This detail of a studio window display was printed on postcard stock from a larger negative of the entire sign. Since childhood, Evans had voraciously collected turn-of-the-century picture postcards, which he greatly admired both for their uninflected views of vernacular architecture and Americana as well as the anonymous messages written on the backs, which he considered a kind of found poetry. In the mid-1930s, Evans made a group of postcards from some of his recent negatives of the American South--wooden church steeples, Civil War monuments, and small-town main streets--and attempted to sell his idea to the Museum of Modern Art. In these works, the artist makes explicit the connection between his own photographic style and the look of the picture postcard.
Walker Evans; Bobbi Carrey
The Metropolitan Museum of Art. "Walker Evans," February 1, 2000–May 14, 2000.
San Francisco Museum of Modern Art. "Walker Evans," June 2, 2000–September 12, 2000.
Museum of Fine Arts, Houston. "Walker Evans," December 17, 2000–March 4, 2001.
The Metropolitan Museum of Art. "Walker Evans and the Picture Postcard," February 3, 2009–May 24, 2009.
Hambourg, Maria Morris, Doug Eklund, Mia Fineman, and Jeff L. Rosenheim. Walker Evans. New York: The Metropolitan Museum of Art, 2000. no. 73.
May, Jessica L., Sharon Corwin, and Terri Weissman. American Modern: Documentary Photography by Abbott, Evans, and Bourke-White. Berkeley: Amon Carter Museum of American Art, 2010. p. 71.