The Trans-Mississippi Exposition of 1898 celebrated Omaha’s key economic role as a center of industry west of the Mississippi River and its arrival as a progressive metropolis after the Panic of 1893. The exposition also promoted the rise of the United States as an imperial power, at the time on the brink of the Spanish-American War, and the nation’s place in bringing “civilization” to Indigenous populations both overseas and at the conclusion of the recent Plains Indian Wars. The Omaha World’s Fair, however, is one of the least studied American expositions. Wendy Jean Katz brings together leading scholars to better understand the event’s place in the larger history of both Victorian-era America and the American West. The interdisciplinary essays in this volume cover an array of topics, from competing commercial visions of the cities of the Great West; to the role of women in the promotion of City Beautiful ideals of public art and urban planning; and the constructions of Indigenous and national identities through exhibition, display, and popular culture. Leading scholars T. J. Boisseau, Bonnie M. Miller, Sarah J. Moore, Nancy Parezo, Akim Reinhardt, and Robert Rydell, among others, discuss this often-misunderstood world’s fair and its place in the Victorian-era ascension of the United States as a world power.

Through a variety of case studies by global scholars from diverse academic fields, this book explores photographic-album practices of historically marginalized figures from a range of time periods, geographic locations, and socio-cultural contexts. Their albums' stories span various racial, ethnic, gender and sexual identities; nationalities; religions; and dis/abilities. The vernacular albums featured in this volume present narratives that move beyond those reflected in our existing histories. Essays examine the visual, material, and aural strategies that album-makers have used to assert control over the presentation of their histories and identities, and to direct what those narratives have to say, a point of special relevance as these albums move out of private domestic space and into public archives, institutions, and digital formats. This book does not consider photographic albums and scrapbooks as separate genres, but as a continuum of modern creative practices of photographic and mass-print collage aimed at self-expression and narrative-building that co-evolved and were readily accessible. The book will be of interest to scholars working in art history, history of photography, visual culture, material culture, media studies, and cultural studies.

2023 Nebraska Book Award During the 1930s the Federal Writers' Project described Omaha as a "man's town," and histories of the city have all but ignored women. However, women have played major roles in education, health, culture, social services, and other fields since the city's founding in 1854. In The Women Who Built Omaha Eileen Wirth tells the stories of groundbreaking women who built Omaha, including Susette "Bright Eyes" LaFlesche, who translated at the trial of Chief Standing Bear; Mildred Brown, an African American newspaper publisher; Sarah Joslyn, who personally paid for Joslyn Art Museum; Mrs. B of Nebraska Furniture Mart; and the Sisters of Mercy, who started Omaha's Catholic schools. Omaha women have been champion athletes and suffragists as well as madams and bootleggers. They transformed the city's parks, co-founded Creighton University, helped run Boys Town, and so much more, in ways that continue today.

Through a fascinating discussion of religion's role in the rhetoric of American civilizing empire, The Imperial Church undertakes an exploration of how Catholic mission histories served as a useful reference for Americans narrating US settler colonialism on the North American continent and seeking to extend military, political, and cultural power around the world. Katherine D. Moran traces historical celebrations of Catholic missionary histories in the upper Midwest, Southern California, and the US colonial Philippines to demonstrate the improbable centrality of the Catholic missions to ostensibly Protestant imperial endeavors. Moran shows that, as the United States built its continental and global dominion and an empire of production and commerce in the Gilded Age and Progressive Era, Protestant and Catholic Americans began to celebrate Catholic imperial pasts. She demonstrates that American Protestants joined their Catholic compatriots in speaking with admiration about historical Catholic missionaries: the Jesuit Jacques Marquette in the Midwest, the Franciscan Junípero Serra in Southern California, and the Spanish friars in the Philippines. Comparing them favorably to the Puritans, Pilgrims, and the American Revolutionary generation, commemorators drew these missionaries into a cross-confessional pantheon of US national and imperial founding fathers. In the process, they cast Catholic missionaries as gentle and effective agents of conquest, uplift, and economic growth, arguing that they could serve as both origins and models for an American civilizing empire. The Imperial Church connects Catholic history and the history of US empire by demonstrating that the religious dimensions of American imperial rhetoric have been as cross-confessional as the imperial nation itself.

This volume challenges existing notions of what is “Indian,” “Southeast Asian,” and/or “South Asian” art to help educators present a more contextualized understanding of art in a globalized world. In doing so, it (re)examines how South or Southeast Asian art is being made, exhibited, circulated and experienced in new ways in the United States or in regions under its cultural hegemony. The essays presented in this book examine both historical and contemporary transformations or lived experiences of monuments and regional styles (sites) from South or Southeast Asian art in art making, subsequent usage, and exhibition-making under the rubric of “Indian,” “South Asian,” “or “Southeast Asian” Art.

Robert W. Rydell contends that America's early world's fairs actually served to legitimate racial exploitation at home and the creation of an empire abroad. He looks in particular to the "ethnological" displays of nonwhites—set up by showmen but endorsed by prominent anthropologists—which lent scientific credibility to popular racial attitudes and helped build public support for domestic and foreign policies. Rydell's lively and thought-provoking study draws on archival records, newspaper and magazine articles, guidebooks, popular novels, and oral histories.

In the third book of the North Omaha History Series, Adam Fletcher Sasse reveals a lot of the hidden, denied and neglected history of one of the oldest areas of Nebraska's largest city. Highlighting the predominantly African American community and other ethnic groups, he introduces some intriguing characters and important businesses that made North Omaha great. He reveals the role of transportation in the area by examining the history of several streets, including the culture and figures in the areas around them. He details the roles of North Omaha's extensive boulevard system that weaves together neighborhoods and connects the community to the rest of the city, as well as looks at the historic Belt Line Railway that used to encircle the area. In the next section, Fletcher Sasse conducts a community-wide exploration of architecture in North Omaha. He reveals the basics about the neighborhood, and then plunges deep into the apartments, homes, neighborhoods and other institutions that make the historic preservation movement so important to the community. He details several important districts and shines a light on the oldest houses in North Omaha, too. Then, he tells the missing history of a dozen mansions and estates that once occupied the area. The final section of the book is a massive timeline of birthdates for the many of the most important people in North Omaha history, including athletes, entertainers, politicians, leaders and others. The book finishes with a bibliography and comprehensive index.