"Deadly Medicine: Creating the Master Race" Exhibition and Symposium, Museum of Jewish Heritage, NYC, Through January 16

I have long been enthralled with the chilling Deadly Medicine: Creating the Master Race, a catalog for a touring exhibition of the same name organized by the United States Holocaust Memorial Museum. I have just found out that this exhibition is now on view right here in New York City, at the Museum of Jewish Heritage, through January 16th. If the catalog is any indication, this exhibit is simply not to be missed.

As a further lure, this Sunday, November 6th, the museum is hosting a fascinating looking symposium entitled "Medicine and Medical Ethics in Nazi Germany" preceded by a guided tour of the exhibition.

Full info follows for both exhibition and symposium; hope very much to see you there!

Deadly Medicine: Creating the Master Race
On view through January 16, 2012
Museum of Jewish Heritage
36 Battery Place, New York City

“Nazism is applied biology.”
— Rudolf Hess, Deputy to Adolf Hitler

WASHINGTON, D.C. — The United States Holocaust Memorial Museum’s traveling exhibition, Deadly Medicine: Creating the Master Race, examines how the Nazi leadership, in collaboration with individuals in professions traditionally charged with healing and the public good, used science to help legitimize persecution, murder and, ultimately, genocide...

Eugenics theory sprang from turn-of-the-century scientific beliefs asserting that Charles Darwin’s theories of “survival of the fittest” could be applied to humans. Supporters, spanning the globe and political spectrum, believed that through careful controls on marriage and reproduction, a nation’s genetic health could be improved.

The Nazi regime was founded upon the conviction that “inferior” races and individuals had to be eliminated from German society so that the fittest “Aryans” could thrive. The Nazi state fully committed itself to implementing a uniquely racist and antisemitic variation of eugenics to “scientifically” build what it considered to be a “superior race.” By the end of World War II, six million Jews had been murdered. Millions of others also became victims of persecution and murder through Nazi “racial hygiene” programs designed to cleanse Germany of “biological threats” to the nation’s “health,” including “foreign-blooded” Roma and Sinti (Gypsies), persons diagnosed as “hereditarily ill,” and homosexuals. In German-occupied territories, Poles and others belonging to ethnic groups deemed “inferior” were also murdered...

And the symposium:

Medicine and Medical Ethics in Nazi Germany
Sunday, November 6, 1 P.M.
Prof. Sander Gilman, Emory University; and Prof. Arthur Caplan, University of Pennsylvania; moderated by Museum Director Dr. David G. Marwell

Lectures by Prof. Gilman, a cultural historian who has written on Nazi science, and Prof. Caplan, a leading scholar in the field of medical ethics, will be followed by a conversation about the origins and legacies of Nazi medical practices.

$10, $7 students/seniors, $5 members

Co-presented by FASPE (Fellowships at Auschwitz for the Study of Professional Ethics). mjhnyc.org/faspe

This program has been made possible by a generous grant from the Conference on Jewish Material Claims Against Germany: Rabbi Israel Miller Fund for Shoah Research, Documentation and Education.

Presented in conjunction with Deadly Medicine: Creating the Master Race. Tour the exhibition at 12 P.M. Space is limited and pre-registration is required. Call 646.437.4202.

You can find out more about the exhibition by clicking here and more about the symposium by clicking here. You can watch an exhibition overview video by clicking here. You can order a copy of the fantastic catalog by clicking here, or peruse it anytime in The Morbid Anatomy Library.

Images top to bottom:

1. International Hygiene Exhibition, 1911 promotional poster: The eugenics movement pre-dated Nazi Germany. A 1911 exhibition at the German Hygiene Museum in Dresden included a display on human heredity and ideas to improve it. The exhibition poster features the Enlightenment’s all-seeing eye of God, adapted from the ancient Egyptian “Eye of Ra,” symbolizing fitness or health. Credit: Deutsches Historisches Museum, Berlin
2. Students at the Berlin School for the Blind examine racial head models circa 1935. Students were taught Gregor Mendel’s principles of inheritance and the purported application of those laws to human heredity and principles of race. During the Third Reich, German born deaf or blind, like those born with mental illnesses or disabilities, were urged to submit to compulsory sterilization as a civic duty. Credit: Blinden-Museum an der Johann-August-Zeune-Schule fur Blinde, Berlin
3. Head shots showing various racial types. Most western anthropologists classified people into “races” based on physical traits such as head size and eye, hair and skin color. This classification was developed by Eugen Fischer and published in the 1921 and 1923 editions of Foundations of Human Genetics and Racial Hygiene. Credit: United States Holocaust Memorial Museum
4. Nazi officials at the “The Miracle of Life” exhibition, German Hygiene Museum, Dresden, 1935. The new Nazi museum leadership asserted that societies resembled organisms that followed the lead of their brains. The most logical social structure was one that saw society as a collective unit, literally a body guided by a strong leader. Credit: National Archives and Records Administration
5. The head of a Jewish youth was sculpted from wood by the Jewish artist M. Winiarski for German officials in the occupied Polish city of Lodz. Credit: Zydowski Instytut Historyczny, Instytut Naukowo-Badawyczy, Warsaw

Exhibition: "Mechanical Wonders: The Sandoz Collection," Through November 26, 2011

This exhibit looks truly amazing! Many of the objects, I am told, come only very rarely to The United States, so make sure to take advantage of this opportunity while you can! I will absolutely be making a personal pilgrimage.

"Mechanical Wonders: The Sandoz Collection"
Presented by A La Vieille Russie and Parmigiani
October 26 – November 26, 2011

Visit ALVR this Fall to see a very special loan exhibition of intricate marvels that jump, sing and act as you never believed jeweled creations could.

Featuring early 19th century Swiss gold and enamel automaton snuff boxes, watches, magicians, and animals, the Imperial Swan Egg of 1906 and the Imperial Peacock Egg of 1908 by Fabergé, as well as contemporary interpretations by Parmigiani Fleurier of watches in the Sandoz Collection. In addition, the catalogue raisonné of the collection will be presented for the first time.

EXHIBITION HOURS (beginning October 26):
Monday through Friday 11am-6pm
Thursday 11am-7pm
Saturday 12pm-5pm
Closed for Thanksgiving Day.

Address: 781 Fifth Avenue at 59th Street
New York, NY 10022
212-752-1727
www.alvr.com

You can find out more and purchase tickets by clicking here. Thanks so much to the inspiring Jere Ryder for alerting me to this exhibition!

"Miracles & Charms," Exhibition, The Wellcome Collection

I am very very excited about the new exhibition "Miracles & Charms" opening next Thursday at the always amazing Wellcome Collection in London. The exhibition will feature Mexican votive paintings borrowed from Mexican museums and sanctuaries as well as votives, amulets and charms drawn from the Pitt Rivers-housed collection of "obsessive folklorist Edward Lovett [1852-1933], who scoured the city by night, buying curious objects from London's mudlarks, barrow men and sailors, which he sold on to Wellcome." There will also be original artworks.

Full details follow, and above are images of just a few of the pieces you will find in the exhibition (credits at end of post). If you are based in the London area, be sure to check it out! I know I would if I could....

Miracles & Charms at Wellcome Collection
Wellcome Collection | 6 October 2011 – 26 February 2012

Miracles & Charms, Wellcome Collection's autumn exhibition programme, explores the extraordinary in the everyday with two shows: Infinitas Gracias: Mexican miracle paintings, the first major display of Mexican votive paintings outside Mexico; and Felicity Powell: Charmed life, an exhibition of unseen London amulets from Henry Wellcome's collection, curated by the artist Felicity Powell. Drawing lines between faith, mortality and healing, Miracles & Charms will offer a poignant insight into the tribulations of daily life and human responses to chance and suffering.

Infinitas Gracias: Mexican miracle paintings
Mexican votives are small paintings, usually executed on tin roof tiles or small plaques, depicting the moment of personal humility when an individual asks a saint for help and is delivered from disaster and sometimes death. Infinitas Gracias will feature over 100 votive paintings drawn from five collections held by museums in and around Mexico City and two sanctuaries located in mining communities in the Bajío region to the North: the city of Guanajuato and the distant mountain town of Real de Catorce. Together with images, news reports, photographs, devotional artefacts, film and interviews, the exhibition will illustrate the depth of the votive tradition in Mexico.

Usually commissioned from local artists by the petitioner, votive paintings tell immediate and intensely personal stories, from domestic dramas to revolutionary violence, through which a markedly human history of communities and their culture can be read. Votives to be displayed in Infinitas Gracias date from the 18th century to the present day. Over this period, thousands of small paintings came to line the walls of Mexican churches as gestures of thanksgiving, replacing powerful doctrine-driven images of the saints with personal and direct pleas for help. The votives are intimate records of the tumultuous dramas of everyday life: lightning strikes, gun fights, motor accidents, ill health and false imprisonment; in which saintly intervention was believed to have led to survival and reprieve.

Infinitas Gracias will explore the reaction of individuals at the moment of crisis in which their strength of faith comes into play. The profound influence of these vernacular paintings, and the artists and individuals who painted them, can be seen in the work of such figures as Diego Rivera and Frida Kahlo, who were avid collectors. The contemporary legacy of the votive ritual will be present in the exhibition through a wall covered with modern day offerings from one church in Guanajuato: a paper shower of letters, certificates, photographs, clothing and flowers, through which the tradition of votive offering continues today. The sanctuaries at Guanajuato and Real de Catorce remain centres of annual pilgrimage, attracting thousands of people to thank and celebrate their chosen saints.

Felicity Powell: Charmed life
A please to the votives' thank you, Charmed life, curated by Felicity Powell, features some four hundred amulets from Henry Wellcome's vast collection, which will be exhibited encircled with works, including new pieces and videos, by the artist. The amulets, ranging from simple coins to meticulously carved shells, dead animals to elaborately fashioned notes, are from a collection within a collection, amassed by the banker and obsessive folklorist Edward Lovett, who scoured the city by night, buying curious objects from London's mudlarks, barrow men and sailors, which he sold on to Wellcome.

The amulets are objects of solace. Intended to be held, touched, and kept close to the body, they are by turns designed and found, peculiar and familiar. The potency of the charms is invested through rituals of hope and habit. Each amulet on display has long been separated from its wearer, but collectively they form a repository for the anxieties, reassurances and superstitions of the city and its occupants. Lovett's amulets are held at the Pitt-Rivers Museum where they have remained archived and largely unseen. The amulets selected by Powell are uncanny: they are secrets brought to light.

Powell's own works address the strange allure of objects which are a source of comfort and compensation. Intricate miniatures, with white wax reliefs on black mirror slate, they carry the same intimacy of size as the amulets, and are meticulously crafted. Her portraits, which appear as inverted silhouettes, white on black, are all in a process of change, metamorphosing into other selves and creatures. Like Lovett's amulets, they seem to be more than themselves, hinting at a hidden magic at work, as they dip between real and imagined worlds. Using the reverse side of a mirror, Powell hides away literal reflection but leaves the viewer wondering at their playful and compelling strangeness.

Film works projected in the gallery see the wax reliefs in animation, featuring the hands of the artist as she works, alongside medical scans of her body overlaid with drawn images of amulets from the Lovett collection. These films, with music by William Basinski, create imagery and forms that relate directly to the objects on display and to the artist’s own desire for wellbeing.

Ken Arnold, Head of Public Programmes at Wellcome Collection, says: "These two exhibitions explore rich traditions of everyday faith and health, presenting us with objects from across cultures, all invested with extraordinary personal potency. Sometimes comforting, other times strange, both simply made and exquisitely wrought: these exhibits give us insight into centuries of charmed lives and miraculous events."

A full programme of events will accompany the exhibition.

Miracles & Charms runs from 6 October 2011 to 26 February 2012.

You can find out more about this exhibition--which runs from October 6th 2011 to February 26 2012--by clicking here.

Image credits:

1. Amulet from the Lovett Collection Credit: Pitt Rivers Museum, University of Oxford. (L0069108)
2. Amulet from the Lovett Collection Credit: Pitt Rivers Museum, University of Oxford. (L0069107)
3. Amulet from the Lovett Collection Credit: Pitt Rivers Museum, University of Oxford. (L0069255)
4. Amulet from the Lovett Collection Credit: Pitt Rivers Museum, University of Oxford (L0069216)
5. Votive on tin, 1840 Credit: Museo Nacional de las Intervenciones / INAH (L0069314)
6. Votive on tin, 1856 Credit: Museo Nacional de Historia - INAH (L0069326)
7. Votive on tin, 1861 Credit: Museo Nacional de Historia - INAH (L0069334)
8. Votive on tin, 1940 Credit: Santuario de San Francisco de Asis de la Diócesis de Matehuala / INAH (L0069348)
9. Extruding coral Credit: Felicity Powell (L0069400)