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"Postcards."
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The world exists to be put on a postcard : artists' postcards from 1960 to now
Postcards are often bought quickly and disposed of without much thought. Artists' postcards, however, from the 1960s onwards, are a significant part of the history of contemporary art. The ready familiarity of a tourist postcard means it has rich potential to be subverted, with recognizable images appropriated or manipulated for political, satirical, revolutionary or playful intent. The only requirement is that it fits through a letterbox and, unlike traditional works of art, requires nothing more than a stamp for it to be seen on the other side of the world. Being made of everyday material, postcards invite handling, ask to be included in our lives, picked up, turned over and shown to friends. The inexpensiveness of production encourages artists to experiment with their design.
Book
The Long-Lasting and Perpetuating Effects of Lynching Postcards and Photography: A Historical Analysis and a Link to Contemporary Racial Issues
This article uses visual content, literary, and psychoanalysis of lynching postcards and photography obtained from the Without Sanctuary Organization or public library online records. The portrayed photograph of the lynching and any handwriting on the postcard evidence will establish a symbolic link between the photograph and individuals sending and receiving the images. Using Joe Feagin’s theory on Systematic Oppression and Stuart Hall’s theory on the relationship between media and ideologies as a foundation for my argument, I contend that the past and current dissemination of lynching photography and postcards has had a perpetual and negative effect on the psyche of American society with its actions toward structural racism, racial biases, and the perpetuation of White supremacy through social and governmental channels. Indeed, I pose that photographs of this type are clear evidence of the nation’s violent past toward non-dominant groups of society, especially Black people. Additionally, I discuss the relationship of the photographs with contemporary issues by historically and symbolically analyzing the meaning within the photographs’ contents and addressing the timeline from the first dissemination of lynching photography until more modern representations of racism. These contemporary representations include Black individuals in popular media, the outlawing of lynching, police killings, and mass incarceration. In addition, I establish the ahistorical nature of lynching photography and its relevancy today by highlighting the lack of education in K-12 curricula on the topics of lynching and racial terror presently.
Journal Article
Israeli and Palestinian postcards : presentations of national self
Searing images of suicide bombings and retaliatory strikes now define the Israeli-Palestinian conflict for many Westerners, but television and print media are not the only visual realms in which the conflict is playing out. Even tourist postcards and greeting cards have been pressed into service as vehicles through which Israelis and Palestinians present competing visions of national selfhood and conflicting claims to their common homeland. In this book, Tim Jon Semmerling explores how Israelis and Palestinians have recently used postcards and greeting cards to present images of the national self, to build national awareness and reinforce nationalist ideologies, and to gain international acceptance. He discusses and displays the works of numerous postcard/greeting card manufacturers, artists, and photographers and identifies the symbolic choices in their postcards, how the choices are arranged into messages, what the messages convey and to whom, and who benefits and loses in these presentations of national self. Semmerling convincingly demonstrates that, far from being ephemeral, Israeli and Palestinian postcards constitute an important arena of struggle over visual signs and the power to produce reality.
eBook
Postkarten und die deutsche Wende: Zur Temporalität des Mediums in Zeiten des gesellschaftlichen Umbruchs 1
The golden age of postcards at the beginning of the 20th century triggered a fascination and a veritable collecting mania for this medium. After the Second World War, this rush largely subsided and the postcard became an everyday means of communication. Correspondence on postcards also accompanied historical periods of upheaval during this time, including the peaceful revolution and the German reunification in 1989/90. Political events came thick and fast in the noticeable condensation of the present and postal latency could barely keep pace with the rapid changes. Nevertheless, postcards from this period and the messages of the writers capture the world of experience in upheaval and share it with family and friends. In this article, I explore the question of how forms of temporality are inscribed on (picture) postcards from the period of German reunification. The aim of historical-ethnographic research on postcards from the period of upheaval is to work out perceptions and experiences of temporalities and to locate them in the context of political and individual changes. The combined analysis of image and text can therefore depict the actors' worlds of experience and their horizons of expectation and describe the postcards as a temporal, holistic research object. Postcards thus break with an ethnographic now and take place simultaneously on several temporal levels.
Journal Article