Stovey, Left Field, Philadelphia Athletics, from the Old Judge series (N172) for Old Judge Cigarettes 1888

Editor: This is "Stovey, Left Field, Philadelphia Athletics," a photographic print from 1888 by Goodwin & Company, originally part of the Old Judge Cigarettes series. It's a fairly small card. What strikes me is the kind of staged quality, yet there’s an attempt at capturing action. How do you interpret this work? Curator: Well, on the surface, it appears as simply a baseball card; however, I want to ask you to consider it through the lens of consumer culture and the construction of celebrity in the late 19th century. We need to reflect on how capitalist structures produce cultural narratives. How does the association of athleticism with cigarette branding construct a certain kind of masculine identity? Editor: So, it's not just about baseball, but also about selling an image of masculinity linked to tobacco? Curator: Exactly! Think about the target demographic. These cards were aimed at men, and associating baseball, a symbol of American vigor, with smoking, promotes a specific lifestyle. The very act of collecting these cards becomes a participation in that constructed reality. What are the racial politics embedded within the popular visual culture that surrounds Stovey as an athlete and public figure? Editor: That's a point I hadn’t fully considered. The normalization of smoking through sports figures contributes to public health issues too, doesn't it? And who is represented here – primarily white athletes in this era, I believe. Curator: Precisely! Consider the power dynamics at play when advertising becomes a vehicle for shaping social norms. It underscores that what we perceive as straightforward images are, in reality, often intricately woven into systems of power and profit. Editor: I never thought about it that way! Looking at this card with an awareness of social issues gives it so much more weight. Thanks! Curator: It's about unpacking those layers. And this photograph reminds us that art and advertising are never truly neutral; they reflect the values and the biases of their time.