyond impressionism — appear tame today, but they fanned a fire of controversy that allowed the public to think American art was keeping pace with radical European artistic movements.\u003c/p>\n\u003cp>A darker history of the PPIE art — and the somewhat advantageous timing of WWI — appears in snippets of wall text. The German artist Leo Putz’s painting \u003ci>On the Shore\u003c/i> was one of 39 pieces that came to the fair from an exhibition at the Carnegie Institute in Pittsburgh after being labeled “spoils of war.” A large portion of the Hungarian work remained on view in San Francisco after the close of the fair, but was later detained as “alien property” when the U.S. entered WWI, remaining in bureaucratic limbo for nearly a decade. \u003c/p>\n\u003cfigure id=\"attachment_11013844\" class=\"wp-caption alignright\" style=\"max-width: 521px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/Tihanyi640.jpg\" alt=\"Lajos Tihanyi, 'Self-Portrait (Önarckép),' 1914.\" width=\"521\" height=\"640\" class=\"size-full wp-image-11013844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Tihanyi640.jpg 521w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Tihanyi640-400x491.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/Tihanyi640-488x600.jpg 488w\" sizes=\"(max-width: 521px) 100vw, 521px\">\u003cfigcaption class=\"wp-caption-text\">Lajos Tihanyi, ‘Self-Portrait (Önarckép),’ 1914. \u003ccite>(Courtesy: Magyar Nemzeti Galéria, Budapest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, Hungarian art historian Gergely Barki, who contributed an essay to the \u003ci>Jewel City\u003c/i> catalog, says, “While the PPIE exhibition is hailed as the first representative display of modern Hungarian art in the United States, it also might be characterized as a ‘Bermuda Triangle,’ a site where many mysterious and unsolved disappearances have their origins.” \u003c/p>\n\u003cp>The PPIE is far enough in the past to make it difficult to identify with San Franciscans of 1915 and their reaction to the art. What was shocking then appears commonplace now. In \u003ci>Jewel City\u003c/i>, a much-reduced approximation of the original exposition exhibition, contemporary viewers can step back into the artistic concerns of the early 20th century. Reflected in all the works, regardless of country of origin, is the surrounding historical context: a moment of celebration for a rebuilt San Francisco, America’s neutral optimism regarding WWI and the dark chaos of war that was quickly engulfing Europe.\u003c/p>\n\u003cp>\u003ci>Jewel City\u003c/i> is on view Oct. 17, 2015 – Jan. 10, 2016. For tickets and more information visit \u003ca href=\"http://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener\">deyoung.famsf.org\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Saturday, Oct. 17, the de Young opens its doors to the public for free from 10am to 10pm in celebration of its own anniversary — 10 years in its “new” Herzog & de Meuron-designed building. Timed admission to \u003ci>Jewel City\u003c/i> will be available on a first-come first-served basis. \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11013839/travel-back-100-years-with-reunited-art-from-the-worlds-fair","authors":["61"],"series":["arts_837"],"categories":["arts_70"],"tags":["arts_1118","arts_596","arts_769"],"featImg":"arts_11013848","label":"arts_837"},"arts_10423624":{"type":"posts","id":"arts_10423624","meta":{"index":"posts_1591205157","site":"arts","id":"10423624","score":null,"sort":[1425672059000]},"guestAuthors":[],"slug":"city-rising-san-franciscos-potemkin-village","title":"'City Rising': San Francisco's Potemkin Village","publishDate":1425672059,"format":"standard","headTitle":"‘City Rising’: San Francisco’s Potemkin Village | KQED","labelTerm":{"term":837,"site":"arts"},"content":"\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/city-rising-san-francisco-and-the-1915-worlds-fair/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘City Rising’\u003c/h2>\n\u003cdiv class=\"event-desc\">Exhibit exploring the 1915 World’s Fair.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 22–Dec. 6, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">California Historical Society\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/city-rising-san-francisco-and-the-1915-worlds-fair/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>There is something antediluvian about world’s fairs. They still exist — one will open in Milan this May — but the concept sometimes feels from another time. The last world’s fair in the United States was held over 30 years ago in New Orleans, and \u003ca href=\"http://en.wikipedia.org/wiki/1984_Louisiana_World_Exposition\" target=\"_blank\" rel=\"noopener\">was considered a failure\u003c/a>; the more successful fair in Knoxville two years earlier reported \u003ca href=\"http://en.wikipedia.org/wiki/1982_World%27s_Fair\" target=\"_blank\" rel=\"noopener\">a princely profit of $57\u003c/a>. Though international events like the Olympics and the Venice Biennale share some similarities with world’s fairs, they still seem more appropriate to the times of Baudelaire and Zola, or at least Asimov and Disney.\u003c/p>\n\u003cfigure id=\"attachment_10423740\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Hercules.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10423740 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Hercules-400x608.jpg\" alt=\"Perham Wilhelm NahlThe Thirteenth Labor of Hercules in Panama-Pacific International Exposition, 1915. Published by PPIE Co., c1914. Courtesy California Historical Society. \" width=\"400\" height=\"608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Hercules-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Hercules-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Hercules-320x486.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Hercules.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Perham Wilhelm Nahl, \u003ci>The Thirteenth Labor of Hercules\u003c/i> in \u003ci>Panama-Pacific International Exposition, 1915\u003c/i>. Published by PPIE Co., c. 1914. (Courtesy California Historical Society)\u003c/figcaption>\u003c/figure>\n\u003cp>On the 100th anniversary of the opening of the Panama-Pacific International Exposition (PPIE) in San Francisco, I visited \u003cem>City Rising: San Francisco and the 1915 World’s Fair\u003c/em> at the California Historical Society to search for an answer to why world’s fairs feel so antiquated today. \u003cem>City Rising\u003c/em> explores the exposition from its emergence out the rubble of the 1906 earthquake to its demolition in 1916, making use of ephemera, posters, photographs, and even a large-scale reproduction of the fair grounds.\u003c/p>\n\u003cp>I brought with myself to the exhibition assumptions of national image-building and a narrative about the heroism of industrialism and imperialism. These assumptions were certainly substantiated, but \u003cem>City Rising\u003c/em> helps make sense of the tenuousness of this narrative and how it relates to the contemporary condition.\u003c/p>\n\u003cp>Ostensibly a celebration of the completion of the Panama Canal — an imperial project that overcame malaria, yellow fever, and geography — the exposition more broadly honored the greatness of the United States. A fair poster by Perham Wilhelm Nahl, titled \u003ci>The Thirteenth Labor of Hercules\u003c/i> (1915), almost comically suggests that building the exposition was on par with Hercules slaying the Hydra or capturing Cerberus. In the poster, a naked man, washed with muscles, props himself against an enormous canyon wall, moving earth to reveal the “jewel city,” as the PPIE was known.\u003c/p>\n\u003cfigure id=\"attachment_10423741\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/StarMaiden.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10423741\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/StarMaiden-400x626.jpg\" alt=\"Alexander Stirling Calder, Star Maiden, 1915. Collection of Jacque Giuffre and William Kreysler. Courtesy of Fine Arts Museums of San Francisco. Photo: Randy Dodson\" width=\"300\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/StarMaiden-400x626.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/StarMaiden-383x600.jpg 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/StarMaiden-320x501.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/StarMaiden.jpg 640w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alexander Stirling Calder, \u003ci>Star Maiden\u003c/i>, 1915. Collection of Jacque Giuffre and William Kreysler. Courtesy of Fine Arts Museums of San Francisco. (Photo: Randy Dodson)\u003c/figcaption>\u003c/figure>\n\u003cp>A triptych of photographic panoramas documents how the site of the fair looked before, during, and after construction (1912-1915). Viewers see the barren flatlands of Harbor View — now the Marina District — transformed into a beaux-arts metropolis. Part of the land the exposition sat on was once an Ohlone trading village, but by February 1915 it resembled more of a Potemkin village. Though \u003ci>The Thirteenth Labor\u003c/i>, the grandiose architecture, and the Hellenic statuary gesture towards confidence and power, there is an air of something desperate in the documentation of the fair. The bluster and pomp hints at the need for a young nation to prove its worth to others, as if it is unsure itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>City Rising\u003c/em> also documents the fair’s deep commitment to commercialism. Though it’s difficult to fully place this in the cultural context of 1915, some romanticism of the fair is lost upon seeing the Gillette Safety Razor booth, the Standard Oil award ribbons, and the Levi Strauss factory in the Palace of Manufacturers. The exposition begins to look like a vessel for advertising, as one is liable to see contemporary events like the Super Bowl: broadcast as a means to sell Skittles and beer. If anything, this is a reminder of the similarities between us and those who lived 100 years ago, even if the assault from marketers is more pervasive now.\u003c/p>\n\u003cfigure id=\"attachment_10425096\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/GillettePPIE.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10425096\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/GillettePPIE.jpg\" alt=\"Exhibit booth of Gillette Safety Razor Company. Courtesy Donna Ewald Huggins.\" width=\"640\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/GillettePPIE.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/GillettePPIE-400x302.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/GillettePPIE-320x242.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibit booth of Gillette Safety Razor Company. (Courtesy Donna Ewald Huggins)\u003c/figcaption>\u003c/figure>\n\u003cp>Participation in the fair was not limited to corporations. I was pleased to see photographs of a National Child Labor Committee booth, which showed the fair as a place for political exchange. It being 1915, there was also a booth dedicated to the Race Betterment Foundation, which advocated for eugenics and racial segregation. These booths, along with the display of individuals like Elizabeth the Living Doll, a doll-sized person, suggest that the fair was a truly democratic place, with a free exchange of ideas and curiosities. But I am reminded of another place that serves as free exchange of ideas and curiosities, a place fueled by advertising and occupied by eugenicists, labor advocates, and human beings made out to be freaks: the internet.\u003c/p>\n\u003cfigure id=\"attachment_10423744\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/LeviPPIE.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10423744\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/LeviPPIE.jpg\" alt=\"Levi Strauss & Co. “Koveralls” Factory in the Palace of Manufactures. Courtesy Levi Strauss & Co. Archives.\" width=\"640\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/LeviPPIE.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/LeviPPIE-400x325.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/LeviPPIE-320x260.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Levi Strauss & Co. “Koveralls” Factory in the Palace of Manufacturers. (Courtesy Levi Strauss & Co. Archives)\u003c/figcaption>\u003c/figure>\n\u003cp>What the PPIE offered, in terms of marketing, nationalism, politics, and curiosity, can be acquired much more easily and disseminated much more widely now than a century ago. The fall of world’s fairs began well before the rise of the internet, but it did coincide with the development of mass media, including radio and television. A Super Bowl ad can reach many more individuals in 30 seconds than a year-long booth at even the most well-attended fair. An internet ad or labor advocacy blog may find a smaller audience, but they can do so more efficiently, and with more precision, than a world’s fair exhibit.\u003c/p>\n\u003cfigure id=\"attachment_10423768\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/ElizabethTheLivingDoll.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10423768 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/ElizabethTheLivingDoll-400x551.jpg\" alt=\"Elizabeth the Living Doll, the Smallest Perfect-Formed Woman on Earth, Panama-Pacific International Exposition. Courtesy of Donna Ewald Huggins.\" width=\"400\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/ElizabethTheLivingDoll-400x551.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/ElizabethTheLivingDoll-436x600.jpg 436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/ElizabethTheLivingDoll-320x440.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/ElizabethTheLivingDoll.jpg 635w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Elizabeth the Living Doll, the Smallest Perfect-Formed Woman on Earth\u003c/i>. (Courtesy of Donna Ewald Huggins)\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond changes in marketing, there’s something else that marks the PPIE as anachronistic. This is best explained by curatorial text stating that the fair “evoked the ascendance of American culture and the certitude that science would transform both commerce and society.” For all the cynical motivations behind the fair, \u003cem>City Rising\u003c/em> indicates that there was a level of sincerity and enthusiasm for the future, particularly for the promising potential in science and industrialism. The fair notably honored major developments in telecommunication, automobiles, audio recording, and electric lighting.\u003c/p>\n\u003cp>It is difficult to imagine such a spirit infecting a world’s fair in modern-day America. Though science and technology are likely to lower the mortality rate from cancer and help us find parking spaces, the larger picture appears increasingly gloomy. Climate change, ignored by many politicians, threatens our way of life. Our fever for resources causes artificial earthquakes, poisoned rivers, and flammable drinking water. Astonishing advances in technology have been used against us to create a nearly omnipotent surveillance state. Industry wields immense power over our government, and the growing gulf between the rich and the poor shows no sign of easing. Corruption, pollution, and inequality were no strangers to 1915, but that which promised to improve life at the PPIE is cause for much concern today.\u003c/p>\n\u003cfigure id=\"attachment_10423742\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/OhioBuilding.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10423742\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/OhioBuilding.jpg\" alt=\"Deconstruction of the Panama-Pacific International Exposition - Ohio Building being floated to Coyote Point, 1916. Courtesy California Historical Society.\" width=\"640\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/OhioBuilding.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/OhioBuilding-400x321.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/OhioBuilding-320x257.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Deconstruction of the Panama-Pacific International Exposition – Ohio Building being floated to Coyote Point, 1916. (Courtesy California Historical Society)\u003c/figcaption>\u003c/figure>\n\u003cp>If the PPIE really was defined by sincere optimism, there was a naïveté to that earnestness. Utopianism is always problematic, but especially so when corporate sponsors are involved. Two photographs in \u003cem>City Rising\u003c/em> best illustrate the divide between utopianism and marketing. One shows the destruction of the Italian Tower after the fair closed. The tower crashes to the ground as spectators watch. Like most structures in the exposition, the tower was meant to be temporary. And yet prior to the fair, Harbor View housed “earthquake shacks”; the tenants, almost entirely poor and working-class, were forced to vacate without compensation. It must have been a cruel sight had any of these individuals seen the plaster prop buildings razed.\u003c/p>\n\u003cp>Another building is seen as it was hauled out to sea, on its way to a new home in San Mateo. These days, one doesn’t need to build fake cities or move buildings in order to sell safety razors. Nor does one need to travel thousands of miles to witness the latest technology and experience curiosa. This is not to lament the loss of shared cultural experiences, of which there are many, both corporeal and virtual. The motivations behind the exposition, good and bad, are still with us, but the form, and possibly spirit, of the fair is unique to a time that is long past.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘City Rising: San Francisco and the 1915 World’s Fair’ runs through Dec. 6, 2015 at the California Historical Society in San Francisco. \u003ca href=\"http://www.calhist.org\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A review of \u003ci>City Rising\u003c/i> at the California Historical Society, which documents ambitions and motivations behind the 1915 world's fair.","status":"publish","parent":0,"modified":1705047462,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1430},"headData":{"title":"'City Rising': San Francisco's Potemkin Village | KQED","description":"A review of City Rising at the California Historical Society, which documents ambitions and motivations behind the 1915 world's fair.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'City Rising': San Francisco's Potemkin Village","datePublished":"2015-03-06T20:00:59.000Z","dateModified":"2024-01-12T08:17:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/10423624/city-rising-san-franciscos-potemkin-village","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/city-rising-san-francisco-and-the-1915-worlds-fair/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘City Rising’\u003c/h2>\n\u003cdiv class=\"event-desc\">Exhibit exploring the 1915 World’s Fair.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 22–Dec. 6, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">California Historical Society\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/city-rising-san-francisco-and-the-1915-worlds-fair/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>There is something antediluvian about world’s fairs. They still exist — one will open in Milan this May — but the concept sometimes feels from another time. The last world’s fair in the United States was held over 30 years ago in New Orleans, and \u003ca href=\"http://en.wikipedia.org/wiki/1984_Louisiana_World_Exposition\" target=\"_blank\" rel=\"noopener\">was considered a failure\u003c/a>; the more successful fair in Knoxville two years earlier reported \u003ca href=\"http://en.wikipedia.org/wiki/1982_World%27s_Fair\" target=\"_blank\" rel=\"noopener\">a princely profit of $57\u003c/a>. Though international events like the Olympics and the Venice Biennale share some similarities with world’s fairs, they still seem more appropriate to the times of Baudelaire and Zola, or at least Asimov and Disney.\u003c/p>\n\u003cfigure id=\"attachment_10423740\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Hercules.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10423740 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Hercules-400x608.jpg\" alt=\"Perham Wilhelm NahlThe Thirteenth Labor of Hercules in Panama-Pacific International Exposition, 1915. Published by PPIE Co., c1914. Courtesy California Historical Society. \" width=\"400\" height=\"608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Hercules-400x608.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Hercules-395x600.jpg 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Hercules-320x486.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Hercules.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Perham Wilhelm Nahl, \u003ci>The Thirteenth Labor of Hercules\u003c/i> in \u003ci>Panama-Pacific International Exposition, 1915\u003c/i>. Published by PPIE Co., c. 1914. (Courtesy California Historical Society)\u003c/figcaption>\u003c/figure>\n\u003cp>On the 100th anniversary of the opening of the Panama-Pacific International Exposition (PPIE) in San Francisco, I visited \u003cem>City Rising: San Francisco and the 1915 World’s Fair\u003c/em> at the California Historical Society to search for an answer to why world’s fairs feel so antiquated today. \u003cem>City Rising\u003c/em> explores the exposition from its emergence out the rubble of the 1906 earthquake to its demolition in 1916, making use of ephemera, posters, photographs, and even a large-scale reproduction of the fair grounds.\u003c/p>\n\u003cp>I brought with myself to the exhibition assumptions of national image-building and a narrative about the heroism of industrialism and imperialism. These assumptions were certainly substantiated, but \u003cem>City Rising\u003c/em> helps make sense of the tenuousness of this narrative and how it relates to the contemporary condition.\u003c/p>\n\u003cp>Ostensibly a celebration of the completion of the Panama Canal — an imperial project that overcame malaria, yellow fever, and geography — the exposition more broadly honored the greatness of the United States. A fair poster by Perham Wilhelm Nahl, titled \u003ci>The Thirteenth Labor of Hercules\u003c/i> (1915), almost comically suggests that building the exposition was on par with Hercules slaying the Hydra or capturing Cerberus. In the poster, a naked man, washed with muscles, props himself against an enormous canyon wall, moving earth to reveal the “jewel city,” as the PPIE was known.\u003c/p>\n\u003cfigure id=\"attachment_10423741\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/StarMaiden.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10423741\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/StarMaiden-400x626.jpg\" alt=\"Alexander Stirling Calder, Star Maiden, 1915. Collection of Jacque Giuffre and William Kreysler. Courtesy of Fine Arts Museums of San Francisco. Photo: Randy Dodson\" width=\"300\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/StarMaiden-400x626.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/StarMaiden-383x600.jpg 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/StarMaiden-320x501.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/StarMaiden.jpg 640w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alexander Stirling Calder, \u003ci>Star Maiden\u003c/i>, 1915. Collection of Jacque Giuffre and William Kreysler. Courtesy of Fine Arts Museums of San Francisco. (Photo: Randy Dodson)\u003c/figcaption>\u003c/figure>\n\u003cp>A triptych of photographic panoramas documents how the site of the fair looked before, during, and after construction (1912-1915). Viewers see the barren flatlands of Harbor View — now the Marina District — transformed into a beaux-arts metropolis. Part of the land the exposition sat on was once an Ohlone trading village, but by February 1915 it resembled more of a Potemkin village. Though \u003ci>The Thirteenth Labor\u003c/i>, the grandiose architecture, and the Hellenic statuary gesture towards confidence and power, there is an air of something desperate in the documentation of the fair. The bluster and pomp hints at the need for a young nation to prove its worth to others, as if it is unsure itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>City Rising\u003c/em> also documents the fair’s deep commitment to commercialism. Though it’s difficult to fully place this in the cultural context of 1915, some romanticism of the fair is lost upon seeing the Gillette Safety Razor booth, the Standard Oil award ribbons, and the Levi Strauss factory in the Palace of Manufacturers. The exposition begins to look like a vessel for advertising, as one is liable to see contemporary events like the Super Bowl: broadcast as a means to sell Skittles and beer. If anything, this is a reminder of the similarities between us and those who lived 100 years ago, even if the assault from marketers is more pervasive now.\u003c/p>\n\u003cfigure id=\"attachment_10425096\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/GillettePPIE.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10425096\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/GillettePPIE.jpg\" alt=\"Exhibit booth of Gillette Safety Razor Company. Courtesy Donna Ewald Huggins.\" width=\"640\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/GillettePPIE.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/GillettePPIE-400x302.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/GillettePPIE-320x242.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Exhibit booth of Gillette Safety Razor Company. (Courtesy Donna Ewald Huggins)\u003c/figcaption>\u003c/figure>\n\u003cp>Participation in the fair was not limited to corporations. I was pleased to see photographs of a National Child Labor Committee booth, which showed the fair as a place for political exchange. It being 1915, there was also a booth dedicated to the Race Betterment Foundation, which advocated for eugenics and racial segregation. These booths, along with the display of individuals like Elizabeth the Living Doll, a doll-sized person, suggest that the fair was a truly democratic place, with a free exchange of ideas and curiosities. But I am reminded of another place that serves as free exchange of ideas and curiosities, a place fueled by advertising and occupied by eugenicists, labor advocates, and human beings made out to be freaks: the internet.\u003c/p>\n\u003cfigure id=\"attachment_10423744\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/LeviPPIE.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10423744\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/LeviPPIE.jpg\" alt=\"Levi Strauss & Co. “Koveralls” Factory in the Palace of Manufactures. Courtesy Levi Strauss & Co. Archives.\" width=\"640\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/LeviPPIE.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/LeviPPIE-400x325.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/LeviPPIE-320x260.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Levi Strauss & Co. “Koveralls” Factory in the Palace of Manufacturers. (Courtesy Levi Strauss & Co. Archives)\u003c/figcaption>\u003c/figure>\n\u003cp>What the PPIE offered, in terms of marketing, nationalism, politics, and curiosity, can be acquired much more easily and disseminated much more widely now than a century ago. The fall of world’s fairs began well before the rise of the internet, but it did coincide with the development of mass media, including radio and television. A Super Bowl ad can reach many more individuals in 30 seconds than a year-long booth at even the most well-attended fair. An internet ad or labor advocacy blog may find a smaller audience, but they can do so more efficiently, and with more precision, than a world’s fair exhibit.\u003c/p>\n\u003cfigure id=\"attachment_10423768\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/ElizabethTheLivingDoll.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10423768 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/ElizabethTheLivingDoll-400x551.jpg\" alt=\"Elizabeth the Living Doll, the Smallest Perfect-Formed Woman on Earth, Panama-Pacific International Exposition. Courtesy of Donna Ewald Huggins.\" width=\"400\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/ElizabethTheLivingDoll-400x551.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/ElizabethTheLivingDoll-436x600.jpg 436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/ElizabethTheLivingDoll-320x440.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/ElizabethTheLivingDoll.jpg 635w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Elizabeth the Living Doll, the Smallest Perfect-Formed Woman on Earth\u003c/i>. (Courtesy of Donna Ewald Huggins)\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond changes in marketing, there’s something else that marks the PPIE as anachronistic. This is best explained by curatorial text stating that the fair “evoked the ascendance of American culture and the certitude that science would transform both commerce and society.” For all the cynical motivations behind the fair, \u003cem>City Rising\u003c/em> indicates that there was a level of sincerity and enthusiasm for the future, particularly for the promising potential in science and industrialism. The fair notably honored major developments in telecommunication, automobiles, audio recording, and electric lighting.\u003c/p>\n\u003cp>It is difficult to imagine such a spirit infecting a world’s fair in modern-day America. Though science and technology are likely to lower the mortality rate from cancer and help us find parking spaces, the larger picture appears increasingly gloomy. Climate change, ignored by many politicians, threatens our way of life. Our fever for resources causes artificial earthquakes, poisoned rivers, and flammable drinking water. Astonishing advances in technology have been used against us to create a nearly omnipotent surveillance state. Industry wields immense power over our government, and the growing gulf between the rich and the poor shows no sign of easing. Corruption, pollution, and inequality were no strangers to 1915, but that which promised to improve life at the PPIE is cause for much concern today.\u003c/p>\n\u003cfigure id=\"attachment_10423742\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/OhioBuilding.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10423742\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/OhioBuilding.jpg\" alt=\"Deconstruction of the Panama-Pacific International Exposition - Ohio Building being floated to Coyote Point, 1916. Courtesy California Historical Society.\" width=\"640\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/OhioBuilding.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/OhioBuilding-400x321.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/OhioBuilding-320x257.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Deconstruction of the Panama-Pacific International Exposition – Ohio Building being floated to Coyote Point, 1916. (Courtesy California Historical Society)\u003c/figcaption>\u003c/figure>\n\u003cp>If the PPIE really was defined by sincere optimism, there was a naïveté to that earnestness. Utopianism is always problematic, but especially so when corporate sponsors are involved. Two photographs in \u003cem>City Rising\u003c/em> best illustrate the divide between utopianism and marketing. One shows the destruction of the Italian Tower after the fair closed. The tower crashes to the ground as spectators watch. Like most structures in the exposition, the tower was meant to be temporary. And yet prior to the fair, Harbor View housed “earthquake shacks”; the tenants, almost entirely poor and working-class, were forced to vacate without compensation. It must have been a cruel sight had any of these individuals seen the plaster prop buildings razed.\u003c/p>\n\u003cp>Another building is seen as it was hauled out to sea, on its way to a new home in San Mateo. These days, one doesn’t need to build fake cities or move buildings in order to sell safety razors. Nor does one need to travel thousands of miles to witness the latest technology and experience curiosa. This is not to lament the loss of shared cultural experiences, of which there are many, both corporeal and virtual. The motivations behind the exposition, good and bad, are still with us, but the form, and possibly spirit, of the fair is unique to a time that is long past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘City Rising: San Francisco and the 1915 World’s Fair’ runs through Dec. 6, 2015 at the California Historical Society in San Francisco. \u003ca href=\"http://www.calhist.org\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10423624/city-rising-san-franciscos-potemkin-village","authors":["187"],"series":["arts_837"],"categories":["arts_1"],"tags":["arts_596"],"featImg":"arts_10423739","label":"arts_837"},"arts_10422441":{"type":"posts","id":"arts_10422441","meta":{"index":"posts_1591205157","site":"arts","id":"10422441","score":null,"sort":[1424919655000]},"guestAuthors":[],"slug":"uke-fans-jam-to-celebrate-americas-100-year-love-affair-with-the-ukulele","title":"Uke Fans Jam to Celebrate America’s 100-Year Love Affair with the Ukulele","publishDate":1424919655,"format":"video","headTitle":"Uke Fans Jam to Celebrate America’s 100-Year Love Affair with the Ukulele | KQED","labelTerm":{"term":837,"site":"arts"},"content":"\u003cp>You can add the ukulele to the list of marvels San Francisco helped introduce to the world. That’s why hundreds of ukulele enthusiasts from the Bay Area and beyond assembled in the Palace of Fine Arts Rotunda Feb. 21 with their ukes in hand for a Uke-a-thon to help kick-off the \u003ca href=\"http://ww2.kqed.org/arts/series/1915-worlds-fair-celebration/\">centennial of the Panama-Pacific International Exposition\u003c/a> in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10422793\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/PHOTOPPIEUkes.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10422793 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/PHOTOPPIEUkes-400x300.jpg\" alt=\"PHOTOPPIEUkes\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/PHOTOPPIEUkes-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/PHOTOPPIEUkes-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/PHOTOPPIEUkes-1180x885.jpg 1180w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ukulele players at the Hawaiian Pavilion, PPIE, 1915 (Collection of Donna Ewald Huggins)\u003c/figcaption>\u003c/figure>\n\u003cp>It was at the 1915 world’s fair that musicians representing Hawaii sparked the first mainland uke craze, strumming their instruments in the Hawaiian Pavilion and other exhibits. By the end of the year, newspapers as far away as Duluth were proclaiming “Hawaiian Music Is Hit of Exposition,” and both Irving Berlin and Jerome Kern had added Hawaiian numbers to their Broadway productions. Sales of ukuleles and sheet music soared. Watch to hear the story and performances by ukulele virtuoso \u003ca href=\"http://http/www.benahn.com\" target=\"_blank\" rel=\"noopener\">Ben Ahn\u003c/a>; master ukulele teacher\u003ca href=\"http://hirambell.net/\" target=\"_blank\" rel=\"noopener\"> Hiram Kaailau Bell\u003c/a>; and Hana Hau 100, a local band led by Marc Goldyne, who hand-crafted a special centennial ukulele.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Hundreds of ukulele enthusiasts assembled at the Palace of Fine Arts this weekend, ukes in hand, to celebrate the the instrument’s U.S.-mainland debut 100 years ago at the San Francisco world’s fair. ","status":"publish","parent":0,"modified":1705047517,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":193},"headData":{"title":"Uke Fans Jam to Celebrate America’s 100-Year Love Affair with the Ukulele | KQED","description":"Hundreds of ukulele enthusiasts assembled at the Palace of Fine Arts this weekend, ukes in hand, to celebrate the the instrument’s U.S.-mainland debut 100 years ago at the San Francisco world’s fair. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Uke Fans Jam to Celebrate America’s 100-Year Love Affair with the Ukulele","datePublished":"2015-02-26T03:00:55.000Z","dateModified":"2024-01-12T08:18:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"https://www.youtube.com/watch?v=qLEHorytyBk&feature=youtu.be","sticky":false,"path":"/arts/10422441/uke-fans-jam-to-celebrate-americas-100-year-love-affair-with-the-ukulele","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can add the ukulele to the list of marvels San Francisco helped introduce to the world. That’s why hundreds of ukulele enthusiasts from the Bay Area and beyond assembled in the Palace of Fine Arts Rotunda Feb. 21 with their ukes in hand for a Uke-a-thon to help kick-off the \u003ca href=\"http://ww2.kqed.org/arts/series/1915-worlds-fair-celebration/\">centennial of the Panama-Pacific International Exposition\u003c/a> in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10422793\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/PHOTOPPIEUkes.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10422793 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/PHOTOPPIEUkes-400x300.jpg\" alt=\"PHOTOPPIEUkes\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/PHOTOPPIEUkes-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/PHOTOPPIEUkes-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/PHOTOPPIEUkes-1180x885.jpg 1180w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ukulele players at the Hawaiian Pavilion, PPIE, 1915 (Collection of Donna Ewald Huggins)\u003c/figcaption>\u003c/figure>\n\u003cp>It was at the 1915 world’s fair that musicians representing Hawaii sparked the first mainland uke craze, strumming their instruments in the Hawaiian Pavilion and other exhibits. By the end of the year, newspapers as far away as Duluth were proclaiming “Hawaiian Music Is Hit of Exposition,” and both Irving Berlin and Jerome Kern had added Hawaiian numbers to their Broadway productions. Sales of ukuleles and sheet music soared. Watch to hear the story and performances by ukulele virtuoso \u003ca href=\"http://http/www.benahn.com\" target=\"_blank\" rel=\"noopener\">Ben Ahn\u003c/a>; master ukulele teacher\u003ca href=\"http://hirambell.net/\" target=\"_blank\" rel=\"noopener\"> Hiram Kaailau Bell\u003c/a>; and Hana Hau 100, a local band led by Marc Goldyne, who hand-crafted a special centennial ukulele.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10422441/uke-fans-jam-to-celebrate-americas-100-year-love-affair-with-the-ukulele","authors":["3248"],"series":["arts_837"],"categories":["arts_835"],"tags":["arts_596"],"featImg":"arts_10422792","label":"arts_837"},"arts_10408686":{"type":"posts","id":"arts_10408686","meta":{"index":"posts_1591205157","site":"arts","id":"10408686","score":null,"sort":[1424482026000]},"guestAuthors":[],"slug":"1915-worlds-fair-put-a-reborn-san-francisco-in-the-spotlight","title":"1915 World’s Fair Put a Reborn San Francisco in the Spotlight","publishDate":1424482026,"format":"video","headTitle":"1915 World’s Fair Put a Reborn San Francisco in the Spotlight | KQED","labelTerm":{"term":610,"site":"arts"},"content":"\u003cp>One hundred years ago—just nine years after earthquake and fire brought San Francisco to her knees–the city threw open the gates to an audacious world’s fair. Amazing displays of art and architecture, industry and commerce, culture and entertainment wowed the 19 million visitors who attended the Panama–Pacific International Exposition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"One hundred years ago—just nine years after earthquake and fire brought San Francisco to her knees--the city threw open the gates to an audacious world’s fair. ","status":"publish","parent":0,"modified":1705047546,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":3,"wordCount":59},"headData":{"title":"1915 World’s Fair Put a Reborn San Francisco in the Spotlight | KQED","description":"One hundred years ago—just nine years after earthquake and fire brought San Francisco to her knees--the city threw open the gates to an audacious world’s fair. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"1915 World’s Fair Put a Reborn San Francisco in the Spotlight","datePublished":"2015-02-21T01:27:06.000Z","dateModified":"2024-01-12T08:19:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"videoEmbed":"http://youtu.be/8Di2G8SiffQ","sticky":false,"nprByline":"Lisa Landers","path":"/arts/10408686/1915-worlds-fair-put-a-reborn-san-francisco-in-the-spotlight","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>One hundred years ago—just nine years after earthquake and fire brought San Francisco to her knees–the city threw open the gates to an audacious world’s fair. Amazing displays of art and architecture, industry and commerce, culture and entertainment wowed the 19 million visitors who attended the Panama–Pacific International Exposition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10408686/1915-worlds-fair-put-a-reborn-san-francisco-in-the-spotlight","authors":["byline_arts_10408686"],"series":["arts_837","arts_610"],"categories":["arts_835","arts_70"],"tags":["arts_596"],"featImg":"arts_10408819","label":"arts_610"},"arts_10406145":{"type":"posts","id":"arts_10406145","meta":{"index":"posts_1591205157","site":"arts","id":"10406145","score":null,"sort":[1424408425000]},"guestAuthors":[],"slug":"when-the-ukulele-came-to-san-francisco","title":"When the Ukulele Came to San Francisco","publishDate":1424408425,"format":"standard","headTitle":"When the Ukulele Came to San Francisco | KQED","labelTerm":{"term":837,"site":"arts"},"content":"\u003cp>This Saturday, San Francisco will celebrate the centennial of a major piece of its history:\u003ca href=\"http://www.californiahistoricalsociety.org/exhibitions/current_exhibitions/\"> the Panama Pacific International Exposition\u003c/a>.\u003c/p>\n\u003cp>It was a world’s fair timed to showcase San Francisco’s recovery from the 1906 earthquake, and to display U.S. imperial might in the Pacific, just after the completion of the Panama Canal.\u003c/p>\n\u003cp>But the expo also introduced the nation to a new musical instrument, and if you’d been there a hundred years ago, here’s a song you might have heard.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dXvVR6P0beA\u003c/p>\n\u003cp>What you’re hearing is a 1915 recording of “On the Beach at Waikiki,” written by Henry Kailimai. He led a delegation of Hawaiian musicians to the fair, where he introduced this famous song.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“On the Beach” is just one of the songs ukulele master and teacher \u003ca href=\"http://hirambell.net/\">Hiram Kaailau Bell \u003c/a>will play on Saturday, at a \u003ca href=\"http://www.ppie100.org/event/uke-thon/\">“Uke-a-Thon”\u003c/a> under the rotunda at the last surviving remnant of the fair, the Palace of Fine Arts. The Uke-a-Thon is expected to draw hundreds of ukulele players.\u003c/p>\n\u003cp>Bell plucked and strummed a bit of “On the Beach…” and some other songs for me recently in his South San Francisco music studio.\u003c/p>\n\u003cp>(Listen here to Bell playing “Ulili-E”).\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/192033553″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The ukulele was a Hawaiian adaptation of the machete, a small four stringed guitar brought to the islands by Portuguese workers in the late 19th century.\u003c/p>\n\u003cp>Bell says the fingers of the workers “were moving up and down so quickly, they looked like jumping fleas. ‘Uku’ means flea, and ‘lele’ means jump. I don’t know if I believe that story or not.”\u003c/p>\n\u003cp>http://youtu.be/qLEHorytyBk\u003c/p>\n\u003cp>Of course the ukulele is a hotter instrument than ever these days, with the popularity of songs by Jake Shimabukuro, Amanda Palmer, Israel Kamakawiwo’ole, Zooey Deschanel, and the appearance of hundreds of ukulele clubs around the country.\u003c/p>\n\u003cp>But the uke was a rarity on the U.S. mainland in 1915, until millions of people got a taste for its sound at the fair.\u003c/p>\n\u003cp>“Not only the ukulele, but the steel guitar became very popular. Five years after, Hawaiian was among the most sought after music on the mainland.”\u003c/p>\n\u003cp>Almost 19 million people visited the expo during its nine-month run, and the Hawaiian Pavilion was among the most popular, recording 34 thousand visitors in one day. People were charmed by the music, the hula dancing and an exotic beverage new to the mainland — pineapple juice.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/192032867&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“White Hawaiians were interested in using the fair to advertise Hawaii as a tourist destination,” says Abigail M. Markwyn, the author of \u003ca href=\"http://www.nebraskapress.unl.edu/product/Empress-San-Francisco,675974.aspx\">\u003cem>Empress: The Pacific Rim, the Great West, and California at the Panama-Pacific International Exposition\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10406291\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10406291\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Markwyn-Pic-400x533.jpg\" alt=\"Abigail M. Markwyn.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Markwyn-Pic-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Markwyn-Pic-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Markwyn-Pic.jpg 768w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Abigail M. Markwyn.\u003c/figcaption>\u003c/figure>\n\u003cp>Markwyn’s book details the social and political tensions that were the backdrop of this international bash. She details how, almost by accident, the fair showcased the colonialism that had prompted U.S. business leaders to overthrow Hawaii’s ruling Queen Liliuokalani in 1893, with the help of U.S. Marines. Hawaii became a U.S. territory five years later, in 1898.\u003c/p>\n\u003cp>Markwyn describes one evening in June when an estimated 2,000 Hawaiians staged a pageant on the lagoon by the Palace of Fine Arts, attracting 25 thousand attendees. The event included a pageant in which the “Queen of Hawaii” appeared with her princesses in native canoes.\u003c/p>\n\u003cp>“The Queen,” Markwyn says, “was a white Hawaiian socialite. And the princesses that were supposed to represent the five islands were all mixed race, young, native Hawaiian women. So it really encapsulated that relationship of the colonizer to the colonized to a pretty profound way, from our 21st-century perspective.”\u003c/p>\n\u003cp>The expo also featured delegations and pavilions from China and Japan, wooed by organizers of the fair, despite federal laws barring Chinese immigration, and state laws aimed at barring Japanese-Americans from buying land.\u003c/p>\n\u003cp>Markwyn says fair organizers arranged a publicity stunt, advertising the wedding of a white sailor with his mixed-race Hawaiian girlfriend.\u003c/p>\n\u003cp>“And then a few days later,” Markwyn says, “there was an article that said this marriage could not happen, because she was of Asian descent, and he was white, and therefore under California law their marriage was illegal.\u003c/p>\n\u003cp>“So they were actually not allowed to perform the marriage at the fair, because when they went down to the County Clerk’s office in San Francisco, they found they couldn’t get a license. And I just found this such a fascinating story, because it demonstrates the way in which the politics in California intruded onto the fairground.”\u003c/p>\n\u003cp>Ukulele master Bell, born in Oahu, says the Panama-Pacific Expo’s sometimes ugly racial history doesn’t make him any less eager to share his love of the ukulele, and the joy its music brings. For him, it’s a reminder of “How we can overcome hardships and come out celebrating.”\u003c/p>\n\u003cp>At Saturday’s Uke-a-thon, Bell shares a stage with Dr. Marc Goldyne, a non-Hawaiian ukulele fanatic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goldyne says he plans to sing and play the popular “Aloha Oe,” also known as “Farewell to Thee.” It was written by Queen Liliuokalani as a lover’s goodbye. For many Hawaiians, the song has come to symbolize the loss of their independence.\u003c/p>\n\n","blocks":[],"excerpt":"A hundred years ago, the ukelele hypnotized mainland audiences at the San Francisco World's Fair amidst a backdrop of Hawaiian colonization and unfair treatment of Asian Americans.","status":"publish","parent":0,"modified":1705047560,"stats":{"hasAudio":true,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":984},"headData":{"title":"When the Ukulele Came to San Francisco | KQED","description":"A hundred years ago, the ukelele hypnotized mainland audiences at the San Francisco World's Fair amidst a backdrop of Hawaiian colonization and unfair treatment of Asian Americans.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"When the Ukulele Came to San Francisco","datePublished":"2015-02-20T05:00:25.000Z","dateModified":"2024-01-12T08:19:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/10406145/when-the-ukulele-came-to-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>This Saturday, San Francisco will celebrate the centennial of a major piece of its history:\u003ca href=\"http://www.californiahistoricalsociety.org/exhibitions/current_exhibitions/\"> the Panama Pacific International Exposition\u003c/a>.\u003c/p>\n\u003cp>It was a world’s fair timed to showcase San Francisco’s recovery from the 1906 earthquake, and to display U.S. imperial might in the Pacific, just after the completion of the Panama Canal.\u003c/p>\n\u003cp>But the expo also introduced the nation to a new musical instrument, and if you’d been there a hundred years ago, here’s a song you might have heard.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dXvVR6P0beA'\n title='//www.youtube.com/embed/dXvVR6P0beA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What you’re hearing is a 1915 recording of “On the Beach at Waikiki,” written by Henry Kailimai. He led a delegation of Hawaiian musicians to the fair, where he introduced this famous song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“On the Beach” is just one of the songs ukulele master and teacher \u003ca href=\"http://hirambell.net/\">Hiram Kaailau Bell \u003c/a>will play on Saturday, at a \u003ca href=\"http://www.ppie100.org/event/uke-thon/\">“Uke-a-Thon”\u003c/a> under the rotunda at the last surviving remnant of the fair, the Palace of Fine Arts. The Uke-a-Thon is expected to draw hundreds of ukulele players.\u003c/p>\n\u003cp>Bell plucked and strummed a bit of “On the Beach…” and some other songs for me recently in his South San Francisco music studio.\u003c/p>\n\u003cp>(Listen here to Bell playing “Ulili-E”).\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/192033553″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/192033553″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The ukulele was a Hawaiian adaptation of the machete, a small four stringed guitar brought to the islands by Portuguese workers in the late 19th century.\u003c/p>\n\u003cp>Bell says the fingers of the workers “were moving up and down so quickly, they looked like jumping fleas. ‘Uku’ means flea, and ‘lele’ means jump. I don’t know if I believe that story or not.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qLEHorytyBk'\n title='//www.youtube.com/embed/qLEHorytyBk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Of course the ukulele is a hotter instrument than ever these days, with the popularity of songs by Jake Shimabukuro, Amanda Palmer, Israel Kamakawiwo’ole, Zooey Deschanel, and the appearance of hundreds of ukulele clubs around the country.\u003c/p>\n\u003cp>But the uke was a rarity on the U.S. mainland in 1915, until millions of people got a taste for its sound at the fair.\u003c/p>\n\u003cp>“Not only the ukulele, but the steel guitar became very popular. Five years after, Hawaiian was among the most sought after music on the mainland.”\u003c/p>\n\u003cp>Almost 19 million people visited the expo during its nine-month run, and the Hawaiian Pavilion was among the most popular, recording 34 thousand visitors in one day. People were charmed by the music, the hula dancing and an exotic beverage new to the mainland — pineapple juice.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/192032867&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“White Hawaiians were interested in using the fair to advertise Hawaii as a tourist destination,” says Abigail M. Markwyn, the author of \u003ca href=\"http://www.nebraskapress.unl.edu/product/Empress-San-Francisco,675974.aspx\">\u003cem>Empress: The Pacific Rim, the Great West, and California at the Panama-Pacific International Exposition\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10406291\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10406291\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Markwyn-Pic-400x533.jpg\" alt=\"Abigail M. Markwyn.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Markwyn-Pic-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Markwyn-Pic-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Markwyn-Pic.jpg 768w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Abigail M. Markwyn.\u003c/figcaption>\u003c/figure>\n\u003cp>Markwyn’s book details the social and political tensions that were the backdrop of this international bash. She details how, almost by accident, the fair showcased the colonialism that had prompted U.S. business leaders to overthrow Hawaii’s ruling Queen Liliuokalani in 1893, with the help of U.S. Marines. Hawaii became a U.S. territory five years later, in 1898.\u003c/p>\n\u003cp>Markwyn describes one evening in June when an estimated 2,000 Hawaiians staged a pageant on the lagoon by the Palace of Fine Arts, attracting 25 thousand attendees. The event included a pageant in which the “Queen of Hawaii” appeared with her princesses in native canoes.\u003c/p>\n\u003cp>“The Queen,” Markwyn says, “was a white Hawaiian socialite. And the princesses that were supposed to represent the five islands were all mixed race, young, native Hawaiian women. So it really encapsulated that relationship of the colonizer to the colonized to a pretty profound way, from our 21st-century perspective.”\u003c/p>\n\u003cp>The expo also featured delegations and pavilions from China and Japan, wooed by organizers of the fair, despite federal laws barring Chinese immigration, and state laws aimed at barring Japanese-Americans from buying land.\u003c/p>\n\u003cp>Markwyn says fair organizers arranged a publicity stunt, advertising the wedding of a white sailor with his mixed-race Hawaiian girlfriend.\u003c/p>\n\u003cp>“And then a few days later,” Markwyn says, “there was an article that said this marriage could not happen, because she was of Asian descent, and he was white, and therefore under California law their marriage was illegal.\u003c/p>\n\u003cp>“So they were actually not allowed to perform the marriage at the fair, because when they went down to the County Clerk’s office in San Francisco, they found they couldn’t get a license. And I just found this such a fascinating story, because it demonstrates the way in which the politics in California intruded onto the fairground.”\u003c/p>\n\u003cp>Ukulele master Bell, born in Oahu, says the Panama-Pacific Expo’s sometimes ugly racial history doesn’t make him any less eager to share his love of the ukulele, and the joy its music brings. For him, it’s a reminder of “How we can overcome hardships and come out celebrating.”\u003c/p>\n\u003cp>At Saturday’s Uke-a-thon, Bell shares a stage with Dr. Marc Goldyne, a non-Hawaiian ukulele fanatic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goldyne says he plans to sing and play the popular “Aloha Oe,” also known as “Farewell to Thee.” It was written by Queen Liliuokalani as a lover’s goodbye. For many Hawaiians, the song has come to symbolize the loss of their independence.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10406145/when-the-ukulele-came-to-san-francisco","authors":["32"],"series":["arts_837"],"categories":["arts_835","arts_69","arts_235"],"tags":["arts_596"],"featImg":"arts_10406683","label":"arts_837"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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