Ace of Hearts, The Acrobat, The German, from Harlequin Cards, 2nd Series (N220) issued by Kinney Bros. 1889

Editor: This is "Ace of Hearts, The Acrobat, The German, from Harlequin Cards," printed in 1889 by Kinney Brothers. The drawing depicts an acrobat in a peculiar pose. What strikes me most is the inherent tension, this precarious balancing act presented as a lighthearted card. How do you interpret this work? Curator: I see a layering of social performance here. Circuses and the performing arts were popular but also highly scrutinized forms of entertainment. Consider how this card packages ethnic identity -- "The German" -- alongside acrobatics. The female acrobat becomes a spectacle, her body on display and contorted. Editor: So you’re saying there's a link between her physical performance and how her identity is being presented or even consumed? Curator: Precisely. The acrobat is not just showcasing a skill. She embodies a type – a German performer – constructed for the gaze of the viewer. There's a distinct power dynamic. Where does her agency lie in this image? Does her skill liberate her, or does it reinforce a stereotype? What does it say about the role of women in public life in that period? Editor: I didn’t think of the layers like that. It’s a lot more complex than just a drawing on a card. Curator: Indeed. Cards like these offer a glimpse into the complex social attitudes of the time. They're seemingly innocent but reveal so much about how identities were marketed and consumed. Think about the labor, the body, and this idea of spectacle packaged as simple entertainment. Editor: It's a great point. Looking at it now, it makes you wonder how our contemporary forms of entertainment will be viewed in the future. Thank you! Curator: A pleasure! This dialogue only underlines the vital importance of intersectionality when engaging with images, be they canonical paintings or promotional cards!