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Tahiti evokes visions of white beaches and beautiful women. This imagined paradise, created by Euro-American romanticism, endures today as the bedrock of Tahiti's tourism industry, while quite a different place is inhabited and experienced by ta'ata ma'ohi, as Tahitians refer to themselves. This book brings into dialogue the perspectives on place of both Tahitians and Europeans. Miriam Kahn is professor of anthropology at the University of Washington and author of Always Hungry, Never Greedy.
Sebastian Oakes is a very ordinary boy. So ordinary in fact, that he feels destined to live a completely ordinary, uneventful life. But all that changes when mysterious postcards begin arriving. Where do they come from? And what have they got to do with the greatest space pirate of the seven galaxies? Sebastian and his sister Maddy are about to find out in the most extraordinary adventure imaginable.
17 November 1979 You were reading a somewhat retro loveletter, the last in history. But you have not yet received it. Yes, its lack or excess of address prepares it to fall into all hands: a post card, an open letter in which the secret appears, but indecipherably. What does a post card want to say to you? On what conditions is it possible? Its destination traverses you, you no longer know who you are. At the very instant when from its address it interpellates, you, uniquely you, instead of reaching you it divides you or sets you aside, occasionally overlooks you. And you love and you do not love, it makes of you what you wish, it takes you, it leaves you, it gives you. On the other side of the card, look, a proposition is made to you, S and p, Socrates and plato. For once the former seems to write, and with his other hand he is even scratching. But what is Plato doing with his outstretched finger in his back? While you occupy yourself with turning it around in every direction, it is the picture that turns you around like a letter, in advance it deciphers you, it preoccupies space, it procures your words and gestures, all the bodies that you believe you invent in order to determine its outline. You find yourself, you, yourself, on its path. The thick support of the card, a book heavy and light, is also the specter of this scene, the analysis between Socrates and Plato, on the program of several others. Like the soothsayer, a "fortune-telling book" watches over and speculates on that-which-must-happen, on what it indeed might mean to happen, to arrive, to have to happen or arrive, to let or to make happen or arrive, to destine, to address, to send, to legate, to inherit, etc., if it all still signifies, between here and there, the near and the far, da und fort, the one or the other. You situate the subject of the book: between the posts and the analytic movement, the pleasure principle and the history of telecommunications, the post card and the purloined letter, in a word the transference from Socrates to Freud, and beyond. This satire of epistolary literature had to be farci, stuffed with addresses, postal codes, crypted missives, anonymous letters, all of it confided to so many modes, genres, and tones. In it I also abuse dates, signatures, titles or references, language itself. J. D. "With The Post Card, as with Glas, Derrida appears more as writer than as philosopher. Or we could say that here, in what is in part a mock epistolary novel (the long section is called "Envois," roughly, "dispatches" ), he stages his writing more overtly than in the scholarly works. . . . The Post Card also contains a series of self-reflective essays, largely focused on Freud, in which Derrida is beautifully lucid and direct."—Alexander Gelley, Library Journal
Throughout its history, the Bay City area has been a fascinating place to explore. Its early 20th century role as a lumber and shipping center helped it develop into a charming place to live, work, and raise a family. While thriving industry contributed to the development of Bay City itself, neighboring communities like Auburn, Essexville, Kawkawlin, Linwood, and Pinconning were developing into smaller agricultural and residential villages. This book, a companion to Bay City: 1900-1940 in Vintage Postcards, uses archival postcards to document the progress and growth that have taken place in Bay City and its surroundings. Bay City and Beyond takes readers on a captivating tour of the streets, businesses, schools, homes, people, and events that have shaped the Bay City area as it is known today.
The project that captured a nation's imagination. The instructions were simple, but the results were extraordinary. "You are invited to anonymously contribute a secret to a group art project. Your secret can be a regret, fear, betrayal, desire, confession, or childhood humiliation. Reveal anything -- as long as it is true and you have never shared it with anyone before. Be brief. Be legible. Be creative." It all began with an idea Frank Warren had for a community art project. He began handing out postcards to strangers and leaving them in public places -- asking people to write down a secret they had never told anyone and mail it to him, anonymously. The response was overwhelming. The secrets were both provocative and profound, and the cards themselves were works of art -- carefully and creatively constructed by hand. Addictively compelling, the cards reveal our deepest fears, desires, regrets, and obsessions. Frank calls them "graphic haiku," beautiful, elegant, and small in structure but powerfully emotional. As Frank began posting the cards on his website, PostSecret took on a life of its own, becoming much more than a simple art project. It has grown into a global phenomenon, exposing our individual aspirations, fantasies, and frailties -- our common humanity. Every day dozens of postcards still make their way to Frank, with postmarks from around the world, touching on every aspect of human experience. This extraordinary collection brings together the most powerful, personal, and beautifully intimate secrets Frank Warren has received -- and brilliantly illuminates that human emotions can be unique and universal at the same time.
Published on the occasion of an exhibition held at the Museum of Fine Arts, Boston, Oct. 24, 2012-Apr. 14, 2013.
Equal parts mail art, data visualization, and affectionate correspondence, Dear Data celebrates "the infinitesimal, incomplete, imperfect, yet exquisitely human details of life," in the words of Maria Popova (Brain Pickings), who introduces this charming and graphically powerful book. For one year, Giorgia Lupi, an Italian living in New York, and Stefanie Posavec, an American in London, mapped the particulars of their daily lives as a series of hand-drawn postcards they exchanged via mail weekly—small portraits as full of emotion as they are data, both mundane and magical. Dear Data reproduces in pinpoint detail the full year's set of cards, front and back, providing a remarkable portrait of two artists connected by their attention to the details of their lives—including complaints, distractions, phone addictions, physical contact, and desires. These details illuminate the lives of two remarkable young women and also inspire us to map our own lives, including specific suggestions on what data to draw and how. A captivating and unique book for designers, artists, correspondents, friends, and lovers everywhere.
A comprehensive survey of rarely seen collages from the master of abstraction Over the course of more than 50 years, renowned American artist Ellsworth Kelly made approximately 400 postcard collages, some of which served as exploratory musings and others as studies for larger works in other mediums. They range from his first monochrome in 1949 through his last postcard collages of crashing ocean waves, in 2005. Together, these works show an unbounded space of creative freedom and provide an important insight into the way Kelly saw, experienced and translated the world in his art. Many postcards illustrate specific places where he lived or visited, introducing biography and illuminating details that make these pieces unique among his broader artistic production. Ellsworth Kelly: Postcards is the most extensive publication of Kelly's lifelong practice of collaged postcards. Ellsworth Kelly (1923-2015) was born in Newburgh, New York. In 1948 he moved to France, where he came into contact with a wide range of classical and modern art. He returned to New York in 1954 and two years later had his first exhibition at the Betty Parsons Gallery. The Museum of Modern Art, New York, organized his first retrospective in 1973. Subsequent exhibitions have been held at museums around the world, including the Solomon R. Guggenheim Museum in New York, Tate in London, Haus der Kunst in Munich and the Centre Pompidou in Paris.
Poetry. Fiction. In days before selfies and social media, postcards were a ubiquitous feature of travel, providing both means of communication with friends and family while away, and souvenirs of journeys once back home. Even if not quite gone, they seem more than a little nostalgic now, as do many of the poems in Jeanne Griggs' new collection, POSTCARD POEMS. By choosing to present her poems as short notes that could fit on a postcard, she has opted for a formal brevity; and the conceit of holiday communication allows her to write both about place (so that her poems are often both ekphrastic and epistolary--a neat trick) and about the people in her life. Travel, of course, is always a journey through both exterior and interior spaces, physical and mental, and we witness both in these often wistful poems. A visit on Cape Cod with friends, women of a certain age, affords an opportunity to live like in the books, / without any of the fuss / of having to sustain anything / except ourselves. Children grow up over the span of these travels, despite her wishing she had caged them, holding onto the past. A third visit to Niagara Falls is the first without her son--the first time / you were too young to remember / and the second too old to want / to come along--who is now far off in Siberia on travels of his own. Iowa is a place equally exotic, known only from watching a baseball movie / ...until we left our daughter / there, and they drive long out of the way to visit the Field of Dreams site, And it was there, / just like we'd seen it, / in real life. Stopping South of the Border she buys picture postcards of this place on the way / to where we're actually going. That's a good description of the mosaic of life that is constructed out of these brief notes, a chronicle of stops along the way until, in the final poem, all future plans suspended... / we are / still saving up from our last trip.