FORMER WOLFSONIAN LIBRARY INTERN RETURNS AS TEACHER

Yehudis Benhamou first came to the Wolfsonian Library as a Master’s candidate at Florida International University, earning academic credit with an internship in our library. She returned yesterday morning leading a class of Hillel Community High School students studying the Second World War and the Holocaust. This was the last of a large number of school visits this month by teachers and students studying the subject. The Wolfsonian’s unparalleled collection of propaganda from this period has made us a popular field trip site for teachers.

The students at Hillel, like the Shenandoah Middle School students who visited earlier in the month, had the privilege of seeing a wealth of primary source materials laid out on the main reading room table. In trying to come to terms with the Holocaust, the Hillel students received a first-hand glimpse of the propaganda Hitler and the Nazis created to sow hatred and distrust of Jews in Germany and later in the territories occupied by the Germans during the Second World War.

In addition to fostering a German “master race” myth with images of beautiful and handsome Aryan-types, National Socialist propagandists also worked to create a counter-image aimed at uniting the country against a common enemy: the Jew. Ironically, before the Nazi seizure of power in 1933, one might have thought Germany the least likely European country to initiate an all-out war against the Jews. In the pre-Third Reich era, Jews had been emancipated, and the Jewish population had largely assimilated into German society, with high rates of Jewish-German intermarriage. Following Hitler’s rise to power, however, the National Socialist dictatorship began to foster and create stereotypes and unflattering images of Jews and other “degenerate” races to promote fear, distrust, and hatred of the supposed “enemies” of the Third Reich.

The Nazi campaign for “cleansing” the fatherland of foreign and “degenerate” cultural influences that began with the banning and burning of books and the publication of anti-Semitic propaganda, soon escalated into government-sanctioned harassment of Jews, the passage of racist legislation prohibiting intermarriage, the forced segregation of Jews into ghettos, and ultimately, deportation to so-called “work camps” during the Second World War.

The Wolfsonian has just this month received another donation to the collection of a pamphlet with a photomontage illustration by John Heartfield. Born in Berlin in 1891, Helmut Herzfeld became an ardent Communist, Anglicized his name to disassociate himself from the Nazis, and moved to neighboring Czechoslovakia following Hitler’s rise to power where he continued to satirize Fascism and Nazism. Rightly fearing a Nazi take-over, in 1938 he fled to England, ultimately returning to (East) Berlin after the war. Even as Heartfield used his artwork to counter Nazism and racial hatred in the 1930s, the Wolfsonian’s rich collection of political propaganda from this period will enable us to continue to educate present and future generations of students and to ensure that the world will not forget.

GIFT OF FRANCIS XAVIER LUCA &

CLARA HELENA PALACIO-DE LUCA

SPACED-OUT…

DESIGNS FOR THE FUTURE UNABLE TO FIT IN OUR UNREAL(IZED) ARCHITECTURE EXHIBIT

Often in the course of sifting through materials for inclusion in our library exhibits, we come across an item or two perfectly in fitting with our theme, but which, nonetheless, have to be left out given the constraints of limited space in our display cases. Such was the case in setting up our most recent exhibit, Unreal(ized) Architecture. The Wolfsonian-FIU library has some impressive holdings of the work of numerous architects from the early to mid-twentieth century whose projects, even though they were never actually constructed, had an enormous impact on future designers and architects.

The library holds a number of rare works showcasing the designs of Antonio Sant'Elia (Italian, 1888-1916). Sant’Elia became a disciple and leading light in the Futurist movement in pre-World War One Italy. Drawing inspiration from Viennese architects such as Adolf Loos and Otto Wagner and the skyscrapers just beginning to appear in American cities, Sant’Elia envisioned a futuristic urban environment in a series of drawings rendered between 1912 and 1914. His Città Nuova designs imagined an industrial city where huge skyscraper buildings with setbacks and terraces were connected by bridges and walkways. When the First World War broke out, Sant'Elia enlisted in the Italian army and died fighting the Austrians sometime during the Battles of the Isonzo in 1915. As a result of his premature death, most of his futuristic architectural designs remained unrealized, but many were widely published during the second Futurist wave of the interwar period and exercised considerable influence on generations of urban planners and architects.

The library also holds important examples of the Constructivist artwork and architectural ideas of famed Russian designer, El Lissitzky (Russian, 1890-1941). In the years between 1923 and 1925, Lissitzky came up with designs for a series of identical structures which he proposed be constructed at the intersections of a boulevard ringing central Moscow and the Kremlin. To save precious ground space, these enormous L-shaped three-story buildings were to be raised 50 meters off the ground by three pylons to be connected to tram stations and an underground subway. Lissitzky’s horizontal skyscrapers, (referred to as Wolkenbügel, or “Iron clouds” in the literature of the time), were never built, but the designs were printed in ASNOVA, the influential journal for the Association of New Architects in the Soviet Union, and in several important German publications and periodicals.

Other Constructivist-minded architects expressed their revolutionary ideas in other publications, including Arkhitektura: raboty Arkhitekturnog o fakul’teta Vkhutemasa, 1920-1927, for which Lissitzky supplied the dust jacket cover artwork. The Vkhutemas architectural school in Moscow encouraged its students to experiment with and embrace the principles of Constructivism in projects designed to completely rethink the principles of construction. Such radical ideas, however, soon earned the scorn and derision of Joseph Stalin, and projects designed and built after his rise to power took a decidedly more conservative (neo-Classical) and Socialist Realist bent.

We also left some important American industrial designers and urban planners out of the exhibition for want of space. The library holds a number of books and ephemeral items highlighting the ideas of Norman Bel Geddes (American, 1893-1958), including his Magic Motorways (1940). Even before that publication went into print, however, Americans were introduced to his ideas at the popular Futurama exhibit he designed for General Motors for the 1939-1940 New York World’s Fair. Bel Geddes’ created a gigantic indoor panorama of a city of the future, which visitors to the pavilion could look down upon while riding along in chairs on a conveyor belt. Although his vision of a futuristic metropolis failed to materialize exactly along the lines that he envisioned, his designs for superhighways, cloverleaf entrance and exit ramps, and many other features did have a profound influence on the design of American highways linking cities to the suburbs.

AFTER HOURS, LAST CALL: VIP TOUR OF THE LIBRARY, TALK AND BOOK SIGNING

After the museum closed to the general public this past Thursday evening, a few VIPs were brought up to the rare books and special collections library for a private tour and presentation of materials. The guests of honor included noted international, New York Theatre, and Broadway choreographer, director, and producer Jonathan Stuart Cerullo and Joy Abbott. Mr. Cerullo has been involved in such productions as “Say Goodnight, Gracie,” “Band in Berlin,” “RSVP Broadway,” “Anna Kerenina,” “Ray Qualey,” “Sandstorm,” “Under Fire,” “Those Wonderful Babes & Bill,” and countless others. Joy was the long-time companion, wife, and widow of George Abbott (1887-1995), the producer, director, and playwright whose long and impressive career earned him the moniker “Mr. Broadway.” Other guests included Joy’s friend, Carol Towle; Ann Scully of the Mad Cat Theatre Company; Suzi Cohen; Brian Schriner, Interim Dean of the College of Architecture and the Arts at FIU; Michael Yawney, Assistant Professor in FIU’s Theatre Department; Wolfsonian Museum Director, Cathy Leff; Deputy Director for Development & Marketing, David Skipp; and Ian Rand, who before assuming the duties of Assistant Director of Marketing, Member Relations, & New Media at the Wolfsonian, served as director of publicity for Livent Inc., in Toronto and as press agent for several Broadway productions for the Fred Nathan Company in New York.

Although The Wolfsonian is probably more renowned for other collection strengths, the library does hold a substantial number of rare and important works dealing with dance, theatre, musicals and song, and the performing arts in general. Our guests were treated to a display of rare materials beginning with some nineteenth century Swedish dance cards, commonly used in the days when socially-conscious parents dictated with whom their debutant daughters might dance with at a ball.

MITCHELL WOLFSON, JR. COLLECTION

The visitors appeared to be particularly taken with an extremely rare Russian oversized portfolio of plates that provided instructions in how to build library/theatre/community centers in the early post-revolutionary period. Plate illustrated ideas for setting up stages, curtains, and chairs, patterns for paper puppets and costumes, etc. The library also holds a number of a series of reviews of the Russian Ballet in 1919 by C. W. Beaumont decorated with color pochoir (stencil work) illustrations by Ethelbert White.

MITCHELL WOLFSON, JR. COLLECTION

The library also holds a few copies of several important performing arts periodicals, such as The Dance, Theatre Magazine, and La Revue des Follies Bergère.

MITCHELL WOLFSON, JR. COLLECTION

VICKI GOLD LEVI COLLECTION

Mr. Cerullo, who apparently has a large collection of theatrical playbills and programs, appeared to be especially excited at seeing our own relatively small collection of like materials from the 1920s, ‘30s, and ‘40s. Largely through the generosity of Vicki Gold Levi, we have been able to acquire through donation a number of rare Cuban sheet music covers, Times Square memorabilia, and Broadway programs, and we hope to be able to continue to build this important area of our collection.

MITCHELL WOLFSON, JR. COLLECTION

VICKI GOLD LEVI COLLECTION

On an different but related theme, last night The Wolfsonian held a talk by Daniel Okrent, author of the recently published book Last Call: The Rise and Fall of Prohibition. The library holds a sheet music cover from the prohibition era, as well as a number of Cuban tourist trade ephemera reminding Americans that things were not so dry in the nightclubs of Havana.

GIFT OF DAVID ALMEIDA & GINA WOUTERS ; VICKI GOLD LEVI COLLECTION

VISITS BY SHENANDOAH MIDDLE SCHOOL STUDENTS

Throughout the month of May, more than two hundred Shenandoah Middle School students studying the Second World War and the Holocaust have come to the Wolfsonian library to see a presentation of primary source materials from the collection. Before coming to the Wolfsonian, the students participating in the museum education program had the chance to hear a talk by a Holocaust survivor and to read Anne Frank’s famous Diary of a Young Girl, chronicling her life in Amsterdam hiding during the Nazi occupation.

At the museum, each visiting class was split up into two groups of twenty to thirty students. Wolfsonian Manager of Youth & School Programs Coordinator, Claudia Caro Sullivan took half of them on a guided tour of the museum galleries, and some of them also participated in an art project involving the creation of a book of self-portraits. The other group was ushered up to the library for a talk about the rise of Adolf Hitler to power in Germany in 1933, and a discussion of the history of racial discrimination in the United States and Germany. The students learned that although the United States was still struggling with segregation, horrific lynchings and KKK terror, Jim Crow laws, and other discriminatory practices, some progress towards civil rights began to be made during the Roosevelt Administration. Ironically, at the same time, Germany’s rather tolerant record as regards Jewish emancipation and assimilation and Jewish-German mixed marriages made an immediate about face as the Nazi regime promoted anti-Semitism and goose-stepped the nation down the path of a racist regime. After the discussions, the students in my group joined Claudia, and those in her group came up to the library.

One of the questions we tried to address during the back-to-back discussions in the library was how Hitler and the National Socialists were able to seize power, exercise dictatorial control, and to perpetrate such a monstrous program as the liquidation of six million Jews and another six million Gypsies, Russians, homosexuals, disabled persons, and a host of political dissidents. The materials laid out on the table suggested that Hitler and his gang recognized the importance of propaganda, for even a dictator needed to maintain at least the appearance of popular support.

Garnering the support of talented graphic artists, photographers, and filmmakers Hitler and his Reich Minister of Propaganda Joseph Goebbels (1897-1945) staged rallies and parades and a paper campaign designed to forge a positive image for himself and his party that belied the hideous program he had in store. Promising work in a time of global depression, a revival of German fortunes after the humiliations of defeat in the catastrophic First World War, Hitler appealed to German patriotism and provided them with a scapegoat aimed at uniting the nation against a common enemy. During the war, the Nazis forced Jews to wear badges to single them out and employed heavy doses of anti-Semitic propaganda to dissuade persons in the occupied territories from sheltering the “enemies” of the Third Reich (like Anne Frank and her family) and to encourage them to turn them in to the Gestapo for deportation to “work camps.”

The bachelor führer was also savvy enough to recognize the importance of posing with youngsters. He also provided propaganda books for the schools and established the Hitler Jugend as a means of brainwashing an entire generation of impressionable youths.

The visiting middle school students, however, were not so easily manipulated by the propaganda. Many perceptively noted the discrepancies between Hitler’s racist rhetoric and reality. As one French caricature from the period made clear, (and as Charlie Chaplin had hilariously pointed out in his brilliant and pointed satire, The Great Dictator), the browned-eyed, brunette leader of the blonde race did not match the Aryan ideals he promoted.

http://www.youtube.com/watch?v=IJOuoyoMhj8

It became obvious from our discussions that it was not possible to determine a person’s race by appearances, and that the horrible stereotypes of Jews the Nazis created as a prelude to the Holocaust were caricatures as absurd as the idea of an Aryan “master race.” If it were so easy to identify Jews, some concluded, why had it have been necessary for the Nazis to force persons of Jewish ancestry to wear badges identifying themselves as such?

TAKE FIVE: PART THREE

REFLECTIONS ON THE SPIRIT OF GIVING AND THE LAST FIVE YEARS OF LIBRARY DONATIONS

In addition to the rare books, periodicals, and other ephemeral materials donated by persons interested in finding permanent homes for their cherished collections, the Wolfsonian-FIU library has also received many works originally collected by design researchers and enthusiasts with a specific project or agenda in mind. Sometimes these collections grew slowly over time as an individual began collecting a few items here and there related to a lifelong obsession or passion; other times, items were selected deliberately and relatively quickly as authors and researchers prepared publications or exhibitions.

Over the last few years, the Wolfsonian-FIU library has had the privilege of collaborating with a number of educators, enthusiasts, and authors interested in design aesthetics. Vicki Gold Levi, for example, has assembled a large collection of materials, ranging in topic from the promotion of Atlantic City as a resort town; the U.S.-Cuba tourist trade in the pre-Castro era; Times Square and Broadway productions in New York City; and U.S. “Victory” propaganda from the Second World War. Following the publication with Steve Heller of Cuba Style: Graphics from the Golden Age of Design (2002), Vicki gifted several hundred rare periodicals, advertisements, and other ephemeral items to our library. She has since worked with Mr. Heller on another publication, Times Square Style (2004) and again gifted some of the original items acquired in the course of researching that book to the Wolfsonian library for which we are deeply grateful.

HIGHLIGHTS OF A GIFT OF VICKI GOLD LEVI

Steve Heller not only consulted and used a substantial number of Wolfsonian objects and artifacts in writing his Iron Fists: Branding the Twentieth Century Totalitarian State; he also assembled an impressive collection of primary resource materials on his own. Following the publication of his impressive tome, he generously donated hundreds of Italian Fascist, German National Socialist, and Russian and Chinese Communist visual propaganda to the museum. Although the Wolfsonian is renowned for its collection of political propaganda from this period, there was virtually no duplication in the donation, and the gift has done much to add to our strength and depth on the subject.

HIGHLIGHTS OF A GIFT OF STEVEN HELLER

William H. Helfand has been interested in and writing about pharmacy-related topics for many years. He has also spent much of his life collecting pharmaceutical and medicine-related propaganda. In 2002 organized and exhibition at the prestigious Grolier Club in New York City and concurrently published an illustrated history of medical quackery entitled Quack, Quack, Quack: The Sellers of Nostrums in Prints, Posters, Ephemera & Books. Thanks to a donation by Robert J. Young (mentioned in an earlier blog), the Wolfsonian Library was also beginning to build an important collection of popular health, hygiene, and physical fitness materials, even as Florida International University began to establish its own College of Medicine. Contacts between our founder and curator and Mr. Helfand recently resulted in his gifting more than a thousand pharmaceutical, medical, and propagandistic ephemera to the Wolfsonian-FIU library.

HIGHLIGHTS OF A GIFT OF WILLIAM H. HELFAND

Local Miami artist and long-time Wolfsonian supporter, Michelle Oka Doner also pulled together an impressive collection of Miami Beach memorabilia in the course of working with Micky Wolfson to create an artistic memoir, Miami Beach: Blueprint of an Eden: Lives Seen through the Prism of Family and Place. Her beautifully crafted book (which uses natural materials in each limited edition binding) documents the development of Miami Beach as a tourist destination from the 1930s through the 1960s. As both the book and the archive of photographs, blueprints, clippings, and correspondence she later donated to the library demonstrates, Michelle and Micky’s fathers ably served as Miami Beach mayors and were “movers and shakers” who helped transform and shape the image, history, and culture of the city.

HIGHLIGHTS OF A GIFT OF MICHELLE OKA DONER

Frederic A. Sharf, (who recently donated more than fifty rare view books documenting the Spanish American war, the Russo-Japanese war and Sino-Japanese conflicts), not only loaned and gifted some extraordinary automotive design drawings for an exhibition our curators were organizing; he also introduced us to Theodore W. Pietsch III. Theodore’s father was a talented automobile design artist and had left his son a large collection of sketchbooks and design drawings, many of which were reproduced in Theodore W. Pietsch II (1912-1993) and the Development of Automobile Design in the Golden Age. In the wake of the publication and an exhibition held at the Wolfsonian, Frederic Sharf facilitated the donation of thirty sketchbooks and a hundred or so drawings by Ted Pietsch by his son, establishing the Wolfsonian as an important repository of automotive design history. The librarians and digital library specialist are feverishly working to catalog and link digital images of these original works to our OPAC (Online Public Access Catalog). http://207.67.203.78/W10054

HIGHLIGHTS OF A GIFT OF THEODORE W. PIETSCH III, FACILITATED BY FREDERIC A. SHARF

TO BE CONTINUED…