Posts Tagged ‘Postcards’
“The bigger, the better”*…
Thea Applebaum Licht with a reminder that, when it comes to size, Texas has got nothing on California…
Between about 1905 and 1915, the United States entered a golden age of postcards. Cheaper and faster mail service, the advent of “divided back” cards (freeing the entire front for images), and improved commercial printing all drove a new mass market for collectible communication. It was at this same moment that a craze for “tall-tale” or “exaggeration” postcards reached its peak. By cutting, collaging, and re-photographing images, artists created out-of-proportion illusions. One of the most popular genres was agricultural goods of fantastic dimensions.
Nowhere were such postcards more popular than in the western states. There, in the heart of the tough business of agriculture, illustrations of folkloric American abundance were understandable favorites. Pride and place were tied up with the prodigious crops. Supersized fruits and vegetables were often accompanied by brief captions: “How We Do Things at Attica, Wis.”, “The Kind We Raise in Our State”, or “The Kind We Grow in Texas”. Photographers like William “Dad” H. Martin and Alfred Stanley Johnson Jr. captured farmers harvesting furniture-sized onions and stacking corn cobs like timber, fisherman reeling in leviathans, and children sharing canoe-like slices of watermelon.
In the series of exaggeration postcards [produced in the run-up to the postcard boom, then published during it] collected [here], it is California that takes center stage. Produced by the prolific San Francisco–based publisher Edward H. Mitchell, each card features a single rail car rolling through lush farmland. Aboard are gargantuan, luminous fruits and vegetables: dimpled navel oranges, a dusky bunch of grapes, and mottled walnuts. Placed end-to-end, the cards would make a colorful train crossing California’s fertile valleys. Unlike other, more action-packed “tall-tale” cards — filled with farmers, fisherman, and children for scale — Mitchell’s series is restrained. Sharply illuminated, the colossal cargo lean toward artwork rather than gag. “A Carload of Mammoth Apples”[here], green-yellow and gleaming, could have been plucked from Rene Magritte’s The Son of Man [here].
Fabulous fruit and vegetables: “Calicornication: Postcards of Giant Produce (1909),” from @publicdomainrev.bsky.social.
In other art-related news: (very) long-term readers might recall that, back in 2008, (R)D reported that London’s Daily Mail believed that it had tracked him down, and that he is Robin Gunningham. Now as Boing Boing reports:
Anyone reading Banksy’s Wikipedia article at any point since a famous Mail on Sunday exposé in 2008 would likely get the impression the secretive stenciler is probably Robin Gunningham or Robert Del Naja, artists who came from the Bristol Underground. Reuters, having conducted extensive research into their movements, finds both men present at critical moments, but only one at all of them: an arrest report from New York City puts Gunningham firmly in the frame, and recent public records from Ukraine put it beyond doubt.
We later unearthed previously undisclosed U.S. court records and police reports. These included a hand-written confession by the artist to a long-ago misdemeanor charge of disorderly conduct – a document that revealed, beyond dispute, Banksy’s true identity. … Reuters presented that man with its findings about his identity and detailed questions about his work and career. He didn’t reply. Banksy’s company, Pest Control, said the artist “has decided to say nothing.”
His long-time lawyer, Mark Stephens, wrote to Reuters that Banksy “does not accept that many of the details contained within your enquiry are correct.” He didn’t elaborate. Without confirming or denying Banksy’s identity, Stephens urged us not to publish this report, saying doing so would violate the artist’s privacy, interfere with his art and put him in danger.
Del Naja (better known for other work) evidently participates in painting the murals and is perhaps the stencil draftsman (Banksy: “he can actually draw”). Banksy’s former manager, Steve Lazarides, organized a legal name change for Gunningham after the Mail on Sunday item, which successfully ended records for Banksy’s movements under his birth name and stymied researchers—until Reuters figured out the new one by poring through Ukrainian public records on days Del Naja was there. Gunningham used the name David Jones, among the most common in the U.K. If it rings a bell, you might be thinking of another famous British artist was who obliged by his record company to find something more unique.
* common idiom
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As we live large, we might spare a thought for Isaac Newton; he died on this date (O.S.) in 1727. A polymath who was a key figure in the Scientific Revolution and the Enlightenment that followed, Newton was a mathematician, physicist, astronomer, alchemist, theologian, author, and inventor. He contributed to and refined the scientific method, and his work is considered the most influential in bringing forth modern science. His book Philosophiæ Naturalis Principia Mathematica (Mathematical Principles of Natural Philosophy), first published in 1687, achieved the first great unification in physics and established classical mechanics. He also made seminal contributions to optics, and shares credit with the German mathematician Gottfried Wilhelm Leibniz for formulating infinitesimal calculus. (Newton developed calculus a couple of years before Leibniz, but published a couple of years after.) Newton spent the last three decades of his life in London, serving as Warden (1696–1699) and Master (1699–1727) of the Royal Mint, a role in which he increased the trustworthiness/accuracy and security of British coinage in a way crucial to the rise of Great Britain as a commercial and colonial power.
Newton, of course, had a famous relationship with fruit:
Newton often told the story that he was inspired to formulate his theory of gravitation by watching the fall of an apple from a tree. The story is believed to have passed into popular knowledge after being related by Catherine Barton, Newton’s niece, to Voltaire. Voltaire then wrote in his Essay on Epic Poetry (1727), “Sir Isaac Newton walking in his gardens, had the first thought of his system of gravitation, upon seeing an apple falling from a tree.” – source
Newton’s apple is thought to have been the green skinned ‘Flower of Kent’ variety.
“Send me a postcard”*…
Ellsworth Kelly was a major figure in American modern art. A painter, sculptor, and printmaker associated with hard-edge painting and Color Field painting, he was a leading Minimalist. But as Hyperallergic reminds us, he also worked in– on, with– postcards…
From the late 1940s to 2005, Ellsworth Kelly produced some 400 photo-based works using ordinary, mass-market postcards as the substrate. Handfuls of these gems of the art of collage are tucked into various Kelly monographs and other books; Ellsworth Kelly: Postcards, at the Tang Museum through November 28, assembles 150 of them, and the accompanying catalogue includes dozens more. The spirit of playful improvisation is up front in these works, their range of figural and genre references experimental in spirit, their facture seemingly unlabored (sometimes downright scrappy). Delightful in themselves, they compel reconsideration of the late, great artist’s more austere, visually refined abstractions with an awareness of both his sense of humor and his sense of place…
An appreciation– and more wonderful examples– at “The Unexpected Humor of Ellsworth Kelly,” from Stephen Maine in @hyperallergic.
* Shocking Blue, “Send Me A Postcard“
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As we contemplate collage, we might send expressive birthday greetings to Benny Andrews; he was born on this date in 1930. An activist and educator, he is primarily remembered as an artist, especially for his expressive, figurative paintings that often incorporated collaged fabric and other material. A minimalist (like Kelly), Andrews was interested not in how much he could paint, but how little.
See more of his work here.
“What goes around, comes around”*…
Much as internet surfers — i.e. everyone in 2018 — enjoy sharing silly and picturesque JPEGs with one another that feature clever quips or inspirational sayings, Americans of a century ago passed around similar memes. They were called postcards, or souvenir cards, and mailing them to friends and relatives was immensely popular for sharing a gilded, snowy holiday scene or even a lolcat.
One hundred years before e-mail inboxes crowded with pictures of cats adorned with text like “I CAN HAS CHEEZBURGER?” and “CEILING CAT IS WATCHING YOU,” lolcats (and loldogs and lolrabbits) were already at the height of fancy. The rise of postcards at the turn of the century enabled Pennsylvanian Harry Whittier Frees to build a career out of photographing cute animals donning hats and britches…
More of Frees’ story– and work– and a reminder that there’s very little truly new under the sun: “The Cat Meme Photographer from a Century Ago.”
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As we pass it along, we might spare a thought for Edgar John Berggren– better known by his stage name, Edgar Bergen– he died on this date in 1978. Perhaps best known today as the father of Candice Bergen, he was a huge star in his own time, performing as an actor, comedian, and radio performer, most famously as a ventriloquist working with his side-kicks Charlie McCarthy and Mortimer Snerd.
Indeed, some attribute Bergen’s massive popularity with “saving the world”: on the night of October 30, 1938, when Orson Welles performed his War of the Worlds radio play, panicking many listeners, most of the American public had tuned instead to Bergen and McCarthy on another station. (Dissenters note that Bergen may inadvertently have contributed to the hysteria: when the musical portion of Bergen’s show [The Chase and Sanborn Hour] aired about twelve minutes into the show, many listeners switched stations– to discover War of the Worlds in progress, with an all-too-authentic-sounding reporter detailing a horrific alien invasion.)
“Send me a postcard”*…
“This is the Life.”
From @PastPostcard, images of old postcards, along with transcribed text from their backs. As Rebecca Onion (from whom, the tip) remarks, “a simple idea, and a great one.”
For more on the history of the postcard, see the Richard Carline work cited here.
* lyric from a song of the same name, recorded in 1968 by The Shocking Blue.
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As we mail it in, we might say the magic word and collect $100, as it’s the birthday of Groucho Marx, born this date in 1890.
From the moment I picked your book up until I laid it down I was convulsed with laughter. Someday I intend reading it.
– To S.J. PerelmanPLEASE ACCEPT MY RESIGNATION. I DON’T WANT TO BELONG TO ANY CLUB THAT WILL ACCEPT PEOPLE LIKE ME AS A MEMBER
– telegram to the Friar’s Club
“Prediction is very difficult, especially if it’s about the future”*…
Robot-assisted farming
It’s easy to chuckle at the prognostications of yore– where’s my jet pack?!? But as long-time readers will recall, there was one writer whose predictions were uncannily on the money: Jules Verne.
His Paris in the 20th Century, for example, describes air conditioning, automobiles, the Internet, television, even electricity, and other modern conveniences very similar to their real world counterparts, developed years– in many cases, decades– later. From the Earth to the Moon, apart from using a space gun instead of a rocket, is uncannily similar to the real Apollo Program: three astronauts are launched from the Florida peninsula– from “Tampa Town” ( only 130 miles from NASA’s Cape Canaveral)– and recovered through a splash landing. And in other works, he predicted helicopters, submarines, projectors, jukeboxes, and the existence of underwater hydrothermal vents that were not invented/discovered until long after he wrote about them.
Verne’s writings caught the imagination of his countrymen. As Singularity Hub reports,
Starting in 1899, a commercial artist named Jean-Marc Côté and other artists were hired by a toy or cigarette manufacturer to create a series of picture cards as inserts, according to Matt Noval who writes for the Smithsonian magazine. The images were to depict how life in France would look in a century’s time, no doubt heavily influenced by Verne’s writings. Sadly, they were never actually distributed. However, the only known set of cards to exist was discovered by Isaac Asimov, who wrote a book in 1986 called “Futuredays” in which he presented the illustrations with commentary…
In what some French people might consider an abomination, one illustration depicted the modern kitchen as a place of food science. While synthetic food in commercial products is sadly more common today than we’d like to admit (sorry Easy Cheese lovers, but I’m calling you out), the rise of molecular gastronomy in fine dining has made food chemistry a modern reality. It may seem like food science has its limitations, but one only needs to consider efforts to grow meat in a laboratory to see how far technology may go…
“Food Science”
See them all at “19th Century Artists Predicted the Future in This Series of Postcards.”
[A re-post, inspired by this piece in Upworthy.]
* Niels Bohr
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As we console ourselves that, while the future may be another country, we may still speak the language, we might recall that it was on this date in 1888 that William Seward Burroughs of St. Louis, Missouri, received patents on four adding machine applications (No. 388,116-388,119), the first U.S. patents for a “Calculating-Machine” that the inventor would continue to improve and successfully market. The American Arithmometer Corporation of St. Louis, later renamed The Burroughs Corporation, became– with IBM, Sperry, NCR, Honeywell, and others– a major force in the development of computers. Burroughs also gifted the world his grandson, Beat icon William S. Burroughs.
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