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Yesterday, Sara and I went to the Contemporary Jewish Museum in SF to see the “Art of Magic” honoring Harry Houdini. I recently got interested in Houdini from the most random trigger — I’m addicted to this show called Pawn Stars, which takes place in a Vegas pawn shop. One time, a guy brought in original handcuffs and a straightjacket used by Houdini, and it was fascinating to hear about all the history and nostalgia of the pieces. Of course, I could’ve gotten all of this information by scouring Wikipedia, but it the exhibit highlighted an interesting theme — Houdini’s masterful command of new mediums to exploit his audience’s fear of death and yearning for liberation.

The thread through all of his tricks seemed rooted in this juxtaposition. I particularly loved learning how and why he did some tricks that became signatures. He rose to fame as the “Handcuff King,” but he randomly apprenticed with a locksmith as a young boy to help his family with their finances. He dipped himself headfirst into a water cell while handcuffed, invoking a fear of drowning — seemed like waterboarding. He visited a psych ward and saw a few patients violently trying to get out of their straightjackets, and after practicing for nearly 10 years, finally unveiled his trick, usually in public squares, hanging upside down by his feed above the crowds, freeing himself and outstretching his hands to make an upside crucifix.

I still don’t really know why Houdini is so interesting to me. The pictures of the crowd that gathered to see him perform are truly incredible. He captivated his audience and was so precise with his stunts, he had very deep insights into a part of the human psyche. For an hour or so and $12 admission, the exhibit is well worth it, runs until January 16, though.