Fair Park Deco is a fascinating tour of the 1936 Texas Centennial Exposition. Like every American exposition in the 1930s, it began in economic depression. Although its economy had been buoyed by major oil discoveries in the early '30s, Texas agriculture was hard hit by the Great Depression. By the middle of the decade, state officials had set their sights on a great centennial celebration to help stimulate the economy and attract tourist dollars. "If during the next six months the people of the state could become filled with the idea of holding a big celebration on the one hundredth anniversary of the establishment of Texas independence," the state's centennial commission speculated in July, 1934, "it would have the effect of creating a general forward-looking spirit through the state. It would be more stimulating than anything we can think of, and this effect would be immediate." This book focuses specifically on the Art Deco art and architecture of Fair Park--the public spaces, buildings, sculptures and murals that were designed for the 1936 exposition. Most of the chapters in the book represent different areas of Fair Park, with buildings and artwork effectively arranged in the same order that a visitor to the Texas Centennial Exposition might have seen them. The art and architecture are featured in original photography by Jim Parsons and David Bush as well as in historic photographs. Fair Park is one of the finest collections of Deco architecture in the country, but it is so much more: the embodiment of Texan swagger, it is a testament to the Texanic task of creating a dazzling spectacle in the darkest days of the Depression.

In the depths of the Great Depression, when America's future seemed bleak, nearly one hundred million people visited expositions celebrating the "century of progress." These fairs fired the national imagination and served as cultural icons on which Americans fixed their hopes for prosperity and power. World of Fairs continues Robert W. Rydell's unique cultural history—begun in his acclaimed All the World's a Fair—this time focusing on the interwar exhibitions. He shows how the ideas of a few—particularly artists, architects, and scientists—were broadcast to millions, proclaiming the arrival of modern America—a new empire of abundance build on old foundations of inequality. Rydell revisits several fairs, highlighting the 1926 Philadelphia Sesquicentennial, the 1931 Paris Colonial Exposition, the 1933-34 Chicago Century of Progress Exposition, the 1935-36 San Diego California Pacific Exposition, the 1936 Dallas Texas Centennial Exposition, the 1937 Cleveland Great Lakes and International Exposition, the 1939-40 San Francisco Golden Gate International Exposition, the 1939-40 New York World's Fair, and the 1958 Brussels Universal Exposition.

In 1936, Texas commemorated the 100th anniversary of its independence from Mexico with a series of statewide celebrations. A central exposition was proposed, with four cities waging a sometimes bitter campaign to secure the rights to stage this auspicious event. At stake for the host city was unparalleled national exposure and a strong economic boost in the midst of the Great Depression. Using the existing grounds and buildings at Fair Park as the basis of its bid, Dallas outhustled and outspent its competitors to be designated as the host city of the 1936 Texas Centennial Exposition. The fair was planned by chief architect George Dahl with legions of talented designers and artists who collaborated to produce one of the great American world's fairs of the 1930s. In addition to the centennial celebration, 1936 marked the 50th anniversary of Fair Park as the site of the great State Fair of Texas. Many of the exhibition structures, livestock barns, and sports and performance venues built for the fair over the previous 50 years were incorporated into the new layout and design of the exposition. The architectural style that was applied to the old and new buildings at Fair Park was described as "Texanic," a combination of Texas iconography and classical motifs with the more spare, streamlined regimen of the moderne style. The result was a revelation to the millions of visitors that attended the Texas Centennial Exposition in 1936.

In 1936, the Texas centennial was celebrated across the state. In The Frontier Centennial, Jacob Olmstead argues that Fort Worth?s celebration of the centennial represented a unique opportunity to reshape the city?s identity and align itself with a progressive future. Olmstead draws out the Frontier Centennial from its inception as a commemorative fair to theme park enshrining the mythic West to show the various ways centennial planners, boosters, and civic leaders sought to use the celebration as a means to bolster the city?s identity and image as a modern city of the American West. Olmstead?s retelling of the Frontier Centennial looks at two distinctive processes. The first addresses the interplay of memory, identity, and image in the evolution of the celebration?s commemorative messages. Fort Worth?s image as a progressive western metropolis also impacted other areas, less central, to Frontier Centennial planning. Debates over how outsiders would interpret features of the celebration, carried on by club women and others, reveal the interest the citizenry held in upholding or contesting the city?s modern image. Overlapping with the issues of memory and identity, the second process addresses how the larger narratives of the mythic West influenced the content of the celebration. Though drawn from actual events and people, the myth reduces the past to its ?ideological essence.? Mythmakers, like historians, draw upon facts to explain and give meaning to a particular worldview.

Everett Spruce came to Texas from his Arkansas home in 1925 to study at the Dallas Art Institute. Over the next seven decades, he became one of the most important painters and teachers in the region. One of the “Dallas Nine,” a group of influential Texas Regionalists that included Jerry Bywaters, Otis Dozier, William Lester, and others, Spruce was among the artists who lobbied the Texas Centennial Commission for a greater role in the Centennial Exposition of 1936. These efforts, though unsuccessful, nevertheless led to greater recognition and influence for Texas art and artists. Spruce was assistant director and taught art at the Dallas Museum of Fine Arts until 1940 when he joined the faculty of the University of Texas at Austin. He painted and taught at the university for the next 38 years, guiding and shaping the next generation of Texas artists, including Roger Winter, William Hoey, and others. Spruce died in 2002 at the age of 94. Texas Made Modern: The Art of Everett Spruce traces Spruce’s artistic evolution from his early experimental work of the 1920s through the mysterious, surrealist-imbued landscapes of the 1930s. The work addresses his boldly expressionistic imagery of the 1940s and his abstract expressionist–inspired paintings of the mid-twentieth century. Departing from previous accounts of Spruce, which label him a prototypical regionalist, this study reveals the nuanced meanings behind the artist’s shifting approaches to Texas subject matter and resituates his artwork within the broader narrative of American art.

Vivid imagery and original research are the hallmarks of DFW Deco: Modernistic Architecture of North Texas, the latest in Jim Parsons and David Bush's series of books documenting Art Deco and Art Moderne design in the Lone Star State. DFW Deco examines a vibrant architectural heritage that spans legendary eras in American history, from the Roaring Twenties through the Great Depression to World War II. DFW Deco explores the full range of modernistic building styles and some of the uniquely Texan influences that shaped the growing cities of North Texas. Classic zigzag skyscrapers promoted by Fort Worth boosters and Dallas businessmen, Art Deco storefronts in the booming towns of the great East Texas oilfield, and streamlined facilities inspired by innovations in transportation and communications all have a place in this book. DFW Deco looks not only at whole buildings, but also at their finely crafted details, ranging from vibrant tile murals depicting the scope of Texas history on Fort Worth's monumental Will Rogers Memorial Center to stylized gold-leaf pinecones and cotton bolls in the ornate People's National Bank Building in Tyler. Using a mix of original and historical photographs, this lavishly illustrated book promotes an appreciation of Main Street movie theaters, innovative suburban homes, and even a surprising collection of modernistic soft drink bottling plants. DFW Deco also documents the federal programs that helped build exceptional courthouses, schools, and post offices from small towns to big cities. The book ends with a chapter of short biographies of the architects and artists who created these landmarks. By illustrating the broad reach of modernistic design in North Texas, the authors hope to advance the preservation of significant buildings and encourage readers to explore the region themselves and discover their own Art Deco treasures.

Before Terlingua achieved some notoriety as the site of the annual World Championship Chili Cookoff, the ghost town was the bustling center of the mercury mining industry in the United States. Quicksilver tells the story of the company town and its feudal lord, Chicago industrialist Howard E. Perry, who built a hilltop mansion overlooking the dry domain. Based on many primary sources, this solidly researched and historically sound book tells of profit, power, and loss; of U.S. Army protection from the effects of revolution south of the border; of Depression-era maneuverings and labor unrest; and of a region that holds growing fascination for thousands of visitors each year. Color and authenticity come from the author's interviews with such individuals as Robert Cartledge, who for nearly three decades worked as store clerk, purchasing agent, and finally general manager of the Chisos Mining Company in Terlingua.

Annotation In the summer of 1955, six African American golfers in Beaumont, Texas, began attacking the Jim Crow caste system when they filed a federal lawsuit for the right to play the municipal golf course. The golfers and their African American lawyers went to federal court and asked a conservative white Republican judge to render a decision that would not only integrate the local golf course but also set precedent for desegregation of other public facilities. In Fair Ways, Robert J. Robertson chronicles three parallel stories that converged in this important case. He tells the story of the plaintiffs-avid golfers who had learned the game while working as caddies and waiters-of their young lawyers, recent graduates from Howard University law school, and of the Republican judge just appointed to the bench by President Eisenhower. Using public case papers, public records, newspapers, and oral histories, Robertson has recreated the scene in Beaumont on the eve of desegregation. Fair Ways gives a vivid picture of racial segregation and the forces that brought about its end.

Series statement taken from publisher's website.

Winner, 2016 Liz Carpenter Award for the Research in the History of Women, presented at the Texas State Historical Association Annual Meeting At Fair Park in Dallas, a sculpture of a Native American figure, bronze with gilded gold leaf, strains a bow before sending an arrow into flight. Tejas Warrior has welcomed thousands of visitors since the Texas Centennial Exposition opened in the 1930s. The iconic piece is instantly recognizable, yet few people know about its creator: Allie Victoria Tennant, one of a notable group of Texas artists who actively advanced regionalist art in the decades before World War II. Light Townsend Cummins follows Tennant’s public career from the 1920s to the 1960s, both as an artist and as a culture-bearer, as she advanced cultural endeavors, including the arts. A true pathfinder, she helped to create and nurture art institutions that still exist today, most especially the Dallas Museum of Art, on whose board of trustees she sat for almost thirty years. Tennant also worked on behalf of other civic institutions, including the public schools, art academies, and the State Fair of Texas, where she helped create the Women’s Building. Allie Victoria Tennant and the Visual Arts in Dallas sheds new light on an often overlooked artist.