Thursday, May 18, 2023

Baseball Card Aesthetics

Are baseball cards works of art? Are they aesthetic objects or are they merely pieces of cardboard with images of baseball players on them, supporting a hobby that is shared by kids and adults alike, who enjoy trading, sharing, buying, and selling them? What makes (or would make) an object such as a baseball card a work of art? How is the experience of looking at a baseball card (or holding it in your hand) changed when you view it as a work of art?
      Baseball cards may have many aesthetic qualities (such as beauty, symmetry, evenness of layout or configuration, vibrancy or clarity of color, captivating imagery or photography, emotional appeal, and evocative portrayals of grace, prowess, and power), and they may be designed according to aesthetic conventions (e.g. a baseball card company may have a different design for its cards each year). Baseball cards may elicit an aesthetic response in the viewer, and the viewer may adopt an aesthetic attitude toward them.
      Clean edges, sharp corners, unflawed surfaces, centering of the image, and excellent condition are all aesthetically appealing qualities of baseball cards.
      Sports cards can be graded by such companies as Professional Sports Authenticator (PSA), Sportscard Guaranty Corporation (SGC), Beckett Grading Service (BGC), and Certified Sports Guaranty (CSG). Cards are graded from 1-10, based on such factors as centering of the image, sharpness of the corners and edges, cleanness of the surface, and overall condition. Graded cards are encased in slabs (rigid plastic containers that protect them). The grade assigned to a card is based on both objective factors (such as centering, sharpness of focus of the image, sharpness of the corners and edges, and absence of such defects as faded colors, worn or rounded corners, surface wrinkles or creases, pen or pencil marks, stains, and general wear) and subjective factors (such as overall eye appeal).
      Valuable sports cards may sell for millions of dollars (e.g. a 1909 T206 Honus Wagner card sold for $7.25 million in 2022, and a 1952 Topps Mickey Mantle card sold for $12.6 million in 2022), so their monetary value may be comparable to that of prized artworks.
      Some of the most valuable baseball cards in history have included the 1909 T206 Honus Wagner, the 1952 Topps Mickey Mantle, the 1914 Baltimore News Babe Ruth (which sold for $6 million in 2021), the 1933 Goudey #53 Babe Ruth (which sold for $4.2 million in 2021), and a unique 2009 Bowman Chrome Mike Trout Superfractors rookie card (which sold for $3.8 million in 2020).

1960 Topps Willie Mays All-Star Card.

      Baseball card collections may be found in museums of fine art. The Metropolitan Museum of Art in NYC has a collection of more than 30,000 baseball cards that were donated to the museum by Jefferson R. Burdick (1900-1963), an American electrician who collected baseball cards, trading cards, postcards, posters, and other printed ephemera. The collection includes cards dating from the 1860's to 1963, among them many 1888 Old Judge Cigarettes cards, including one of Buck Ewing, many 1909-1911 T206 cards, including one of Honus Wagner, many 1933 Goudey cards, including cards of Babe Ruth and Lou Gehrig, many 1948 Leaf cards, including cards of Babe Ruth, Honus Wagner, Joe DiMaggio, Stan Musial, Warren Spahn, and Phil Rizzuto, and many 1950 Bowman cards, including cards of Jackie Robinson, Yogi Berra, and Ted Williams.

2002 Fleer Tradition #4 Brad Radke

2001 Topps #665 Nomar Garciaparra

      Baseball cards have design features that may be aesthetically appealing and distinctive. If they are particularly attractive or distinctive, then they may elicit the same kind of response in the viewer that a work of fine art may elicit. Although a baseball card may not be unique in the sense that a painting or sculpture may be unique (since there may be hundreds or thousands of copies of a single baseball card in circulation among buyers, sellers, and collectors), baseball cards may be considered as examples of mass art (they are mass-produced and mass-distributed). Does that make them kitsch (tacky, lowbrow, trivial, banal, or lacking in aesthetic value)? Not at all! They are certainly not lacking in aesthetic or monetary value for collectors and investors who may pay thousands of dollars for them and may seek the most perfect, highest graded, and most pristine cards they can find!
      On the other hand, maybe baseball cards are a little bit kitsch! They may often be found at flea markets, sidewalk sales, antique shops, and shopping malls. They may be handed down as family heirlooms or serendipitously discovered among other forgotten items in closets and attics.
      Although baseball cards are mass-produced and mass-distributed, there are an increasing number of one-of-a-kind cards. Major League Baseball (MLB) has partnered with Fanatics Collectibles, with the Major League Baseball Players Association (MLBPA), and with The Topps Company to create one-of-a-kind cards for rookies making their debuts. (Fanatics acquired the rights to make trading cards for MLB in 2021, ending MLB's 70-year partnership with Topps. Topps began producing baseball cards in 1951, and since 2010 has had an exclusive deal with MLB that will end in 2025. Fanatics also acquired Topps in 2022.)
      There is a fascinating variety of types and designs of baseball cards, from the 1909-1911 T206 tobacco cards (Piedmont, Sweet Caporal, American Beauty), to the 1915 Cracker Jack cards, to the 1922 American Caramel cards, to the 1933 Goudey gum cards, to the 1934 Gold Medal Flour cards, to the 1936 Wheaties cards, to the 1952 Topps gum cards, and so on. Indeed, there may be thousands of different types and designs of baseball cards.
      If baseball cards are artworks, then what's the difference between them and memorabilia? Vintage cards may be valuable not only for their aesthetic qualities, but also for their historical interest (when they are rare or are memorable because they belong to highly admired sets or represent highly admired players). Thus, they may be considered as both artworks and memorabilia.
      Other items of baseball memorabilia include autographed baseballs, autographed bats and jerseys, autographed batting helmets, and autographed photos.
      Autographs may have their own aesthetics. Ideally, they should be legible and clear, not smudged or blurry, and they should be written over a lighter part of the background so that they are easily distinguishable. Also, they shouldn't cover up a significant portion of the card or obscure the player's face or upper body. They should be written in blue or black ink (blue sharpie is usually the preferred autograph pen) so that they align with or contrast nicely with the other colors in the background.

Autographed 1988 Donruss Eddie Murray, PSA certified.

      I'm a relatively new baseball card collector. I collected cards when I was seven or eight years old, using my allowance to buy Topps baseball cards at the local five and dime store, when I was growing up in the Hyde Park neighborhood of Chicago, but my cards got lost, and I didn't start collecting again until early 2020 (at the start of the COVID-19 pandemic), when I was living in Baltimore. Since then, I've been collecting mostly vintage cards, signed photo postcards, and autographed photos, although I'm not sure exactly how many I've accumulated.
      Below is one of my favorite cards. It's an example of why I think baseball cards may be considered works of art.

Autographed Brace photo postcard of Joe DiMaggio, PSA certified.

      Joe DiMaggio was a Hall of Fame center fielder who played for the New York Yankees. He played thirteen seasons, from 1936-1951 (he served in the U.S. Army Air Forces from 1943-1945). He had a .325 career batting average, 2214 hits, and 361 home runs. He was a thirteen-time All Star, nine-time World Series champion, three-time American League MVP, two-time American League batting champion, and he still holds the record for baseball's longest hitting streak (56 straight games in 1941). His brothers Vince and Dom were also major league center fielders.
      George Brace (1913-2002) worked as an assistant to the photographer George Burke (1874-1951). They were the official photographers for the Chicago Cubs, the Chicago White Sox, and the National Football League's Chicago Bears from 1929 to 1951. After Burke's death in 1951, Brace continued working as a photographer until he retired in 1994. He was a superb craftsman, and he photographed almost every major league player from 1929 to 1994 (over 250,000 images), including over 200 Hall of Fame players.
      This particular autographed Brace photo of Joe DiMaggio is remarkable for its composition, and for what it reveals about the grace, ease, and power of DiMaggio's swing. It's remarkably beautiful and breathtaking.
      So my answer to the question of whether baseball cards are works of art is that yes, they can be very original, imaginative, attractive, appealing, valuable, and in some cases very rare or unique works of art.

Wednesday, May 17, 2023

Becoming Beloved Community

The following is a reflection I shared with my fellow parishioners at the "Faith at Eight" service at church, on Sunday, January 17, 2021.

The gospel readings from this week and last week describe the beginning of Jesus's ministry. The reading last week from Mark (1:4-11) describes the baptism of Jesus, and the reading this week from John (1:43-51) describes Jesus's calling his disciples to follow him.
      So what exactly was the purpose of Jesus's ministry? What was his mission? Why did he come to us? Why did he offer himself as a sacrifice for us?
      Each of us may have our own answers to these questions. Some possible answers include:
      (1) Jesus came to fulfill the law. In Matthew 5:17, Jesus says, "Think not that I have come to abolish the law and the prophets; I have come not to abolish them but to fulfill them."
      (2) Jesus came to do God's will. In John 6:38-40, Jesus says, "For I have come down from heaven, not to do my own will, but the will of him who sent me...For my Father's will is that everyone who looks at the Son and believes in him shall have eternal life, and I will raise them up at the last day."
      (3) Jesus came to bring light into the world. In John 12:46, Jesus says "I have come as light into the world, that whoever believes in me may not remain in darkness."
      (4) Jesus came to sacrifice himself for us, so that we might be saved from sin. John 3:17 says, "For God sent the Son into the world, not to condemn the world, but that the world might be saved through him."
      There are of course many other possible answers to the question of what was the nature or purpose of Jesus's ministry. But what is the nature or purpose of our own ministry as followers of Jesus? What is our mission? We each have our own mission or purpose, our reason for being in the world. We each have a purpose to fulfill, individually as well as collectively. What then is that purpose or mission? Perhaps our purpose is to make the world a better place? Perhaps our purpose is to love and care for one another? Perhaps our purpose is simply to be the best people we can be, and thus to glorify God?
      I'd like to explore these questions in the context of the life and ministry of the Rev. Dr. Martin Luther King Jr., since we're celebrating his birthday tomorrow. What did Dr. King see as his lifelong mission or purpose? What did he mean when he talked about the redemptive power of love and the creation of a beloved community?
      I learned a few things about Dr. King yesterday when I was reading about his life and career as a minister and civil rights leader. He was born January 15, 1929, in Atlanta, and he died April 4, 1968 in Memphis. He was born Michael King Jr., the second of three children, to the Rev. Michael King Sr. and Alberta King. In 1934, the Rev. King Sr. traveled to the Middle East and Berlin, Germany for a meeting of the World Baptist Alliance, and when he returned, he began referring to himself as Martin Luther King Sr., and to his son as Martin Luther King Jr. The Rev. King Sr. later explained that the reason he changed his name was because he had an uncle named Martin and an uncle named Luther, but it's said to be likely that his visit to Germany had an impact on him, and that he was moved by having visited the country that was the birthplace of Lutheranism and Protestantism.1 
      MLK Jr.'s birth certificate was later changed to read "Martin Luther King Jr." in 1957, when he was 28 years old.1 
      His maternal grandfather, Adam Daniel Williams, served as pastor of Ebenezer Baptist Church in Atlanta, but after his death, Rev. King Sr., became pastor of Ebenezer Baptist Church. 
      MLK Jr. studied at Morehouse College, at Crozer Theological Seminary in Upland, Pennsylvania, and then at Boston University, where he earned a PhD in theology in 1955. He became pastor of Dexter Avenue Baptist Church in Montgomery, Alabama in 1954, and he became co-pastor with his father of Ebenezer Baptist Church in 1959. 
      His father died in 1984. His mother, Alberta, was murdered by a 23-year-old man in 1974 at the Ebenezer Baptist Church during Sunday services. The man stood up, and yelled "You are serving a false god," and fatally shot Mrs. King and the Rev. Edward Boykin, who was a deacon at the church. The gunman, Marcus Wayne Chenault, later died in prison of a stroke in 1995.
      In 1967, Dr. Martin Luther King Jr. delivered a sermon entitled "The Birth of a New Nation" at Dexter Avenue Baptist Church. In it, he said that the aftermath of violence is emptiness and bitterness, but the aftermath of nonviolence is reconciliation, redemption, and the creation of a beloved community.2
      The phrase "beloved community" came from the American philosopher Josiah Royce (1855-1916), who taught at Harvard University from 1882-1916. Royce wrote on such subjects as metaphysics, ethics, and the philosophy of religion, and he was a friend and colleague of the philosopher William James (1842-1910), who also taught at Harvard.
      While Dr. King was studying at Boston University, he attended philosophy classes at Harvard and became familiar with Royce's philosophy.
      Royce described the beloved community as an ethical ideal, insofar as its realization can be taken as a standard of our moral conduct. Royce said, "Every proposed reform, every moral deed, is to be tested by whether and to what extent it contributes to the realization of the Beloved Community...When one cannot find the beloved community, one needs to take steps to create it, and if there is not evidence of the existence of such a community, then the rule is to act so as to hasten its coming."3
      Dr. King, although he didn't specifically define what a beloved community is, saw the creation of such a community as a goal of the civil rights movement.
      The Episcopal Church has promoted Dr. King's vision of the beloved community, and in a document entitled "Becoming Beloved Community" (published in 2017), which can be found at the episcopalchurch.org website, it describes what such a commitment might mean for us. The document displays an image of a circular labyrinth, with four interrelated commitments listed along the circumference of the labyrinth. At the top left is "Telling the Truth." At the top right is "Proclaiming the Dream." At the bottom right is "Practicing the Way," and at the bottom left is "Repairing the Breach." So a kind of cyclical process is described.
      The first commitment, to tell the truth, leads to such questions as "Who are we?" and "What things have we done and left undone regarding racial justice and healing?" The second commitment, to proclaim the dream, leads to such questions as "How can we publicly acknowledge things done and left undone?", "What does beloved community look like?", and "What actions and commitments will promote reconciliation, justice, and healing?" The third commitment, to practice the way of love, leads to such questions as "How will we grow as reconcilers, healers, and justice-bearers?" and "How will we actively grow in relationship across dividing walls and seek Christ in the other?" And the fourth commitment, to repair the breach, leads to such questions as "What institutions and systems are broken?" and "How will we participate in repair, restoration, and healing of people, institutions, and systems?"4
      The document explains that the image of the labyrinth is chosen because there's no single path for each person to follow. People may draw on their own experiences, and they may arrive at different answers for the same questions.5
      The document also explains that becoming beloved community represents "not so much a set of programs as a journey and a set of interrelated commitments around which Episcopalians may organize our many efforts to respond to racial injustice and grow as a community of reconcilers, justice-makers, and healers. As the Episcopal branch of the Jesus movement, we dream and work to foster beloved communities where all people may experience dignity and abundant life and see themselves and others as beloved children of God."6
      So what are our responsibilities regarding the fulfillment of Dr. King's vision of the beloved community? Is the beloved community merely a utopian ideal? Do we really need such ideal models of justice in order to remedy present injustice?
      What is the utility of "ideal" versus "non-ideal" theories of racial justice?
      Charles W. Mills, professor of philosophy at The Graduate Center, CUNY, has argued that  so-called "ideal theory" concerning justice in a perfectly just society must be replaced by "non-ideal theory" concerning justice in an imperfect and unjust society. Mills provides many persuasive criticisms of ideal theory, including the criticism that it may divert attention from real-world problems and that we don't necessarily need to be able to envision justice in an ideal world in order to be able to correct justice in the real world.7
      Tommie Shelby, professor of philosophy at Harvard University, on the other hand, has argued that ideal theory and non-ideal theory may be complementary, and that ideal theory, which studies the principles of justice in a perfectly just society, may provide standards of justice for non-ideal theory, which studies the principles that should guide our responses to injustice in our own society.8
      The website of The King Center explains that "For Dr. King, The Beloved Community was not a lofty utopian goal to be confused with the rapturous image of the Peaceable Kingdom, in which lions and lambs coexist in idyllic harmony. Rather, The Beloved Community was for him a realistic, achievable goal that could be attained by a critical mass of people committed to and trained in the philosophy and methods of nonviolence."9
      The website also explains that "Dr. King's Beloved Community is a global vision, in which all people can share in the wealth of the earth. In the Beloved Community, poverty, hunger, and homelessness will be not be tolerated because international standards of human decency will not allow it. Racism and all forms of discrimination, bigotry and prejudice will be replaced by an all-inclusive spirit of sisterhood and brotherhood. In the Beloved Community, international disputes will be resolved by peaceful conflict-resolution and reconciliation of adversaries, instead of by military power. Love and trust will triumph over fear and hatred. Peace with justice will prevail over war and military conflict."10
      So what steps can we as individuals, as a community, and as a society take today and in the coming year to promote the becoming of a beloved community?


FOOTNOTES

1DeNeen L. Brown, "The story of how Michael King Jr. became Martin Luther King Jr.," The Washington Post, January 15, 2019, online at https://www.washingtonpost.com/history/2019/01/15/story-how-michael-king-jr-became-martin-luther-king-jr/
2Martin Luther King Jr., "The Birth of a New Nation," April 7, 1957, in The Papers of Martin Luther King, Jr., Volume IV, edited by Clayborne Carson, et al., (Berkeley: University of California Press at Berkeley and Los Angeles, 2000), online at https://kinginstitute.stanford.edu/king-papers/documents/birth-new-nation-sermon-delivered-dexter-avenue-baptist-church
3Josiah Royce, online at Building the Beloved Community: An Interfaith Initiative for Fair Housing, https://www.bbcfairhousing.org/about-the-initiative/
4The Episcopal Church, "Becoming Beloved Community," 2017, online at https://www.episcopalchurch.org/wp-content/uploads/sites/2/2021/01/becoming_beloved_community_summary.pdf
5Ibid.
6Ibid.
7Charles W. Mills, "Realizing (Though Racializing) Pogge," in Thomas Pogge and His Critics, edited by Alison M. Jaggar (Cambridge, Polity Press, 2010), p. 102.
8Tommie Shelby, "Racial Realities and Corrective Justice: A Reply to Charles Mills," in Critical Philosophy of Race, Vol. 1, No. 2, 2013, pp. 155-156.
9The King Center, "The King Philosophy - Nonviolence 365," online at https://thekingcenter.org/about-tkc/the-king-philosophy/
10Ibid.