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Bob Bilyeu Camblin: An Iconoclast in Houston's Emerging Art Scene by Sandra Jensen Rowland (review)

Bob Bilyeu Camblin: An Iconoclast in Houston's Emerging Art Scene by Sandra Jensen Rowland... 478 Southwestern Historical Quarterly April photographs of airplanes, automobiles, and giant dynamos. In addition, readers will find serious subjects like the Underground Railroad, racist humor, and the Ku Klux Klan. Most if not all of the postcards included are from the author’s collec- tion. Wilson does the reader a service by showing not just the card’s pic- ture but also the message on the back, which provides historical context for the image and a window into the mind of the sender. This makes the postcard a personalized record that is both brief and unsanitized for pub- lic consumption. Although the book is primarily a sample of Americana, cultural histor y, and the visual arts, as many as forty pages include content related to Texas. There have been other histories of the postcard, but this book’s com- bination of text, visual images, and beautiful design make it among the best for a non-technical audience, even though its title sounds more like a graduate thesis than a book with mass appeal. One can hope that Wilson will do a sequel, taking postcard history from World War I through the 1960s, when Americans collected postcards for the visual image without any intention http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Southwestern Historical Quarterly Southwest Center (Univ of Arizona)

Bob Bilyeu Camblin: An Iconoclast in Houston's Emerging Art Scene by Sandra Jensen Rowland (review)

Bell, Caleb
Southwestern Historical Quarterly , Volume 124 (4) – Mar 31, 2021
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Publisher
Southwest Center (Univ of Arizona)
Copyright
Copyright © The Texas State Historical Association.
ISSN
0038-478x
eISSN
1558-9560

Abstract

478 Southwestern Historical Quarterly April photographs of airplanes, automobiles, and giant dynamos. In addition, readers will find serious subjects like the Underground Railroad, racist humor, and the Ku Klux Klan. Most if not all of the postcards included are from the author’s collec- tion. Wilson does the reader a service by showing not just the card’s pic- ture but also the message on the back, which provides historical context for the image and a window into the mind of the sender. This makes the postcard a personalized record that is both brief and unsanitized for pub- lic consumption. Although the book is primarily a sample of Americana, cultural histor y, and the visual arts, as many as forty pages include content related to Texas. There have been other histories of the postcard, but this book’s com- bination of text, visual images, and beautiful design make it among the best for a non-technical audience, even though its title sounds more like a graduate thesis than a book with mass appeal. One can hope that Wilson will do a sequel, taking postcard history from World War I through the 1960s, when Americans collected postcards for the visual image without any intention

Journal

Southwestern Historical Quarterly – Southwest Center (Univ of Arizona)

Published: Mar 31, 2021

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