Posted on December 31st, 2015 by Rachel
At the Center for Jewish History.
A few weeks ago I visited New York City to see a few exhibits, Broadway shows and of course the holiday decorations around Rockefeller Plaza. My first stop was the Center for Jewish History in lower Manhattan. I had actually never heard of the Center, but was glad that I discovered it. It opened in late 2000 and includes both permanent displays, such as the stunning Luminous Manuscript which is shaped like a Talmud page, and temporary exhibits. I visited several exhibits including one called “Modeling the Synagogue: From Dura to Touro,” which contained ten scale models of history synagogues commissioned by the Yeshiva University Museum ranging from Dura-Europos in 3rd-centurey Syria to Touro Synagogue in 18th century Newport, Rhode Island.
Touro Synagogue model
I then headed uptown to the Museum of the City of New York. While there, I saw an exhibit called “Jacob A. Riis: Revealing New York’s Other Half.” Jacob Riis was a pioneering newspaper reporter and social reformer in New York at the turn of the century who worked tirelessly to improve housing, health care and education, particularly for immigrants. A review in the NY Times rightly points out that with nearly one of every two New Yorkers still struggling to get by, Riis’s exposure of extreme inequalities is still very timely and relevant. The exhibit featured Riis’s photographs as well as his handwritten journals and personal correspondence. I was most struck by images of children living in squalid conditions in the Lower East Side. I found one Jewish connection in a photograph of Jewish immigrants laboring in a tenement sweatshop on Hester Street. There were also two videos of the popular slide shows that Riis staged around the country showcasing his photographs.
Sweatshop in Hester St, 1889-90
The second exhibit I went to at the Museum of the City of New York was “Folk City: New York and the Folk Music Revival.” This exhibit traced the roots of the Folk Music Revival, its growth in New York and its impact on American culture and politics during the 1960s. It contained photographs, documents, instruments, videos and plenty of songs for headphone listening. Stephen Petrus, one of the exhibit’s curators, spoke earlier this month at JMM about the exhibit. I was excited to see early on in the exhibit a copy of The American Songbag by Carl Sandburg, as a couple of years ago I worked as a Park Ranger at the Carl Sandburg Home in North Carolina. One of my favorite pieces was Bob Dylan’s handwritten lyrics for “Blowing in the Wind.” I also found Odetta’s guitar, a broadside by Phil Ochs on the Cuban Missile Crisis and watched a video clip of my idol Pete Seeger and Judy Collins sing a duet. If you want to visit, I’d hurry, because it closes on Jan. 10th!
A blog post by Graham Humphrey, Visitor Services Coordinator. To read more posts by Graham click HERE.
Posted on July 31st, 2012 by Rachel
A blog post by Exhibitions Intern Meryl Feinstein.
As the sole exhibitions intern currently on staff at the JMM, I have had the exciting opportunity to fully delve into the initial workings of exhibition development. Along with curator Karen Falk, I have been exploring the “big ideas” for an exhibition regarding Jews and the medical profession in Maryland.
When first approaching the topic, we mainly looked at Maryland Jews who had contributed to the medical field (largely from Hopkins and Sinai Hospital) and Jewish-founded institutions in the Baltimore area. For me, aside from the stereotype of “My son the doctor,” I didn’t think there was a deeply Jewish connection to the medical profession. Many of today’s Jewish doctors see themselves as doctors who just happen to be Jewish. American modern medicine is a profoundly Western concept – of a scientific foundation – not one inherently religious or cultural per se… Right? This line of thought guided the direction of the exhibition for the past few weeks. We saw the Jewish facet as a case study; that is to say, we were going to look at the development of modern medicine through the lens of Jewish people and institutions in Maryland and the achievements that followed. This would include a wide array of professionals: doctors, nurses, pharmacists, psychiatrists, etc.
With this mindset, Karen and I took a short daytrip to New York City to see the Yeshiva University Museum’s current exhibition, Trail of the Magic Bullet: The Jewish Encounter with Modern Medicine, 1860-1960 at the Center for Jewish History. Trail of the Magic Bullet was not limited to the achievements and institutions of Maryland; thus, the exhibition’s main goal was to provide an image of the larger modern Jewish experience through the lens of the Jewish relationship with – and contribution to – modern medicine. Trail of the Magic Bullet began with a nod to the pre-modern history of Jewish physicians by way of a series of ancient manuscripts and one very lovely Rembrandt etching of the Jewish physician Ephraim Bonus. The majority of the show, however, was dedicated to highlighting specific Jewish personalities who made significant contributions to medical science in the modern era. Public health was also included, such as the Jewish Consumptives’ Relief Society, the Visiting Nurse Service, Hadassah, and the establishment of various Jewish hospitals. The exhibition concluded with a short video discussing current issues of medical ethics.
Center for Jewish History, NYC.
Rembrandt etching of Ephraim Bonus (1647), the Jewish physician to discover the first cure for syphilis shown at YUM’s Trail of the Magic Bullet: The Jewish Encounter with Modern Medicine, 1860-1960.
After our tour through the exhibition, Karen and I stopped for some delicious falafel at taim before heading back to Baltimore.
As I walked through Trail of the Magic Bullet, I was conflicted. The exhibition explored some truly intriguing and important themes and dichotomies: anti-Semitism vs. assimilation, Jewish particularism vs. universalism (or rather, serving the Jewish community vs. the global community), science vs. tradition. These themes are as wholly relevant to the Jews of Maryland as anywhere else in the Western world; we could easily adapt the YUM template for our purposes. Yet although the exhibition was informative and widely acclaimed – and closely related to our own ideas – I walked away feeling that the YU approach just wasn’t for us. I thought about the JMM’s demographic: how could we make this topic exciting and interactive, especially for school groups? And, on a more personal level, how could we make this exciting and interactive for me – that is to say, others like me – a young adult with little knowledge of science and medicine?
Karen and I seemed to share this opinion, and after a series of brainstorming sessions and exploring our collection, we kept circling back to the same idea: instead of talking about Jews and medicine, why don’t we talk about Jews and health? It may be a minor adjustment, but the word ‘health’ rings more inclusive, more positive in its connotation than the word ‘medicine.’ Furthermore, everyone engages with health. From the doctor’s office to yoga to alternative, holistic medicine to nutrition, optimal health is something we all constantly strive to attain and maintain. Health touches upon the physical, the mental, and the emotional – the body, the mind, and the soul. It’s personal, it’s communal, and it’s global. This small change could thereby attract a larger audience and more diverse demographic.
On a most basic level, the switch to ‘health’ allows us to explore the general cultural constructions of health and illness in America. Ultimately, however, the question remains: is there a Jewish meaning embedded within these cultural constructions? If so, what is it? If not, why not? The themes we are currently considering include the relationship between patient and healer, the communal response to caring for the sick and promoting wellness, the evolution of the connection between Jews and health/illness over time, and the meaning of “Jewish diseases.” We intend to approach these topics from a regional perspective.
Though there are still more questions than answers, it seems like we may be on to something. Right now I am starting at the source: Jewish text. This includes health-related passages in Biblical, Talmudic, and Rabbinic sources (especially Maimonides). These texts focus largely on healing – the root of health – and the relationship between the body and soul. To be healthy, the individual must maintain balance in all things physical and mental – extreme states are strongly discouraged – and moderation is key. When illness strikes, the physician acts as God’s helper, one whose duty is to encourage the natural course of healing to restore good health. One of the more amusing passages I have come across was written by Jedaiah ben Avraham Bedersi, or “HaP’nini,” a Medieval French poet and philosopher:
When you need a physician, esteem him a god;
When he has brought you out of danger, you consider him a king;
When you have been cured, he becomes human like yourself.
When he sends you the bill, you think him a devil.
It doesn’t look like much has changed!
Posted on April 23rd, 2012 by Rachel
A Blog Post by Senior Collections Manager Jobi Zink
While I was home for Passover, we went to New York City to visit the Metropolitan Museum of Art.
My AAM card got me in for free (saving $20 suggested admission fee). My dad used in old teacher’s pass and he, Jordana and Eric also got in for free.
We specifically went to see The Steins Collect: Matisse, Picasso, and the Paris Avant-Garde. This temporary exhibition occupies nine galleries on the third floor and is absolutely amazing! Gertrude Stein and her brothers Leo and Michael, and sister-in-law Sarah lived in Paris during the early 20th century. Although they did not have a lot of money, they were interested in purchasing art. They amassed a tremendous collection of works by young, talented, and virtually unknown artists including Pablo Picasso and Henri Matisse.
The Steins hung the works salon-style in their 460 square foot studio in Paris at 27 Rue de Fleurus, represented in a full size at the beginning of the exhibition. In order to accommodate new acquisitions, they frequently moved and rearranged their artwork. Fortunately, the Steins also took photographs of their various installations. The curatorial team relied on over 400 photographs to curate the exhibition. Eric particularly enjoyed the juxtaposition of the exact paintings that were documented in the large photomurals in each of the galleries.
The Steins opened their apartments on Saturday afternoons, allowing visitors to see their collection, shaping art appreciation for future generations. When the Steins found themselves low on funds to buy more art, they would sell pieces of their collection. Clara and Etta Cone of Baltimore were frequent buyers, and thus it was not surprising that several pieces on display were on loan from the Baltimore Museum of Art. http:///www.artbma.org/collection/overview/cone.html
Picasso’s famous portrait of Stein reminded me of a line from The Paris Wife by Paula McLain where Gertrude Stein plays prominently in shaping Ernest Hemingway’s writing career. In the book Hadley and Ernest wonder, “How much do you think Gertrude’s breast weigh?” My father used the audio tour and found that it provided more information than the text panel about the rift between Gertrude and Leo.
Photography is not allowed in the exhibition, but the link below will provide you with highlights from the exhibition.
After the signing exhibit me I’ll when I separate ways and explore different parts of the museum. My dad was enthralled with the painting of Napoleon at battle. http:///www.metmuseum.org/Collections/search-the-collections/110001498
Eric spent two more hours in the hall of armor.
Eric poses with Henry VIII armor
My sister and toured the American Period Rooms –installations of original furnishings and structures from of the most impressive homes in the country. My sister was particularly taken by and tables and other large furniture created by the Harter brothers, well I enjoyed paintings by Thomas Dewing, Tiffany lamps and Frank Lloyd Wright’s Prairie style home.
This is the side of the Vanderbilt library table with mother-of-pearl inlay by the Harter brothers.
We all enjoyed the temple of Dendur installation – an actual in Egyptian temple that was saved in 1965 before the Nile River was intentionally flooded.
As you can see, even if you don’t have a free pass, the museum is well worth it!