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    Votive on tin, 1885 Credit:Museo Nacional de las Intervenciones / INAH

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    Votive on tin, 1840 Credit:Museo Nacional de las Intervenciones / INAH

  • 9

    Votive on tin, 1862 Credit:Museo Nacional de Historia – INAH

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    Votive on tin, 1949 Credit:Santuario de San Francisco de Asis de la Diócesis de Matehuala / INAH

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    Votive on tin, 1943 Credit:Santuario de San Francisco de Asis de la Diócesis de Matehuala / INAH

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    Votive on tin, 2009 Credit:Santuario de San Francisco de Asis de la Diócesis de Matehuala / INAH

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    Votive on perforated tin, 1831 Credit:Museo Nacional de Historia – INAH

  • 13

    Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford.

  • 5

    Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford.

  • 2

    Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford.

  • 3

    Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford.

  • 1

    These are the images requested by WELLCOME TRUST PRESS OFFICE Delivery note number: 94666 This site will be accessible for the next 26 days. View delivery note Click here to download all images When you download all images you will generate a zip file. If you are using a PC, you will be guided through the unzipping process. If you are using a Mac, drag the images.tar file onto the Stuffit Expander icon to expand the folder. To download individual images or if you have ordered one image click the icon below the selected image. Your contact at Wellcome is Anna Smith ac.smith@wellcome.ac.uk Tel: ++44 (0) 20 7611 8716 C0072614 Miracles and Charms, Wellcome Collection Credit:Wellcome Library, London C0072615 Miracles and Charms, Wellcome Collection Credit:Wellcome Library, London C0072617 Miracles and Charms, Wellcome Collection Credit:Wellcome Library, London C0072618 Miracles and Charms, Wellcome Collection Credit:Wellcome Library, London C0072619 Miracles and Charms, Wellcome Collection Credit:Wellcome Library, London C0072620 Miracles and Charms, Wellcome Collection Credit:Wellcome Library, London C0072623 Felicity Powell Credit:Wellcome Library, London C0072625 Felicity Powell Credit:Wellcome Library, London L0069107 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069108 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069110 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069111 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069112 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069113 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069114 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069115 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069116 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069149 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069152 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069156 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069158 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069171 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069173 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069174 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069187 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069194 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069216 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069226 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford. L0069248 Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford.

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    Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford.

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    Amulet from the Lovett Collection Credit:Pitt Rivers Museum, University of Oxford.

Exhibition

What's On: Miracles & Charms

Posted by Bryony Quinn,

The ever-great Wellcome Collection has just opened its doors to its newest exhibitions on the cynicism busting theme of the “magic of faith, hope and chance.” Be you religious or be you not, anyone who does not fall for the incredibly human, gracious stories of drama and deliverance in Infinitas Gracias: Mexican miracle paintings, is obviously undead. Equally moving are the curious and potently personal amulets in the Felicity Powell curated Charmed Life: The solace of objects – the hopers “please” to the votives’ “thank you.”

In 1885, an unfortunate woman went mad. Her husband entrusted himself to the Holy Mary of Solitude of Santa Cruz of Mexico and she was instantly cured. He dedicates a painted votive in gratitude. A victim of ten gangsters also finds reason for thanks and commissions the talents of a local artist to immortalise his moment of reprieve. In these and countless other fascinating renditions of deliverance from disaster or death, the artist carefully paints to order the whole scene from beginning to simultaneous end in graphic detail. Which ever saint that has been implored to help is usually to be found floating omnipotently in the top corners – like a divine light-fitting or an uncanny super hero – they illuminate the scene and give focus to the prayers there after. Most of these ex votos have been lent by the churches of these people and their descendants, and are incredibly moving. Much better then any soap opera. One shows a man who denies that the child his young wife is carrying is his, divine help is called for, given, and the man embraces the child at birth – thanks Mary! Take that Eastenders.

In Charmed Life: The solace of objects, the artist Felicity Powell presents a series of cabinets full of vague taxonomies of “unsung and unseen” charms, collected by Edwardian amateur folklorist, Edward Lovett. “Hope and anxiety is nebulous” Powell said, “and probably doesn’t have a form” – these charms become tangible, external objects of those emotions that the carrier would keep incredibly close, and are therefore powerfully intimate. A rabbit tongue against poverty, peony seeds for incapacity, soldiers mascots, mothers talismans – unlike the Mexican miracle paintings, these are mostly secular and wildly superstitious. Wonderful stuff. The exhibitions will run until February 26, 2011.
www.wellcomecollection.org/miracles-charms

Portrait9

Posted by Bryony Quinn

Bryony was It’s Nice That’s first ever intern and worked her way up to assistant online editor before moving on to pursue other interests in the summer of 2012.

Most Recent: Exhibition View Archive

  1. Ruth_van_beek_rehearsal_it's_nice_that_list

    London is the most Instagrammed city in the world, but this week photography has hit the capital like never before. Over the next four days some 70 galleries have taken up residence under Somerset House’s neoclassical roof, bringing together a mix of vintage and contemporary prints for the largest photography fair ever held in London.

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    Shoes are functional. They keep our feet dry and safe from the elements but we have an ingrained desire to take the humble shoe beyond this purpose. We like to make them into objects we can admire, play around with and explore. For Spanish footwear brand Camper, this sense of fun is at the heart of what they do and we’re given a glimpse of this creativity in a new exhibition at the Design Museum. Life on Foot marks the 40 year anniversary of Camper and takes us on the journey from collection conception all the way to the shop floor.

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    David Hockney never fails to astound me. He’s likely the most prolific British painter, printmaker and photographer our generation will see, and rather than settle down into one comfortable style – he has entertained more than a few over the course of his 50-year and counting career – he continues to set himself new lines to cross. He pushes back on the boundaries he had set himself the last time around. 

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    There are few artists who have had the impact in their entire careers that Jean-Michel Basquiat achieved in his 28 years. The self-taught Brooklyn-born artist was inspired by everything he came into contact with, creating work influenced by hip-hop, politics, advertising and children’s drawings to perfectly encapsulate the culture he inhabited. As such his notebooks – filled with sketches, fragments of poetry and personal observations about race, class and culture – have been elevated to the status of sacred relics. Luckily for us, these relics are currently on show at The Brooklyn Museum, offering a never-before-seen glimpse into his inner life.

  5. David-jien-its-nice-that-list

    “The serpent no longer slumbers! He is awoken! Who shall deliver us from this affliction? Deep corruption has befallen our lands. Lo, Formosa has fallen, Shakran and his black words have immersed deep within our peoples. We have forgotten our ways and are divided, father against son, mother against daughter. The reptilian plague promises pleasure and power. We have lost many kin to its deception, they now fill the ranks of Shakran’s saurian swarm. Those fortunate enough to elude the intoxicating clutch have found refuge under a different regime. Pilgrims have flocked together from all corners of the land in search of a new Formosa, Exodus dawns.”

  6. Kenzo-doty-list

    As with every year, the sprawling, disparate, all-over-the-shop nature of the Design Museum’s Designs of the Year show is both the brilliant thing about it and the thing that makes it so utterly disorienting. Having an Escher-inspired mobile game (Monument Valley) share space with the Google self-driving car and a sanitation system for remote, off-grid areas (Eawag’s Blue Diversion unit) makes even the least design-oriented visitor surely question the nature of what “design” itself means. Should it look beautiful? Should it make our day easier? Should it help the planet? Should it save lives?

  7. Hw-rocksteadycrew-2-int_copy

    A typeface without a name or a known designer is the subject of a new exhibition that chronicles its use in the 70s and 80s throughout a variety of subcultures. Heated Words: Initial Research is a show curated by Rory McCartney and Charlie Morgan, examining this typeface – one that existed only as physical iron-on flock lettering, and was appropriated by New York street gangs and b-boys, as well as band like The Clash and Big Audio Dynamite.

  8. Va-alexander-mcqueen-int-list

    This week saw the opening of the V&A’s much-lauded exhibition of Alexander McQueen’s life’s work, Savage Beauty, a show which attempts to paint McQueen in all of the forms he appeared throughout his career. The experience is almost overwhelming in its presentation of the designer as a visionary, and I left the press view with lists of adjectives covering every available inch of paper I could reach: perverse, sexual, primitive, distorted, gothic, mourning, melancholy. None of them quite seemed to cover it.

    Senior research assistant Kate Bethune worked on the exhibition for around 18 months in the lead up to its opening. “It’s been an absolutely privilege to work on,” she explained to us in a busy corner at the press view yesterday, as the show exhibited in a similar form at New York’s Metropolitan Museum of Art several years back, there’s a sense that Savage Beauty has now come home. “London was the heart of McQueen’s world,” Kate continued. “He was born here, he was raised in the East End, he attended Central Saint Martins, trained at Savile Row as a tailor and established his fashion label here. It really meant everything to him.”

  9. David-james-uma-thurman-int-list

    Lucien Freud, Kate Moss, Joaquin Phoenix…it reads like that list of dream dinner party guests you have to reel out in awkward “getting to know you" games. But it’s more than that: this all-star list is just a sliver of the cast that creative director David James has worked with over the years. David has been creative director at AnOther Magazine for the past decade, creating iconic images with photographers including Craig McDean, Willy Vanderperre and Nick Knight. If you missed out on getting the mags IRL, don’t fret: today sees the launch of Everything that Matters – an online retrospective of David’s editorial work. It makes for a lovely little scroll, even if it does make us feel pretty old to think that the time that’s passed since 2005 is retrospective-worthy.

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    If ever you needed a reminder of the occasionally ludicrous caricatures that have made up British politics, a new show of images of the Spitting Image puppets will be in London just before the election in May.

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    The new exhibition at London’s V&A Museum, Staying Power: Photographs of Black British Experience 1950s -1960s came as the result of a conscious decision by the organisation to broaden and enrich its collection, curator Marta Weiss explained at the opening yesterday. “Over the last seven years the V&A has been working with Black Cultural Archives to acquire photographs either by black photographers or which document the lives of black people in Britain,” Marta says, “a previously under-represented area in the V&A’s photographs collection.”

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    I’ve always been quite partial to bric-a-brac, but it’s never been more compelling to me than while I was wandering around the Barbican’s new exhibition Magnificent Obsessions: The Artist as Collector yesterday. The show is effectively a paean to the idea that you are the stuff you keep, and as such it’s a hoarder’s dream.

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    Designs that transcend time, the fripperies of fashion and taste and the brand they’re attached to are ones that ensure their place in the canon; and one man who created such work is Paul Rand.