Letter of the Day: July 25

Nunda, N.Y. July 25 /85
Hon. Geo A Otis
Asst Surgeon USA

My dear Sir

Please send me four sep slips of the printed history of my wound. I refer to Nos. 167, 168, 169, 170 + 186 – my photographs in your Department. You promised me them.

Very Respectfully Your Obedient Servant,
Rowland Ward
Nunda N.Y.

Here's the photographs and printed history that Ward referred to:









ROWLAND WARD 12 YEARS AFTER HIS INJURY. (CP 1150)

Surgical Photos
SP #
167-170, 186

Title (Caption)
CASE OF CHEILOPLASTY.

Name
WARD, ROLAND

Rank
PVT

Company
E

Regiment
4

State
NY

MOS
HEAVY ARTILLERY

Doctor
McKEE, J.C.

Battle
REAM'S STATION

Additional Photos In Series
SP 167-170; CP 1145-50

Comments
CP 1145 SAYS THE BATTLE WAS WELDON RAILROAD.

MSHWR
SURG I, P. 373.

Date of Injury
25 AUG 1864

"Face cases"

I just posted some facial wound/reconstruction pictures on Flickr, a small part of a pretty extensive series. For me, this ties in very nicely with the Otken Collection that I've been working on for a while. Captain Otken, as I've written before, was a World War 1 American Expeditionary Forces surgeon in France. He wrote often to his family about his "face cases," in particular one boy who was pretty shot up but through a series of surgeries Captain Otken kept him from being too disfigured. I'm sure that he saw the kinds of wounds that I just put up.

Plastic surgery exhibit in NYC

This rolled in over the e-transom today. I'm not sure yet how I feel about it the idea, but I think it would be an interesting show. - Mike

EXHIBITION OPENING

I am Art - An Expression of the Visual & Artistic Process of Plastic Surgery
Curated by Dr. Anthony Berlet

March 28 - May 9, 2009

Opening reception:
Saturday, March 28, 6-8pm

Presenting work by Anthony Berlet, M.D., Antonino Cassisi, M.D., Michael Cohen, M.D., Scott Spiro, M.D.

Leon Dufourmentel, a pioneer in plastic surgery, said in 1948, “...If I went to Picasso for my portrait, he would probably make me a monster and I should be pleased because it would be worth a million francs. But if Picasso came to me with a facial injury and I made him into a monster, aha, he might not be so pleased.”

This quotation expresses our view, which we hope to share with you in this exhibition, that plastic surgery is a most challenging art form—perhaps the most challenging art form, for our materials are not canvas or clay. Yes, we embrace the great obsession of artists throughout the ages: the human body. But our material is the human body.

We are asked, on a daily basis, to do the impossible, to make the real ideal, to bridge the gap between reality and fantasy. Plastic surgery is the constant struggle between beauty and blood supply

There is art in everything we do. The initial evaluation requires a keen eye. The surgery plan requires artful preparation. The execution can best be described as a well-choreographed ballet of many different steps. Through this dance of medicine and art, science and aspiration, we seek an outcome as beautiful as any painting or sculpture. Every day, we strive to outdo Pygmalion.

Is perfection possible? We know it is not, and yet, that is our calling. We work with terrible constraints, not the least of which is the subjective nature of art itself. Nowhere are human feelings more various and more complex than in perceptions of the body and of the self. We are, all of us, acutely aware of how others see us.

Our field is sometimes associated with excess. We hope to convince you otherwise. For each individual committed to our charge, the stakes could not be higher. In this exhibition, we intend to convey the great care with which we diagnose, counsel, prepare, execute and maintain our artistic creation, with vision, clarity, passion, ingenuity, compassion and, yes, art.

This exhibition will show the many ways in which we express ourselves as artists, borrowing and shaping perceptions. Take a moment to step into the experience of others, whose lives have been transformed at our hands, we trust for the better.

We hope you will come away from our exhibition with a fuller sense of our aesthetic, reconstructive and post-traumatic disciplines. In the gallery space, we want to give you a glimpse into our world, which is never our world alone. Ours is truly the most intimate, the most personal of arts. When we are finished, the product of our labors can turn to us and say, "I am art." That, at least, is what we strive for.

Please join us.
All events are free and open to the public.

apexart
291 Church Street, NYC, 10013
t. 212 431 5270
www.apexart.org

Directions: A, C, E, N, R, W, Q, J, M, Z, 6 to Canal or 1 to Franklin.

apexart's exhibitions and public programs are supported in part by the Andy Warhol Foundation for the Visual Arts, Carnegie Corporation of New York, Edith C. Blum Foundation, Mary Duke Biddle Foundation, The Greenwich Collection Ltd., The William Talbott Hillman Foundation, and with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts.

New exhibit

The Historical Collections guys and the exhibit guy finished putting together an exhibit yesterday and I went over and shot some of the process as well as the finished product. Because I know for a fact, yes a fact, that not one of them will write about it, I'm doing it because I'm so responsible. And because I love behind-the-scenes stuff and assume you do too.

The exhibit is contained in one wall-mounted cabinet and is called Facial Reconstruction. We have really cool and interesting plaster models and they're what make up the bulk of the cabinet. Here are four on them on a cart, waiting to go into the cabinet. They're various stages of one person's reconstruction.















Here are two of the three guys working on the cabinet.













They used the line of the bottom row of models (the ones shown on a cart above) to mark a line for the next row up. Here's that bottom row being hung.














Here's the exhibits guy using a spiffy, bendy thing on the drill to make a hole for the next row up.




















A test fit on the second row.




















Here's a close-up of them on a cart.















The models are all safely tucked away again and the labels are installed.























Here are a couple different models, both from World War 1. The first one shows a nasal splint after the surgeon rebuilt his nose from a flap of skin from his forehead. Note the scar.























This one shows an appliance used to keep his fractured upper jaw aligned correctly within his face.

























This is a more contemporary model. This man sustained a severe head injury and a portion of his skull was removed to allow his swollen brain to expand. A CT scan of his head allowed the doctors to create a resin model of his skull and then make a cranial plate based on a mirror image of the undamaged side of his skull. This view shows a portion of the skull removed. It's art, isn't it?
















And finally, the finished exhibit. Ta-Da!!

More discoveries

I found this series when doing research for someone the other day.

The initial photo of Albert Bauer, a soldier wounded in World War 1:



















The first medical illustration demonstrating the surgical procedure used to correct it:




















And the continuation of the procedure:







I haven't come across the final picture but hope I do. I'd really like to see the finished reconstruction.

"The new and excellent method of skin grafting"

In this 1872 letter from George Otis to a soldier's lawyer that I found today, the Museum curator (and surgeon) recommends "the new and excellent method of skin grafting" if other methods of closing an ulcer fail. Otis goes on to note that he can't help with the man's pension, "and take only a scientific, and I trust humane interest in his case..."

George Otis was a good man, I think.