The World Exists to be Put on a Postcard || Jeremy Cooper

We don’t send postcards any more. Social media and increasing costs have put paid to those snippets of holiday life that were at once intriguing, informative and frustrating. If you want to know that the weather is frightful, that the dog has a cough or Mavis a new top, you’ll have to turn to Past Postcard on Twitter (please do, it’s great fun). Those cardboard rectangles depicting sunny beaches, donkeys in hats, the shopping centre or new roundabout have been consigned to history. And maybe that’s a good thing.

But postcards have also been a part of the art world for several decades – this book and its accompanying exhibition at the British Museum covers the period from 1960 to the present day. The mood is always a bit left-field, revolutionary or subversive. This isn’t superfine art, but rather a semi-private world where the message is more personal. Mavis may not have a new top, but, in Art News Revisited (1976), Hannah Wilke has none at all – it’s part of a series where she uses her own body to make a feminist statement. A decade later, Michael Langenstein presents surreal images that include the Statue of Liberty in a yellow vest (how very now) and a parking meter on the moon.

The whole is basically art as non-art, but in an entirely artistic way. Yes, that is contradictory, but that’s the point of the form and, seeing what is largely a fragmented movement (if it was even that) together demonstrates that there was and is a theme and that art can, and probably should, be controversial and ask awkward questions.

Click the picture to view on Amazon

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