Briefkaart aan Philip Zilcken before 1907

Editor: Here we have "Briefkaart aan Philip Zilcken," predating 1907, by Pieter Anne Haaxman. It's a pen drawing in ink on paper. It seems so unassuming, a simple postcard, but what catches my eye is its materiality. What do you make of it? Curator: It's fascinating how seemingly everyday objects like postcards can become windows into the past. Notice how the ink bleeds slightly into the paper, evidence of the material conditions of its production – the type of ink available, the absorbency of the paper. Editor: Yes, it gives it a sense of immediacy. It wasn't meant to last in a gallery! Curator: Precisely! The stamps and postal marks further emphasize this point. Consider them: they indicate a process of exchange, labor within the postal system, a small cog of the economy in service of communication. This humble card participated in systems that supported much bigger mechanisms. Think of the resources used to deliver this one card; do you see its connection to networks of people and manufacture? Editor: I do. The material suggests a whole network of industry. It also shifts how I perceive the sender: Haaxman participated in the exchange. He acquired the card, had the means to write with pen and ink, and knew Zilcken’s address. Curator: Exactly. And in owning this artifact, we can study the minute material conditions of early 20th century life. I ask you, is a hand-written note different from email? Is owning this art different than owning an NFT of this card? How do shifts in medium dictate and change how culture is expressed? Editor: This card has definitely encouraged me to think about the larger production cycle around even simple art objects. It is also fascinating to imagine where Haaxman was located and the cost he spent to be able to write to Zilcken. Curator: Indeed. Considering materiality adds an extra dimension to appreciating art and its place in society.