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• W2775281593 abstract "Reviewed by: Postcard America: Curt Teich and the Imaging of a Nation, 1931–1950 by Jeffrey L. Meikle Emily Godbey Postcard America: Curt Teich and the Imaging of a Nation, 1931–1950. By Jeffrey L. Meikle. Austin: University of Texas Press, 2016. vii + 495 pp. Illustrations, notes, index. $45.00 cloth. Jeffrey L. Meikle's Postcard America: Curt Teich and the Imaging of a Nation, 1931–1950 is no lightweight, neither in size nor in content. Weighing in at 3.5 pounds(!), it is a handsomely printed volume, which confidently represents the color range of the Curt Teich Company's linen-textured postcards. Curt Teich was the industry leader in the United States for decades making images of, among other topics, hotels, gas stations, products, restaurants, as well as attractions, landscapes, and the American road. Meikle's book addresses the cards' history and cultural implications of the firm. The book has two distinct sections: the beginning and concluding chapters discuss the history, practices, and techniques of the Curt Teich Company, while the interior portfolio chapters feature one card per page combined with detailed descriptions melding formal and historical analysis. Meikle investigates the postcards' meanings for their original users, as well as for those who later collected them, including the author himself, as his fascination with the cards began with his own purchases. Meikle did extensive research at the Teich Archives at the Newberry Library, an unusual archive created when the Teich Company closed. Meikle adeptly uses the extant production documents that track the editing process. In this way, Meikle shows how Teich employees altered the photographs and deliberately chose the unrealistic, manipulated color palette; the author argues that the color scheme is a reflection of the art deco aesthetic as well as a way of portraying an upbeat view of life in the US during an uncertain economic period. Some of the strongest chapters outline the involved story of the Teich Company's employment of skilled German printmakers to oversee the complicated print production. Other interesting segments tell of negotiations between Teich salesmen and clients as they came to an agreement about their cards' productions. Meikle selected representative vistas that have a special wow factor. The 150 individually pictured cards were selected because Meikle considers them stunners—something he backs up by quoting Roland Barthes on the punctum. As such Meikle tells his readers openly that he is not offering 150 examples (from millions) based on a scientific method. For the scholar, one odd aspect is that the images in the portfolio section are not all from the Teich Company, but from competing firms also publishing linen cards. Based in Illinois, Teich did have clients throughout the Great Plains, but the majority of the cards selected for the portfolio section are not from the Great Plains. However, it is a handsome book that should spark thoughtful commentary among those involved in Great Plains research, with the caveat that many of the cards that deal with the Great Plains are not illustrated in this book, nor are some predominant genres (advertising cards). However, the book should whet the palate of a Great Plains researcher interested in advertising, vernacular architecture, the road trip, Native American images, as well as other topics; in this way, the Great Plains researcher truly interested in Teich cannot depend upon the book alone: trips to the Newberry Library (Chicago) and the Institute of American Deltiology (Myerstown, Pennsylvania) would be necessary to do a good study of the Great Plains in Teich cards. [End Page 325] Emily Godbey Art and Visual Culture Iowa State University Copyright © 2017 Center for Great Plains Studies, University of Nebraska–Lincoln" @default.
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• W2775281593 title "Postcard America: Curt Teich and the Imaging of a Nation, 1931–1950 by Jeffrey L. Meikle" @default.
• W2775281593 doi "https://doi.org/10.1353/gpq.2017.0063" @default.
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