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DTSTART;TZID=America/New_York:20211110T120000
DTEND;TZID=America/New_York:20211110T130000
DTSTAMP:20260403T185115
CREATED:20211007T022336Z
LAST-MODIFIED:20220826T091446Z
UID:5894-1636545600-1636549200@fritzaschersociety.org
SUMMARY:The Cartoon Crusader Comes to America: Arthur Szyk’s Battle against the Nazis in the New World Featuring Steven Luckert and Irvin Ungar
DESCRIPTION:Prior to World War II\, Polish-born Arthur Szyk (Lodz 1894 – 1951 New Canaan\, CT) was best known for his ornately detailed renderings of historical subjects and Jewish themes. But after the German invasion of Poland in September 1939\, he gained the accolades of international audiences for his biting caricatures of Nazi leaders and his efforts to garner support for the Allied cause and Europe’s persecuted Jews. In 1940\, Szyk took his mighty pen to the United States\, where he quickly became a popular artistic sensation. His images graced the covers and inside pages of leading magazines\, like Time\, Colliers\, Esquire\, Look\, The American Mercury\, Coronet\, and Liberty. Szyk’s cartoons regularly appeared in The New York Post\, The Chicago Sun\, and PM. Millions of Americans knew his work\, even if they could not pronounce his name.\n\n\n\n\n\n\n\n\nImage above: Arthur Szyk\, Thumbs Up\, Ottawa\, 1940. Graphite\, watercolor\, colored pencil\, ink on paper\, 6.7 x 12.4 in. (17 x 31.5 cm).United States Holocaust Memorial Museum Collection\, Gift of Joseph and Alexandra Braciejowski\n\n\n\n\n\n\n\n\n\nFeaturing\nSteven Luckert\, PhD\, Senior Program Curator\, Levine Institute for Holocaust Education 
at the United States Holocaust Memorial Museum\, Washington DC and\nIrvin Ungar\, Arthur Szyk scholar\nModerated by\nOri Z Soltes\, PhD\, Teaching Professor at Georgetown University\, Washington DC \n\n\n\n\n\nArthur Szyk\, cover illustration for his book\, Ink and Blood\, New York\, 1944\,  paper\, ink\, paint\, graphite\, and colored pencil\, United States Holocaust Memorial Museum Collection\, Gift of Joseph and Alexandra Braciejowski. Completed before the end of the Second World War\, the image shows Szyk finishing off Hitler while the others wait their turn. To the side\, Szyk shows the French Vichy leaders\, Pierre Laval and Marshal Philippe Petain\, and Italian Fascist leader\, Benito Mussolini\, already in the waste bin of history. \n\n\n\n\n\nSteven Luckert PhD is Senior Program Curator in the Levine Institute for Holocaust Education at the United States Holocaust Memorial Museum in Washington\, DC. He served for 20 years as the Curator of the Museum’s acclaimed permanent exhibition\, The Holocaust. In addition\, he curated eight special exhibitions\, including The Art and Politics of Arthur Szyk and State of Deception: The Power of Nazi Propaganda. He has appeared in: CSPAN\, CNN\, NBC Nightly News\, Associated Press\, Reuters International\, History Detectives\, The History Channel\, Huffington Post\, ZDF\, PBS\, Fox\, The Washington Post\, The New York Times\, The Wall Street Journal\, National Geographic Channel\, National Public Radio\, Telemundo\, Iranwire\, Al-Hura\, The Atlantic\, The Forward\, Boston Globe\, Cox News Service\, USA Today\, Jewish Telegraphic Agency\, and Tass. Steven Luckert received his Ph.D. in Modern European History from the State University of New York Binghamton and published on German history\, Holocaust\, and Nazi propaganda. \nIrvin Ungar\, a former pulpit rabbi and antiquarian bookseller\, has devoted the past quarter-century to scholarship on Arthur Szyk. He has curated and consulted for numerous Szyk exhibitions\, including the Fine Arts Museums of San Francisco\, the Deutsches Historisches Museum (Berlin)\, the United States Holocaust Memorial Museum\, the Library of Congress\, and the New-York Historical Society. Ungar is the author of Arthur Szyk: Soldier in Art (winner of the 2017 National Jewish Book Award)\, co-producer of the documentary film\, “Soldier in Art: Arthur Szyk\,” and the creator and publisher of the luxury limited edition of The Szyk Haggadah. He has also served as the curator of The Arthur Szyk Society in Burlingame\, California. \nOri Z Soltes PhD teaches at Georgetown University across the disciplines of theology\, art history\, philosophy and politics. He is the former Director and Curator of the B’nai B’rith Klutznick National Jewish Museum where he curated some 80 exhibitions. He is the author of several hundred articles and catalogue essays\, and the author or editor of 25 books\, including The Ashen Rainbow: The Holocaust and the Arts; Symbols of Faith: How Jewish\, Christian\, and Muslim Art Draw from the Same Source; and Tradition and Transformation: Three Millennia of Jewish Art and Architecture and Immortality\, Memory\, Creativity\, and Survival: The Arts of Alice Lok Cahana\, Ronnie Cahana and Kitra Cahana (FAS 2020) \n\n\n\n\n\nArthur Szyk signing the first sheet of British-American Ambulance Corps poster stamps for Eleanor Roosevelt\, New York\, February 19\, 1941\, United States Holocaust Memorial Museum\, courtesy of Eileen Shneiderman \n\n\n\n\n\nThis is an event of our online project “Identity\, Art and Migration” in which we investigate US immigration of European refugees during the first half of the 20th century through the lens of seven artist case studies: Anni Albers\, Friedel Dzubas\, Eva Hesse\, Rudi Lesser\, Lily Renee\, Arthur Szyk and Fritz Ascher. \nWhat is it that defines human identity? DNA? Language? Culture? Landscape? Polity? Or is it a combination of all of these factors? How do the sources of identity make it easy or difficult for individuals who migrate from one location to another—by choice or under duress—not merely to adapt but to become fully comfortable within their new home? How do artists\, with their particular set of sensibilities—and who are purveyors of\, respondents to\, and shapers of culture—respond to their own migration? How do they transfer the diverse identity norms of the worlds they leave behind to the new worlds into which they arrive? Can they translate from one language of images to another?  \nEach one of the seven artists featured in this project was affected in different ways by Nazi policies and came as a refugee to the United States\, to remain or not to remain here—or hiding within Germany throughout the war. The life and work of each of these artists addresses the issue of identity and the particulars of its expression from slightly different angles. As a compendium\, they all serve as an intensified and emphatic articulation of the broader issues of relocation\, transformation and the psychological and cultural self as a centerpiece of human being. \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\n\n\n\n\n“IDENTITY\, ART AND MIGRATION” ONLINE EXHIBITIONDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/arthur-szyk-2/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2021/10/Szyk_Fig_1940.-Ottawa.-Greeting-the-Luftwaffe-copy.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211103T120000
DTEND;TZID=America/New_York:20211103T130000
DTSTAMP:20260403T185115
CREATED:20211015T021307Z
LAST-MODIFIED:20220826T091758Z
UID:5941-1635940800-1635944400@fritzaschersociety.org
SUMMARY:From Sea to Shining Sea: Anni Albers in America (1899–1994)Featuring Laura Muir and Ori Z. Soltes\, PhD
DESCRIPTION:Anni Albers (Berlin 1899 – 1994 Orange\, CT) found her artistic identity at the renowned Bauhaus–but not where she expected to. The gender-restrictive conditions at the school pushed her to textile work. As the Nazis forced the Bauhaus closure\, Anni and her already well-known husband\, Joseph Albers\, immigrated to the United States\, where Joseph and later Anni were invited to teach at Black Mountain College in North Carolina. From there to New York and Yale University\, while her husband gained renown as a teacher and practitioner of painting\, Anni expanded her presence as an innovator in diverse textile media and styles\, shaping a far-flung\, influential career that resonates to this day. \n\n\n\n\n\n\n\n\n\n\n\nThe United States presented Albers with new opportunities to develop as a designer of both functional and purely artistic textiles. She inspired a new generation of students through her teaching and produced an important body of writing on weaving that was informed by her extensive travels to Central and Latin America. Her efforts in all these areas elevated the status of weaving as an art form and her reputation as a major artist within that field. In addition to opening professional doors\, Albers migration allowed her to play a key role in promoting the Bauhaus and its ideas in the United States through her participation in exhibitions and generous donations to American museum collections. \n\n\n\n\n\n\n\n\n\nImage above: Anni Albers\, Black-White-Gold I\, 1950.  Cotton\, lurex\, and jute; 25 1/8 x 19 in. (63.8 x 48.3 cm) The Josef and Anni Albers Foundation\, Bethany 1996.12.1 © 2021 The Josef and Anni Albers Foundation/Artists Rights Society (ARS)\, New York. Photo: Tim Nighswander/Imaging4Art\n\n\n\n\n\n\n\n\n\nFeaturing Laura Muir\, Associate Director of Academic and Public Programs and the Louis Miller Thayer Research Curator at the Harvard Art Museums in Cambridge MA and Ori Z Soltes\, PhD\, Teaching Professor at Georgetown University\, Washington DC. Moderated by Rachel Stern\, Director and CEO of the Fritz Ascher Society\, New York NY \n\n\n\n\n\nAnni Albers\, Study for Temple Emanu-El Ark Panels\, 1957. Foil and metallic thread on card\, 17 x 14 1/2 in. (43.2 x 36.8 cm). The Josef and Anni Albers Foundation\, Bethany 1994.10.95 © 2021 The Josef and Anni Albers Foundation/Artists Rights Society (ARS)\, New York Photo: Tim Nighswander/Imaging4Art\nInterior of the Temple Emanu-El\, Dallas\, Texas\, showing ark covering designed by Anni Albers\, 1957 \n\n\n\n\n\nLaura Muir is Associate Director of Academic and Public Programs and the Louis Miller Thayer Research Curator at the Harvard Art Museums. She specializes in European modern art and the history of photography. Her exhibition and publication Lyonel Feininger: Photographs\, 1928–1939 was the first devoted to the artist’s photographic work. Her recent exhibition The Bauhaus and Harvard explored the Harvard Art Museums’ extensive Bauhaus collections. She is the editor of the related publication Object Lessons: The Bauhaus and Harvard. \nOri Z Soltes PhD teaches at Georgetown University across the disciplines of theology\, art history\, philosophy and politics. He is the former Director and Curator of the B’nai B’rith Klutznick National Jewish Museum where he curated some 80 exhibitions. He is the author of several hundred articles and catalogue essays\, and the author or editor of 25 books\, including The Ashen Rainbow: The Holocaust and the Arts; Symbols of Faith: How Jewish\, Christian\, and Muslim Art Draw from the Same Source; and Tradition and Transformation: Three Millennia of Jewish Art and Architecture and Immortality\, Memory\, Creativity\, and Survival: The Arts of Alice Lok Cahana\, Ronnie Cahana and Kitra Cahana (FAS 2020) \nRachel Stern is the Founding Director and CEO of The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art in New York. Born and educated in Germany\, she worked for ten years in the Department of Drawings and Prints at the Metropolitan Museum of Art in New York (2000-2010). Stern is a 2018 recipient of the Hans and Lea Grundig Prize\, in recognition of the exhibition and book The Expressionist Fritz Ascher (Cologne: Wienand 2016). In 2020\, she published a selection of poems by Fritz Ascher\, Fritz Ascher. Poesiealbum 357 (Wilhelmshorst: Märkischer Verlag) and edited\, with Julia Diekmann\, the exhibition catalogue The Lonely Man. Clowns in the Art of Fritz Ascher (1893-1970) / Der Vereinsamte. Clowns in der Kunst Fritz Aschers (1893-1970) (Holzminden: Verlag Jörg Mitzkat). \n\n\n\n\n\n\n\n\n\n\nThis is an event of our online project “Identity\, Art and Migration” in which we investigate US immigration of European refugees during the first half of the 20th century through the lens of seven artist case studies: Anni Albers\, Friedel Dzubas\, Eva Hesse\, Rudi Lesser\, Lily Renee\, Arthur Szyk and Fritz Ascher. \nWhat is it that defines human identity? DNA? Language? Culture? Landscape? Polity? Or is it a combination of all of these factors? How do the sources of identity make it easy or difficult for individuals who migrate from one location to another—by choice or under duress—not merely to adapt but to become fully comfortable within their new home? How do artists\, with their particular set of sensibilities—and who are purveyors of\, respondents to\, and shapers of culture—respond to their own migration? How do they transfer the diverse identity norms of the worlds they leave behind to the new worlds into which they arrive? Can they translate from one language of images to another?  \nEach one of the seven artists featured in this project was affected in different ways by Nazi policies and came as a refugee to the United States\, to remain or not to remain here—or hiding within Germany throughout the war. The life and work of each of these artists addresses the issue of identity and the particulars of its expression from slightly different angles. As a compendium\, they all serve as an intensified and emphatic articulation of the broader issues of relocation\, transformation and the psychological and cultural self as a centerpiece of human being. \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\n\n\n\n\n"IDENTITY\, ART AND MIGRATION" ONLINE EXHIBITIONDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/anni-albers/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2021/10/Albers_Fig8_1996-12-1_silo-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211027T120000
DTEND;TZID=America/New_York:20211027T130000
DTSTAMP:20260403T185115
CREATED:20211008T191906Z
LAST-MODIFIED:20220826T092000Z
UID:5940-1635336000-1635339600@fritzaschersociety.org
SUMMARY:Remembering Friedel:  An Intimate View of Friedel Dzubas (1915-1994) Featuring Karen Wilkin and Sandi Slone
DESCRIPTION:In a prolific career that spanned nearly five decades\, Friedel Dzubas (b. Berlin\, 1915–d. 1994\, Newton\, Mass.) articulated his mature style by the 1970s\, creating a striking visual language from counterpoised abstract shapes of brushed color that he juxtaposed\, overlapped\, and opened to reveal his gessoed grounds. Yet\, in prior years\, Dzubas’s early work in Berlin were influenced by Expressionist artist of the two primary groups known as Die Brücke and Die Blaue Reiter. As Dzubas told curator Charles Millard in 1982\, “Their unheard-of brashness of color; that was really brave. That was very exciting. Color’s an emotional thing. These people not only spoke directly; they felt deeply. There was passion.” His early pen and ink watercolors embed the bold coloration of these artists\, and once in America (1939)\, their influence carried over into the striking colors of his works of gestural abstraction in the 1950s. Considered a Second-Generation Abstract Expressionist by the time he visited his family in Berlin in 1959\, twenty years after his initial immigration\, he underwent a transformative change during his ten-month sojourn in Germany. His conflicted feelings about his mixed Jewish-Catholic background could be felt in the paintings devoid of coloration that he began there. A series of twenty-one black and grey oil “drawings” of allover linearity with titles such as Other Side\, Monk\, Temptation\, Cavalry\, Last Station\, and Vesper\, some in tondo format and others in large-scale vertical rectangles\, speak to the effect on him of a spiritual crisis even as he justified these works as responses to his abiding love of the Baroque churches he revisited while there. This split in identity was never resolved: his Jewishness\, though never far from his mind\, was never spoken of during his lifetime in America. \nImage: Friedel Dzubas\, Self-Portrait\, 1961. Oil on canvas\, 43 ¾ x 54 in. (111.12 x 137.1 cm). Friedel Dzubas Estate\, Inventory no. 055 Photography by Jason Mandella. ©Estate of Friedel Dzubas \n\n\n\n\n\n\n\n\n\n\nThe painter Sandi Slone and the curator/critic Karen Wilkin both knew the German-born abstract painter Friedel Dzubas (1915-1994)\, professionally and personally\, and frequented his studio during his years in Boston\, where he taught and made some of his most characteristic work. They share their recollections of the artist and his work. Moderated by Rachel Stern\, Director and CEO of the Fritz Ascher Society in New York \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nFriedel Dzubas\, Early Grave\, 1957. Oil on canvas\, 94 7⁄8 x 47 in. (241 x 120 cm). Collection of the Middlebury College Museum of Art\, Middlebury\, Vermont  © Estate of Friedel Dzubas \nFriedel Dzubas\, Cleavage\, 1990. Magna (acrylic) on canvas\, 1013⁄16 x 4311⁄16 in. (257 x 110.9 cm). Private Collection © Estate of Friedel Dzubas \n\n\n\n\n\nKaren Wilkin is a New York-based curator and critic. Educated at Barnard College and Columbia University\, she is the author of monographs on Stuart Davis\, David Smith\, Anthony Caro\, Isaac Witkin\, Kenneth Noland\, Helen Frankenthaler\, Giorgio Morandi\, Georges Braque\, and Hans Hofmann\, and has organized exhibitions of their work internationally. She was a juror for the American Pavilion of the 2009 Venice Biennale and a contributing editor of the Stuart Davis and Hans Hofmann Paintings Catalogues Raisonné. The Contributing Editor for Art for the Hudson Review and a regular contributor to The New Criterion and the Wall Street Journal\, Ms. Wilkin teaches in the New York Studio School’s MFA program. \nSandi Slone is a New York-based painter\, educated at The Boston Museum School/Tufts University and Wellesley College. Her paintings have been exhibited extensively with 42 solo and 130 group shows internationally; many of her works are held in distinguished Museum and private collections including the Museum of Modern Art\, NY. She has taught at Harvard University\, Brandeis University and the School Of visual Arts\, NY\, among other institutions. Sandi Slone is a co founder of Art Omi International and founding board member of The Fields Sculpture Park in Ghent \, NY. Among other honors she has received a Ford Foundation fellowship. \n\n\n\n\n\n\nFriedel Dzubas harrowing a field with a team of horses\, a privilege reserved for the Praktikanten (training assistants) at Gross Breesen\, Silesia\, Germany\, ca. 1937-38. Image courtesy of Heidi Landecker. Photo restoration by Morgan Dzubas. ©Estate of Friedel Dzubas \n\nThis is an event of our online project “Identity\, Art and Migration” in which we investigate US immigration of European refugees during the first half of the 20th century through the lens of seven artist case studies: Anni Albers\, Friedel Dzubas\, Eva Hesse\, Rudi Lesser\, Lily Renee\, Arthur Szyk and Fritz Ascher. \nWhat is it that defines human identity? DNA? Language? Culture? Landscape? Polity? Or is it a combination of all of these factors? How do the sources of identity make it easy or difficult for individuals who migrate from one location to another—by choice or under duress—not merely to adapt but to become fully comfortable within their new home? How do artists\, with their particular set of sensibilities—and who are purveyors of\, respondents to\, and shapers of culture—respond to their own migration? How do they transfer the diverse identity norms of the worlds they leave behind to the new worlds into which they arrive? Can they translate from one language of images to another?  \nEach one of the seven artists featured in this project was affected in different ways by Nazi policies and came as a refugee to the United States\, to remain or not to remain here—or hiding within Germany throughout the war. The life and work of each of these artists addresses the issue of identity and the particulars of its expression from slightly different angles. As a compendium\, they all serve as an intensified and emphatic articulation of the broader issues of relocation\, transformation and the psychological and cultural self as a centerpiece of human being. \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n“IDENTITY\, ART AND MIGRATION” ONLINE EXHIBITIONDONATE NOW
URL:https://fritzaschersociety.org/exhibition-event/friedel-dzubas/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2021/10/Self-Portrait-1961_Photographer-Jason-Mandella-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211020T120000
DTEND;TZID=America/New_York:20211020T130000
DTSTAMP:20260403T185115
CREATED:20211007T004726Z
LAST-MODIFIED:20220826T092817Z
UID:5875-1634731200-1634734800@fritzaschersociety.org
SUMMARY:Rudi Lesser (1902–1988):The Forgotten and Rediscovered ArtistFeaturing Lillie Johnson Edwards\, PhD and Ori Z. Soltes\, PhD
DESCRIPTION:Rudi Lesser\, a graphic artist already gaining significant recognition in his twenties in Germany\, survived the Holocaust in Scandinavia. Interestingly\, he immigrated to the US just after the war\, in 1946\, and although achieving success in New York–and as the founder of the graphic arts department at Howard University in Washington\, DC–never felt at home here. He returned to a different Germany\, in 1957\, where he lived in relative poverty and obscurity–but apparent contentment–for the remaining thirty years of his long life.\n\n\n\n\n\n\n\n\n\n\nLesser was one of over 10 Jewish refugee professors at Howard University and among the more than 60 at Black colleges\, primarily in the South. Like other Jewish and white progressives and liberals of his era\, he was a member of the NAACP (National Association for the Advancement of Colored People). \n\n\n\n\n\n\n\n\n\nImage above: Detail of Rudi Lesser\, Self-Portrait\, 1987. Drypoint etching; 5¾  x 4½ in. Private Collection\, Berlin © Volkmar Reichmann\n\n\n\n\n\n\n\n\n\nFeaturing Lillie Johnson Edwards\, PhD\, Professor Emerita of History and African American studies at Drew University in Madison\, NJ in conversation with Ori Z Soltes\, PhD\, Teaching Professor at Georgetown University\, Washington DC. Moderated by Rachel Stern\, Director and CEO of the Fritz Ascher Society\, New York NY \n\n\n\n\n\nRudi Lesser\, Pogrom in the Middle Ages\, 1930. Drypoint etching\, 6 x 7 in. (15 x 17.4 cm). Leo Baeck Institute New York 78.381 © Volkmar Reichmann \nRudi Lesser\, Portinho\, 1986. Drypoint etching; 11½ x 19 ½ in. (29.7 x 49.6 cm). Private Collection Berlin © Volkmar Reichmann \n\n\n\n\n\nDr. Lillie Johnson Edwards is Professor Emerita of History and African American studies at Drew University in Madison\, NJ where she served as the Director of Pan-African Studies and American Studies and received awards for distinguished teaching. She is a Phi Beta Kappa graduate of Oberlin College and received her doctorate from the University of Chicago. Dr. Edwards lectures and consults for K-12 schools\, libraries\, historical societies\, museums\, and faith-based organizations. She has been a guest lecturer for the National Jewish Museum\, Apple\, the League of Women Voters\, and the Montclair Adult School. She currently serves on the Oberlin College Board of Trustees; chairs the church council of St. Mark’s United Methodist Church\, Montclair\, NJ; and serves on the Board of Ordained Ministries of the New Jersey Conference of the United Methodist Church. Dr. Edwards is a native of Columbus\, Georgia. She and her husband\, Paul B. Edwards\, reside in FL and NJ and have two adult children. \nDr. Ori Z Soltes teaches at Georgetown University across the disciplines of theology\, art history\, philosophy and politics. He is the former Director and Curator of the B’nai B’rith Klutznick National Jewish Museum where he curated some 80 exhibitions. He is the author of several hundred articles and catalogue essays\, and the author or editor of 25 books\, including The Ashen Rainbow: The Holocaust and the Arts; Symbols of Faith: How Jewish\, Christian\, and Muslim Art Draw from the Same Source; and Tradition and Transformation: Three Millennia of Jewish Art and Architecture and Immortality\, Memory\, Creativity\, and Survival: The Arts of Alice Lok Cahana\, Ronnie Cahana and Kitra Cahana (FAS 2020) \n\n\n\n\n\nRudi Lesser\, Photograph c. 1986. Photographer Alf Trenk. Private Collection. \n\n\n\n\n\nThis is an event of our online project “Identity\, Art and Migration” in which we investigate US immigration of European refugees during the first half of the 20th century through the lens of seven artist case studies: Anni Albers\, Friedel Dzubas\, Eva Hesse\, Rudi Lesser\, Lily Renee\, Arthur Szyk and Fritz Ascher. \nWhat is it that defines human identity? DNA? Language? Culture? Landscape? Polity? Or is it a combination of all of these factors? How do the sources of identity make it easy or difficult for individuals who migrate from one location to another—by choice or under duress—not merely to adapt but to become fully comfortable within their new home? How do artists\, with their particular set of sensibilities—and who are purveyors of\, respondents to\, and shapers of culture—respond to their own migration? How do they transfer the diverse identity norms of the worlds they leave behind to the new worlds into which they arrive? Can they translate from one language of images to another?  \nEach one of the seven artists featured in this project was affected in different ways by Nazi policies and came as a refugee to the United States\, to remain or not to remain here—or hiding within Germany throughout the war. The life and work of each of these artists addresses the issue of identity and the particulars of its expression from slightly different angles. As a compendium\, they all serve as an intensified and emphatic articulation of the broader issues of relocation\, transformation and the psychological and cultural self as a centerpiece of human being. \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\n\n\n\n\n“IDENTITY\, ART AND MIGRATION” ONLINE EXHIBITIONDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/rudi-lesser/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2021/10/Lesser_Fig6_Self-Portrait.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211013T120000
DTEND;TZID=America/New_York:20211013T130000
DTSTAMP:20260403T185115
CREATED:20211006T192005Z
LAST-MODIFIED:20220826T093027Z
UID:5826-1634126400-1634130000@fritzaschersociety.org
SUMMARY:Eva Hesse (1936–1970): Returning to the Source?Featuring Eva's sister Helen Charash and Ori Z. Soltes\, PhD
DESCRIPTION:Eva Hesse arrived to the United States as a 3-year-old\, was raised in a community largely of Holocaust survivors\, and by her Twenties was a rising star on the New York art scene\, contributing a unique voice to the shaping of post-Abstract Expressionist art. A key turning point in her innovative art was a return visit to Germany on an artist fellowship. How do we understand the work of this brilliant figure whose life suddenly ended\, from brain cancer\, at the age of 34?\n\n\n\n\n\n\n\n\n\n\nShe was born into an observant Jewish family in Hamburg\, in a Germany being devoured by the Nazis. She and her older sister Helen were sent to the Netherlands in 1938—when she was not even three years old—through the Kindertransport program\, but they were able to rejoin their parents not quite six months later. The family moved on to England and was able to immigrate to the United States by 1939\, settling in Manhattan’s Washington Heights. This was an area of the city to which many Jewish refugees from Germany arrived during the years that followed.\n\n\n\n\n\n\n\n\n\n\nImage above: Detail of Eva Hesse\, Repetition 19\, III\, 1968. Fiberglass and polyester resin\, nineteen units\, each 19 to 20 1/4″ (48 to 51 cm) x 11 to 12 3/4″ (27.8 to 32.2 cm) in diameter. Museum of Modern Art 1004.1969.a-s. Gift of Charles and Anita Blatt © 2021 Estate of Eva Hesse. Galerie Hauser & Wirth\, Zurich\n\n\n\n\n\nJoin us for a conversation about Eva Hesse’s art and familial background\, featuring Eva Hesse’s sister Helen Charash and Dr. Ori Z Soltes\, Teaching Professor at Georgetown University in Washington DC\, moderated by Rachel Stern\, Director and CEO of the Fritz Ascher Society in New York. \nEva Hesse\, Schema\, 1967. Latex\, 42 x 42 inches (106.7 x 106.7 cm) Each (144 individual pieces): 1 3/8 x 2 1/2 inches (3.5 x 6.4 cm). Philadelphia Museum of Art 1979-185-1. Gift of Helen Hesse Charash\, 19. © The Estate of Eva Hesse. Courtesy Hauser & Wirth \n\n\n\n\n\nBorn in Hamburg\, Helen and her younger sister Eva were put on a Kindertransport to Holland as soon as possible after Kristallnacht.  In 1939 the Hesse family\, now reunited \, were able to immigrate to America and settled in Washington Heights.  Helen went on to graduate with honors\, from Hunter College\, marry\, and have 2 children before going back to earn a Masters’ degree in Library Science.\nAfter her sister’s untimely death in 1970\, while still working full time in the school system\, Helen took on managing her sister’s estate and immersed herself in navigating the art world. She was mentored and guided by Donald Droll and later Barry Rosen. Together\, with Barry\, they guided the representation of the artist to important galleries\, initially Fourcade Droll\, then Droll Kolbert and later Robert Miller. Hesse is currently a part of the Hauser Wirth family.\nIn addition to giving press and television interviews about her sister’s work\, Helen was also a part of the Eva Hesse documentary movie.  Her passionate commitment to protect the legacy of her sister remains ongoing. \nDr. Ori Z Soltes teaches at Georgetown University across the disciplines of theology\, art history\, philosophy and politics. He is the former Director and Curator of the B’nai B’rith Klutznick National Jewish Museum where he curated some 80 exhibitions. He is the author of several hundred articles and catalogue essays\, and the author or editor of 25 books\, including The Ashen Rainbow: The Holocaust and the Arts; Symbols of Faith: How Jewish\, Christian\, and Muslim Art Draw from the Same Source; and Tradition and Transformation: Three Millennia of Jewish Art and Architecture and Immortality\, Memory\, Creativity\, and Survival: The Arts of Alice Lok Cahana\, Ronnie Cahana and Kitra Cahana (FAS 2020) \n\n\n\n\n\nEva Hesse and Professor Josef Albers at the Yale School of Art and Architecture\, ca. 1958. Photographer unknown. © The Estate of Eva Hesse. Courtesy Hauser & Wirth \nEVA HESSE DOCUMENTARY\n\n\n\n\nThis is the first event of our online project “Identity\, Art and Migration” in which we investigate US immigration of European refugees during the first half of the 20th century through the lens of seven artist case studies: Anni Albers\, Friedel Dzubas\, Eva Hesse\, Rudi Lesser\, Lily Renee\, Arthur Szyk and Fritz Ascher. \nWhat is it that defines human identity? DNA? Language? Culture? Landscape? Polity? Or is it a combination of all of these factors? How do the sources of identity make it easy or difficult for individuals who migrate from one location to another—by choice or under duress—not merely to adapt but to become fully comfortable within their new home? How do artists\, with their particular set of sensibilities—and who are purveyors of\, respondents to\, and shapers of culture—respond to their own migration? How do they transfer the diverse identity norms of the worlds they leave behind to the new worlds into which they arrive? Can they translate from one language of images to another?  \nEach one of the seven artists featured in this project was affected in different ways by Nazi policies and came as a refugee to the United States\, to remain or not to remain here—or hiding within Germany throughout the war. The life and work of each of these artists addresses the issue of identity and the particulars of its expression from slightly different angles. As a compendium\, they all serve as an intensified and emphatic articulation of the broader issues of relocation\, transformation and the psychological and cultural self as a centerpiece of human being. \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\n\n\n\n\n“IDENTITY\, ART AND MIGRATION” ONLINE EXHIBITIONDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/eva-hesse/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20211006T120000
DTEND;TZID=America/New_York:20211006T130000
DTSTAMP:20260403T185115
CREATED:20210511T194726Z
LAST-MODIFIED:20220218T102520Z
UID:5494-1633521600-1633525200@fritzaschersociety.org
SUMMARY:Through the Prism of Time: John H. Less (1923-2011) and His Visual Impressions of Holocaust Refuge in Shanghai
DESCRIPTION:Presentation by\nSteven Less\, PhD\nSenior research fellow emeritus of the Max Planck Institute for Comparative Public Law and International Law and son of the artist in Heidelberg (Germany)\nand\nHannah-Lea Wasserfuhr\nPhD Candidate at the Center for Jewish Studies in Heidelberg\, Heidelberg (Germany) \nModerated by \nRachel Stern\nDirector and CEO of the Fritz Ascher Society in New York\n\n\n\n\n\n\n\n\n\n\nBorn in Berlin\, John Hans Less (1923 – 2011) fled to Shanghai in September 1940 as a 16-year-old together with his family to escape Nazi persecution. Largely dependent on relief organizations to survive\, the Less family soon went through further disruptions when the Japanese occupied the city and later confined Jewish refugees to the Hongkew Ghetto. The sudden uprooting\, immersion in a completely unfamiliar environment\, and exposure to precarious conditions throughout the seven years Less endured as a refugee in Shanghai deeply affected both his life and art. Thankful to find employment and help support the family with his meager earnings as a commercial artist\, he refused\, however\, to resign himself to the situation and forsake his wider artistic ambitions. Utilizing the limited supplies at hand\, he kept a visual record of his refugee existence – mostly as rough sketches – to which he subsequently gave expression in the form of watercolor drawings and oil paintings. The original images became templates\, for example\, for a series of pictures created decades after he immigrated to the USA that were meant to illustrate an autobiographical account for young people. These drawings and related works reveal Less’ attempt to reassure himself about the reality of his own experience while preserving the memory of Holocaust refuge in Shanghai for a future generation. While his artistic efforts never narrowly focused on his time in China or the past\, the works that do have these motifs are more than reflections on a traumatized youth or flight from Nazi persecution; in them\, he experimented with various styles and deconstructed stereotypical European perceptions of Asian culture. Thus\, they also form part of a much bigger story about European-Asian encounters and European fascination with an “exotic” Orient. \n\n\n\n\n\nJohn H. Less\, The Abandoned\, 2004\, oil painting\, 18 “x 14“\, John H. Less Collection \nJohn H. Less\, Untitled (Shanghai beggar)\, 1999\, oil painting\, 30“ x 24“\, John H. Less Collection\n\n\n\n\nIn 2007\, the artist recalled: “During the Holocaust my parents and our family escaped to Shanghai. Here we were\, a community living in a society that was quite alien to us. Language\, customs and way of life were all new to us. I ran around with my sketch book and pencil\, recording wherever I could. This …[work]\, done recently\, is a painting of a street-scene\, while I lived there for seven years. A brutal hot summer day – as most summer days were – the sun blazing on the perspiring skin of the coolie who pulls a heavy loaded cart… while an affluent man is comfortably pulled by a rickshaw coolie to his destination….”\n\n\n\n\nHans Less\, Untitled (Rebuilt house with grocery store\, Hongkew)\, 1940s\, watercolor\, 7“ x 9 3/4″\, John H. Less Collection\nHans Less\, Untitled (Soup kitchen of the Jewish Community\, Hongkew)\, 1946\, watercolor\, 7 1/4“ x 9 3/4“ \, John H. Less Collection\n\n\n\n\n\nBorn and educated in the US\, Steven Less is a senior research fellow emeritus of the Max Planck Institute for Comparative Public Law and International Law in Heidelberg\, where he was editor-in-chief of an online research paper series as well as managing editor of a semi-annual bibliography of public international law.\nWhile employed by the MPI\, Steven also worked for many years as an adjunct law lecturer at Heidelberg University\, the Heidelberg Center for American Studies (HCA) as well as Schiller International University in Heidelberg\, and he continues to teach American constitutional law.\nSteven dedicated himself\, after his father died in 2011\, to collecting\, preserving and drawing public attention to his father’s art and his history as a Holocaust refugee in Shanghai. He has meanwhile given presentations\, participated in educational projects and arranged for numerous exhibitions commemorating his father and his work in the US\, Germany and China. \n\nHannah-Lea Wasserfuhr is a PhD Candidate at the Center for Jewish Studies in Heidelberg. She studied art history and history at the University of Heidelberg (B.A.)\, followed by a M.A. degree in Jewish Museology at the Hochschule für Jüdische Studien (Center for Jewish Studies) in Heidelberg. In her M.A. thesis\, she analyzed in which ways museums integrate the remains of medieval synagogues in their exhibitions. At the moment\, she is working on her doctoral thesis about the industrial production and marketing of Jewish ritual objects during the Kaiserzeit and the Weimar Republic supervised by Prof. Johannes Heil (Ignatz Bubis Chair at the Hochschule für Jüdische Studien). The PhD is funded by the International Ismar-Elbogen-Scholarship Programm at the Ernst Ludwig Ehrlich Scholarship Fund in cooperation with the Leo Baeck Institute (New York). \n\n\n\n\nFUTURE EVENTS AND THE RECORDINGS OF PAST EVENTSThis event is part of the monthly series “Flight or Fight. stories of artists under repression.” \nDONATE
URL:https://fritzaschersociety.org/exhibition-event/john-less/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20210804T120000
DTEND;TZID=America/New_York:20210804T130000
DTSTAMP:20260403T185115
CREATED:20210420T110040Z
LAST-MODIFIED:20220218T102754Z
UID:5451-1628078400-1628082000@fritzaschersociety.org
SUMMARY:Sculpting the Light:Avant-Garde to Auschwitz and Beyond.Moissey Kogan (1879-1943)Lecture by Helen Shiner\, Oxford (UK)
DESCRIPTION:Lecture by\nHelen Shiner\nDirector/Editor at the Moissey Kogan Catalogue Raisonné of Sculpture & Prints\, Oxford (UK) \nIntroduced by \nRachel Stern\nDirector and CEO of the Fritz Ascher Society in New York\n\n\n\n\n\n\n\n\n\n\nMoissey Kogan (1879-1943) was an innovative\, influential sculptor-craftsman and printmaker\, whose career straddled the European avant-gardes of the first half of the 20th century. A cosmopolitan Russian Jew\, whose work was marked by his interest in Jewish mysticism and theosophical beliefs\, Kogan looked to non-European cultures and ancient sources\, in common with many of his contemporaries in Munich\, Berlin\, Amsterdam\, and Paris\, to root his avant-garde experimentations and revivals of ancient techniques\, in what were considered more authentic means of expression.\nOn the day Adolf Hitler came to power\, Kogan fled Berlin and returned to his home in Paris\, forced to leave behind him many of his key works in the care of dealers and museum collections. He would be obliged to watch powerless as his work was seized by the Nazis\, only to be vilified in the infamous Entartete Kunst show of 1937\, and the related exhibit\, Der ewige Jude. In hiding in Paris and associated with the Résistance\, the sculptor would finally be arrested by the Vichy police and transported to his death at Auschwitz.\nThis talk discusses Kogan’s artistic positioning within the European avant-gardes and his preoccupation with transcendence and light. In stark contrast\, it will consider the consequences of the Nazi looting of his work for the task of reconstructing his oeuvre and reclaiming his career from unjustified obscurity. \nThis event is part of the monthly series “Flight or Fight. stories of artists under repression.” \n\n\n\n\n\nMOISSEY KOGAN CATALOGUE RAISONNE \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nHelen Shiner trained as an art historian at the Birmingham Institute of Art & Design\, and the Courtauld Institute London\, following a first degree in modern languages at the University of Leeds. She is the author of a book on the sculpture of André Derain\, written to accompany an exhibition at the Kunsthal Rotterdam\, as well as articles and exhibition catalogue essays on Modernist sculpture\, art patronage\, and the art market. She has lectured in art and design history at the Courtauld Institute London\, the Birmingham Institute of Art & Design\, and Winchester School of Art\, amongst others\, and has undertaken research for several artists’ estates\, and for the Public Monuments and Sculpture Association\, London. Helen was the first to identify\, compile\, and publish a comprehensive list of works in all media by Kogan\, and she initiated the Moissey Kogan Catalogue Raisonné project in February 2018 to mark the 75th anniversary of the sculptor’s death at Auschwitz. \nImage: Detail of Moissey Kogan\, Two Women\, 1913. Relief\, artificial stone; formerly Museum Folkwang\, Essen. Confiscated 1937 as part of Degenerate Art campaign. Now lost. Photographer unknown  \n\n\n\n\n\n\n\n\n\nDONATE
URL:https://fritzaschersociety.org/exhibition-event/moissey-kogan/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20210721T120000
DTEND;TZID=America/New_York:20210721T130000
DTSTAMP:20260403T185115
CREATED:20210530T175601Z
LAST-MODIFIED:20220218T102909Z
UID:5615-1626868800-1626872400@fritzaschersociety.org
SUMMARY:New Frontiers of Provenance Research: The Mosse Art Research Initiative (MARI) Lecture by Prof. Dr. Meike Hoffmann\, Berlin (Germany)
DESCRIPTION:MARI is innovative in many ways. For the first time\, descendants of victims of Nazi persecution are cooperating with German institutions in a public/private partnership in provenance research. After an initial three-year research period\, the successful project at Freie Universität Berlin is now being continued. Numerous works from the former Mosse collection have already been recovered and restituted. In the process\, surprising stories came to light showing the whole challenge range of provenance research and restitution. \nMARI’s task\, however\, is not only to search for the works of the former collection\, but also to gain insight into the strategies of the so called “Gleichschaltung” (consolidation) of the press just after the Nazis came to power in 1933\, as well as the persecution situation of the family and the emigration routes of the individual members\, in order to grasp the full extent of the fate and the consequences that continue until today. \n\n\n\n\nIn her presentation\, Meike Hoffmann shows the whole range of individual cases with a focus on looted art in private hands as well as explain the key to MARI’s success and its efforts to prepare a foundation of a joint\, not only German\, memorial culture. \nProf. Dr. Meike Hoffmann directs the Degenerate Art Research Center\, the Mosse Art Research Initiative (MARI) as well as the Abraham Adelsberger Art Research Project (AAARP) at FU Berlin. She organized the first academic training on provenance research at the Free University of Berlin where she received her PhD and now teaches at the department of history and cultural studies on Degenerate Art and Nazi art policy during the Third Reich. She was a member of the Taskforce Schwabing Art Trove and participated in the follow-up research project on the Gurlitt collection at the German Lost Art Foundation and is author of Hitler’s Art Dealer: Hildebrand Gurlitt\, 1895–1956 amongst several other publications. \n\n\n\n\nRudolf Mosse\, photograph\, ca. 1880.\nPhotography by Debenham and Company\, West Cowes\, I.W. © Leo Baeck Institut New York / Berlin\n\n  \nWalter Schott\, Three Dancing Girls (Drei tanzende Mädchen) Fountain\, 1910.\nLimestone and Bronze\, Voßstraße Berlin. Berliner Tageblatt\, Nr. 90\, Jg. 1910\, 10. November 1910\n\n\nRudolf Mosse was a successful entrepreneur\, progressive political thinker and philanthropist in the late 19th and early 20th century. Rudolf’s business leadership and industry foresight created a phenomenally successful publishing and advertising enterprise in Germany. The enterprise published 130 newspapers and journals\, which included its flagship newspaper\, Berliner Tageblatt (created in 1872). Rudolf Mosse was a generous benefactor of educational and social welfare institutions. \nFollowing Rudolf’s death in 1920\, his sole heir was his daughter Felicia Lachmann-Mosse. Her husband Hans Lachmann-Mosse became the publisher of the Berliner Tageblatt. The newspaper was an outspoken critic of Adolf Hitler and the National Socialists\, and the Lachmann-Mosse family became a symbol of the hated “Jewish press.” Following Hitler’s assumption of power\, in the space of three months in 1933\, the newspaper’s publisher Hans Lachmann-Mosse and many of its leading Jewish staff members were forced to leave Germany. The Nazi government took control of Mosse family property\, including the Rudolf Mosse Company and the Berliner Tageblatt\, as well as Rudolf and Hans’ prized art collection. \n\n\nThe Mosse Art Research Initiative (MARI)\n\nIMAGE: Gari Melchers\, Winter (Schlittschuhläufer)\, 1880/1900. 110 x 64 cm. Formerly Arkell Museum\, Canajoharie/New York
URL:https://fritzaschersociety.org/exhibition-event/mari/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20210707T120000
DTEND;TZID=America/New_York:20210707T130000
DTSTAMP:20260403T185115
CREATED:20210425T101533Z
LAST-MODIFIED:20220218T103025Z
UID:5408-1625659200-1625662800@fritzaschersociety.org
SUMMARY:Becoming Gustav Metzger:Uncovering the Early Years (1945-1959)Lecture by Nicola Baird\, London (UK)
DESCRIPTION:Lecture by\nNicola Baird\nResearch Officer and Curator at Ben Uri Gallery and Museum\, London \nIntroduced by \nRachel Stern\nDirector and CEO of the Fritz Ascher Society in New York\n\n\n\n\n\n\n\n\n\n\nBorn in Germany to Polish-Jewish orthodox parents in 1926\, Gustav Metzger (1926-2017) was one of 10\,000 Jewish children evacuated in 1939 to London as part of the Kindertransport. His parents\, eldest brother\, and maternal grandparents\, all perished in the Holocaust. Upon the advice of Henry Moore\, Metzger spent six months at the Cambridge School of Art\, before enrolling at the Sir John Cass Institute in 1946\, where he studied sculpture and attended David Bomberg’s life drawing classes at the Borough Polytechnic\, alongside contemporaries including Frank Auerbach. \nThe following year Metzger joined Bomberg’s composition class\, producing ‘extremely fast and intense’ paintings. In 1948 he obtained a stateless passport which enabled him to travel to the Netherlands\, Belgium\, and France to study continental European painting. He returned to England in 1949\, resuming Bomberg’s evening classes and subsequently initiating the Borough Bottega exhibiting society. After resigning in 1953\, Metzger stopped painting for almost four years and moved to Kings Lynn in Norfolk. It was not until 1956 that he produced a series of oils depicting a three-legged table evocative of a mushroom cloud\, his return to painting having coincided with his involvement in the Campaign for Nuclear Disarmament. Between 1957 and 1959\, Metzger embraced abstraction\, experimenting with paintings on thin sheets of mild steel. He described such work\, which laid the foundation for his later auto-destructive practice\, as a continuation of that produced in Bomberg’s composition classes. From these important beginnings\, Metzger went on to become ‘the conscience of the artworld’\, a pioneering practitioner whose definitive contribution to British cultural and political history cannot be underestimated. He died in London in 2017. \n\n\n\n\n\n\n\n\n\n\n\n\nNicola Baird is a Research Officer and Curator at the Ben Uri Research Unit\, Ben Uri Gallery and Museum\, London. She is currently studying for a PhD in History of Art at London South Bank University in collaboration with Ben Uri.\nAs a Guest Curator at Burgh House she was the initiator of the Arts Council funded exhibition\, ‘The Making of an Englishman’: Fred Uhlman\, a Retrospective held at Burgh House before touring to the Hatton Gallery\, Newcastle in 2018 and editor of the accompanying publication. In 2019 she curated Czech Routes to Britain: Selected Czechoslovak Artists in Britain from the Ben Uri and Private Collections at Ben Uri and for which she edited the accompanying catalogue. \n\nThis event is part of the monthly series “Flight or Fight. stories of artists under repression\,” which is generously funded by Allianz Partners. \n\n\n\n\n\n\n\n\n\n\n\n\n\nOn view at Ben Uri Gallery and Museum in London June 16 – September 17\, 2021\, “Becoming Gustav Metzger: Uncovering the Early Years (1945–59)” is the first museum exhibition to examine the little-known formative years of refugee artist and activist Gustav Metzger. The sixth in the Ben Uri Research Unit’s survey exhibitions highlighting the important contribution of Jewish and immigrant artists to British visual culture since 1900\, the exhibition showcases rarely seen drawings and paintings from this crucial early period – the majority never previously exhibited – together with related archival material. Highlights include Metzger’s Head of E. Royalton-Kisch (1950) and the large expressionist oils\, The Dissolution of the City (1946) and Eroica\, Funeral March (1946)\, as well as early abstract works on board and cardboard\, and a kodak box. Together they chart Metzger’s artistic journey from figuration to abstraction prior to the development of his later radical auto-destructive practice. \nThe exhibition also includes important contextual works by pioneering modernists Jacob Epstein\, Henri Gaudier-Brzeska and David Bomberg (drawn from the Ben Uri Collection)\, all important early influences upon Metzger. Bomberg mentored Metzger – a favoured pupil at his revolutionary Borough Polytechnic evening classes\, and\, in 1948\, encouraged him to exhibit at both Ben Uri Art Gallery and the London Group. Metzger later paid tribute to Bomberg as arguably ‘the biggest influence on me’. \nThe exhibition is curated by Nicola Baird and Leanne Dmyterko\, Co-Director of The Gustav Metzger Foundation. \n\n\n\n\n\n\n\n\n\n\n\nExhibition Programming at Ben Uri Gallery and Museum: \nWednesday\, July 14\, 1:00-2:30pm EST / 6:00-7:30pm GMT\nDiscussion Panel\nAndrew Wilson (Senior Curator Modern & Contemporary British Art\, and Archives at Tate Britain) and Dr. Elizabeth Fisher (Leverhulme Research Fellow\, Northumbria University) talk about the retrieval and re-discovery in 2010 and subsequent exhibition (at Documenta in 2012) of the early work as well as the relationship between ethics and aesthetics in Gustav Metzger’s formative years\, followed by a Q&A. \nWednesday\, July 21\, 1:00-2:00pm EST / 6:00-7:00pm GMT\nInaugural 100\,000 Newspapers Documentary Film Screening and Discussion with Director\, Martin Pickles\nFollowing the inaugural screening of 100\,000 Newspapers\, a film documenting Gustav Metzger’s 2003 ‘public-active installation’ and performances of the same name at the T1+2 Art Space\, East London\, Martin Pickles (Lecturer in Animation Theory at University for the Creative Arts\, Farnham) discusses not only the genesis of the film but also his experiences of filming and interviewing the artist. \nWednesday\, July 28\, 1:00-2:30pm EST / 6:00-7:30pm GMT\nInternational panel explore the themes of ecology and activism in Metzger’s oeuvre\nA distinguished international panel explores the themes of ecology and activism in Metzger’s oeuvre followed by a Q&A. We welcome Pontus Kyander (lecturer at the Finnish Academy of Fine Art and curator of Gustav Metzger: Act of Perish\, The Centre of Contemporary Art\, Torun\, 2015)\, Mathieu Copeland (independent curator and author of Gustav Metzger: Writings 1953-2016)\, and Daniela Perez (curator of We Must Become Idealists of Die\, Museo Jumex\, Mexico\, 2015). \nWednesday\, August 18\, 1:00-2:00pm EST / 6:00-7:00pm GMT\n‘On visiting Wittgenstein’s grave with Gustav Metzger’\nWriter and independent curator\, Bronac Ferran addresses negation and its presence in Metzger’s work contextualising her discussion by considering other artists and poets of the post-war period\, followed by a Q&A. \nWednesday\, September 9\, 1:00-2:00pm EST / 6:00-7:00pm GMT\nInsights into Metzger’s practice and life\nJo Joelson\, artist\, writer and co-founder of artistic duo London Fieldworks shares insights into Gustav Metzger’s practice through experiences of collaboration\, friendship and care. Joelson will discuss collaborative projects on which she worked with Metzger including: Null Object (2012) and the immensely influential\, Remember Nature (2015)\, followed by a Q&A. \n\n\n\n\n\n\n\n\nREGISTRATION FOR BEN URI GALLERY AND MUSEUM ZOOM EVENTSRECORDINGS OF PAST “FLIGHT OR FIGHT” LECTURES\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nImage: Gustav Metzger\, Untitled\, c. 1961-62. Oil on Kodak Box. Courtesy of the Gustav Metzger Foundation. © Justin Piperger \n\n\n\n\n\n\n\n\nDONATE TODAY
URL:https://fritzaschersociety.org/exhibition-event/gustav-metzger/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20210602T120000
DTEND;TZID=America/New_York:20210602T130000
DTSTAMP:20260403T185115
CREATED:20210429T123909Z
LAST-MODIFIED:20220218T104615Z
UID:5456-1622635200-1622638800@fritzaschersociety.org
SUMMARY:Jeanne Mammen (1890-1976)- A Life Dedicated to ArtLecture by Dr. Martina Weinland\, Berlin
DESCRIPTION:Lecture by\nDr. Martina Weinland\nCommissioner for Cultural Heritage at the Museum of the City of Berlin in Berlin (Germany) \nFollowed by Q&A moderated by\nRachel Stern\nDirector and CEO\, Fritz Ascher Society in New York \n\n\n\n\n\n\n\n\n\n\nThe Berlin artist Jeanne Mammen (1890-1976) is best known for her depictions of strong\, sensual women and Berlin city life. But there is much more to her 70 years of artistic output\, with unique sketches\, paintings and sculptures. In 1975\, she tells the art historian Hans Kinkel\, who conducts the only interview she will ever give: “You must always write that my pictures were created between 1890 and 1975. …I have always wanted to be just a pair of eyes\, walking through the world unseen\, only to see others. Unfortunately one was seen.” \nWith the beginning of the Nazi era in 1933\, many of her clients had to leave Germany. Jeanne Mammen went into inner exile and created her works in secret for the next 12 years. Her artwork shows her critical view of the circumstances in which she has to live. \nAfter 1945\, she took to collecting wires\, string\, and other materials from the streets of bombed-out Berlin to create reliefs. In the late 1940s she began designing sets for the Die Badewanne cabaret. She created abstract collages from various materials\, including candy wrappers. In the 1950s she adopted a new style\, combining thick layers of oil paint with a few fine marks on the surface. \nHer studio on Kurfürstendamm 29\, which she occupied from 1920 until the end of her life\, is almost unchanged and allows us to come very close to this artist and her work. \n\n\n\n\n\nJeanne Mammen\, Two Girls from the Bilitis-Cycle\, ca. 1930-1932.\nColor lithograph on paper\, 55 x 42 cm. Museum of the City of Berlin SM 2019-00454 © VG Bild-Kunst\, Bonn \nJeanne Mammen\, Double Eye\, 1945-1949. Plaster\, 34 x 20 x 4\,5 cm\nMuseum of the City of Berlin SM 2018-01087 © VG Bild-Kunst\, Bonn\, Photo Matthias Viertel\, Berlin \n\n\n\n\n\nDr. Martina Weinland is the Commissioner for Cultural Heritage at the Museum of the City of Berlin in Berlin (Germany). She is a Berlin art historian\, who is responsible for nine dependent artist foundations at the museum\, including Fritz Ascher and Jeanne Mammen. She has been a research assistant at the Stadtmuseum Berlin since 1992. So far she has published numerous books on the urban history of Berlin\, including a monograph on the Märkisches Museum and the water bridges in Berlin. She also curated several exhibitions\, including the 2016 exhibition “Berlin – City of Women.” \n\n\n\n\n\nJeanne Mammen Foundation Berlin\n\n\n\nThis event is part of the monthly series “Flight or Fight. stories of artists under repression.”\n\n\n\n\nRecordings of past events\n\n\n\nImage:  Jeanne Mammen\, Woman with Glass of Absinth (Moulin Rouge)\, Paris\, 1908-1914. Watercolor\, pencil and ink on paper\, 34 x 23\,3 cm.\nMuseum of the City of Berlin\, Berlin (Germany) SM 2018-09193 © VG Bild-Kunst\, Bonn
URL:https://fritzaschersociety.org/exhibition-event/jeanne-mammen/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Lectures,Past Events
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DTSTART;TZID=America/New_York:20210505T120000
DTEND;TZID=America/New_York:20210505T130000
DTSTAMP:20260403T185115
CREATED:20210303T222442Z
LAST-MODIFIED:20220218T110458Z
UID:5288-1620216000-1620219600@fritzaschersociety.org
SUMMARY:Oskar Kokoschka (1886-1980): The Making of an Artist by Rüdiger Görner\, London (UK)
DESCRIPTION:The Austrian artist Oskar Kokoschka (1886-1980) achieved world fame with his intense expressionistic portraits and landscapes. Rüdiger Görner\, author of the first English-language biography\, depicts the artist in all his fascinating and contradictory complexity. He traces Kokoschka’s path from bête noire of the bourgeoisie and a so-called ‘hunger artist’ to a wealthy and cosmopolitan political and critical artist who played a major role in shaping the European art scene of the twentieth century and whose relevance is undiminished to this day. \nIn 1934\, Kokoschka left Austria for Prague\, and in 1938\, when the Czechs began to mobilize for the expected invasion by the German Wehrmacht\, Kokoschka fled to the United Kingdom\, where he remained during the war. Although he had an international reputation at the time of his first emigration to Prague\, he was not yet well-known in Britain. This lecture throws new light upon his experiences\, reception and work in exile\, including his impressions of London\, his portrait commissions and his series of now celebrated anti-Fascist works such as the allegory What We Are Fighting For (1943) and The Red Egg (1939-41). In 1947\, Kokoschka travelled briefly to the United States before settling in Switzerland in 1953\, where he lived the rest of his life. \nKokoschka was more than a mere visual artist: his achievements as a playwright\, essayist\, and poet bear witness to a remarkable literary talent. Music\, too\, played a central role in his work\, and a passion for teaching led him to establish in 1953 the School of Seeing\, an unconventional art school intended to revive humanist ideals in the horrific aftermath of war. \nIMAGE: Oskar Kokoschka\, Self-Portrait\, 1948. Oil on canvas\, 65.5 × 55 cm. Fondation Oskar Kokoschka FOK 30. ©Fondation Oskar Kokoschka / DACS 2018. \n\nLecture featuring\nRüdiger Görner\nProfessor of German with Comparative Literature at Queen Mary University of London\, UK \nIntroduced by \nRachel Stern\nDirector and CEO of the Fritz Ascher Society in New York\n\nRüdiger Görner is Professor of German with Comparative Literature at Queen Mary University of London. The Founding Director of the Centre for Anglo-German Cultural Relations\, his books include biographies of Rainer Maria Rilke and the poet Georg Trakl. He was awarded the Order of Merit of the Federal Republic of Germany for his work on British-German relations and the Reimar Lüst-Prize of the Alexander-von-Humboldt Foundation in recognition of lifetime achievement. \nYou can order Rüdiger Görner’s book “Kokoschka. The Untimely Modernist” from the publisher in the UK HERE and in the US and Canada HERE. \n\nThis event is part of our monthly series\nFlight or Fight. stories of artists under repression\, which is generously sponsored by Allianz Partners. \nFUTURE EVENTS AND RECORDINGS OF PAST EVENTSSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/oskar-kokoschka/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20210407T120000
DTEND;TZID=America/New_York:20210407T130000
DTSTAMP:20260403T185115
CREATED:20210217T203203Z
LAST-MODIFIED:20220218T113118Z
UID:5182-1617796800-1617800400@fritzaschersociety.org
SUMMARY:Cartoon Crusader: Arthur Szyk’s War against NazismSteven Luckert\, Washington DC
DESCRIPTION:During the first four decades of the twentieth century\, Polish Jewish artist Arthur Szyk (1894–1951) was best known for his richly detailed book illustrations and magnificent illuminations on Jewish themes. He portrayed the Jews as a heroic nation that had resisted oppression through the ages and eventually triumphed. His Jews were fighters for their own freedom and the freedom of others. Szyk sought to redefine how the Jews viewed themselves and how others viewed them. His works thus challenged the notion that Jewish history was merely one long saga of suffering and\, at the same time\, refuted the then common antisemitic canard that the Jews were a cowardly people. \n\n\nWith the coming to power in Germany of Adolf Hitler in 1933\, Szyk immediately perceived the threat that Nazism posed to the Jews and to the world. That year\, he began using his pen to attack Nazi antisemitism and racism. When World War II broke out in 1939\, Szyk devoted his energies to defeating Nazi Germany and its allies and calling the world’s attention to the mass murder of Europe’s Jews. His brilliant wartime cartoons and caricatures filled the pages of American newspapers and magazines\, earning him a reputation as a “one-man army” in the Allied cause. His moving portrayals of Jewish suffering and heroism bespoke a political activism that demanded “action—not pity.” By 1943\, Arthur Szyk had become perhaps this country’s leading artistic advocate for Jewish rescue. \n\n\n\nIMAGE: Arthur Szyk\, Ink and Blood\, 1944. United States Holocaust Memorial Museum Collection\, Gift of Joseph and Alexandra Braciejowski \n\nLecture featuring\nSteven Luckert\nSenior Program Curator\, United States Holocaust Memorial Museum in Washington DC\n \nIntroduced by \nRachel Stern\nExecutive Director of the Fritz Ascher Society in New York\n\nSteven Luckert is Senior Program Curator in the Levine Institute for Holocaust Education at the United States Holocaust Memorial Museum in Washington\, DC. He served for 20 years as the Curator of the Museum’s acclaimed permanent exhibition\, The Holocaust. In addition\, he curated eight special exhibitions\, including The Art and Politics of Arthur Szyk and State of Deception: The Power of Nazi Propaganda. He has appeared in the following media outlets:  CSPAN\, CNN\, NBC Nightly News\, Associated Press\, Reuters International\, History Detectives\, The History Channel\, Huffington Post\, ZDF (German Television)\, PBS\, Fox\, The Washington Post\, The New York Times\, The Wall Street Journal\, National Geographic Channel\, National Public Radio\, Telemundo\, Iranwire\, Al-Hura\, The Atlantic\, The Forward\, Boston Globe\, Cox News Service\, USA Today\, Jewish Telegraphic Agency\, and Tass.  Steven Luckert received his Ph.D. in Modern European History from the State University of New York at Binghamton and has published on German history\, the Holocaust\, and Nazi propaganda. \nThe event is part of our monthly series\nFlight or Fight. stories of artists under repression\, which is generously sponsored by Allianz Partners. \n\nFUTURE EVENTS AND RECORDINGS OF PAST EVENTSSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/arthur-szyk/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20210303T120000
DTEND;TZID=America/New_York:20210303T130000
DTSTAMP:20260403T185115
CREATED:20210222T220407Z
LAST-MODIFIED:20220218T120606Z
UID:5190-1614772800-1614776400@fritzaschersociety.org
SUMMARY:Becoming Jewish:The Sculptor Benno Elkan (1877-1960) Christian Walda\, Dortmund with Wolfgang Weick and Ori Z. Soltes
DESCRIPTION:Born 1877 in Dortmund\, the sculptor Benno Elkan (1877-1960) first studied painting in Munich and Karlsruhe. At the end of his studies\, he turned to sculpture. As a young artist\, he spent time in Paris\, Rome\, and Frankfurt.\nElkan’s oeuvre was largely made up of commissions. In the beginning\, he mainly created tombs. Medals\, portrait busts of well-known personalities\, monuments to victims and candelabras follow\, partly for the religious (Jewish and Christian) context. \nElkan fled persecution by the German Nazi regime to Great Britain in 1934and lived with his family in London until the end of his life. Perhaps the most important work besides the Menorah in Jerusalem (1956) was never built: Memorial to the Defenseless Victims of the Bombing War (clay model 1959). This monument was re-created from the preparatory works and can now be experienced as a virtual animation by visitors of the Museum of Art and Cultural History in Dortmund. \n\nIMAGE: Benno Elkan\, Menorah\, 1956. Bronze\, 4.30 meters high\, 3.5 meters wide. Gan Havradim (Rose Garden) opposite the Knesset\, Jerusalem. Presented to the Knesset as a gift from the Parliament of the United Kingdom Parliament on April 15\, 1956 in honor of the eighth anniversary of Israeli independence. \nLectures by\nChristian Walda\, Deputy Director and Head of Collections at the Museum for Art and Cultural History in Dortmund (Germany)\nWolfgang E. Weick\, Director Emeritus of the Museum for Art and Cultural History in Dortmund (Germany)\nThe Memorial to the Defenseless Victims of the Bombing War\nOri Z. Soltes\, Teaching Professor at Georgetown University in Washington DC\nThe Menorah\, Jerusalem \nModerated by \nRachel Stern\, Executive Director of the Fritz Ascher Society in New York\n\nA presentation of the artist’s life and work is followed by in depth discussions of Elkan’s two most important works: For the first time\, the virtual re-creation of the Memorial to the Defenseless Victims of the Bombing War is presented here to the international public\, followed by an in depth discussion of Elkan’s Menorah in Jerusalem. \n\n\nBENNO ELKAN’S VIRTUAL MEMORIAL TO THE DEFENSELESS VICTIMS OF THE BOMBING WAR \nAfter training as a bookseller\, Christian Walda studied art history\, philosophy and political science at the University and the College for Jewish Studies in Heidelberg and at the University of Siena\, Italy. Research focusesd on art philosophy\, the theory of corporeality\, political art and forms of aesthetic memory work. In 2007 he completed his studies with a doctorate on the Austrian sculptor Alfred Hrdlicka. Christian Walda has curated and organized more than thirty exhibitions with a focus on contemporary art. A large exhibition with works by the German painter and sculptor Rainer Fetting is currently on view in the Dortmunder U. 2008-2014 he was the director of the Jewish Museum Rendsburg\, 2015-2018 the head of the painting collection of the State Museum for Art and Cultural History in the Schleswig-Holstein State Museums Foundation at Gottorf Castle. Since 2019 he is at the Museum for Art and Cultural History in Dortmund as head of collections\, and since 2021 also as deputy director. \n\n\nWolfgang E. Weick studied History\, English\, Political Sciences and Contemporary History at the University in Mannheim (BA) and the University of Waterloo (Ontario) in Canada (MA). 1979 – 1986 he worked as researcher and curator at Berliner Festspiele GmbH and Senate Department – Department of Culture in Berlin. In 1986/87 he was the head of the development team and deputy director at the House of the History of the Federal Republic of Germany in Bonn. From 1988 until 2014 he was the Director of the Museum for Art and Cultural History in Dortmund\, and from 1995 also division manager of the municipal museums in Dortmund. \nOri Z Soltes teaches at Georgetown University across the disciplines of theology\, art history\, philosophy and politics. He is the former Director and Curator of the B’nai B’rith Klutznick National Jewish Museum where he curated some 80 exhibitions. He is the author of several hundred articles and catalogue essays\, and the author or editor of 24 books\, including The Ashen Rainbow: The Holocaust and the Arts; Symbols of Faith: How Jewish\, Christian\, and Muslim Art Draw from the Same Source; and Tradition and Transformation: Three Millennia of Jewish Art and Architecture. \nThe event is part of our monthly series\nFlight or Fight. stories of artists under repression\, which is generously sponsored by Allianz Partners. \n\nFUTURE EVENTS AND RECORDINGS OF PAST EVENTSSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/benno-elkan/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20210210T120000
DTEND;TZID=America/New_York:20210210T130000
DTSTAMP:20260403T185115
CREATED:20201204T010131Z
LAST-MODIFIED:20220218T121315Z
UID:5056-1612958400-1612962000@fritzaschersociety.org
SUMMARY:Excluded and yet entangled in two dictatorships: The political constructivist Oskar Nerlinger Eckhart Gillen\, Berlin
DESCRIPTION:Oskar Nerlinger (1893-1969) was one of the most important artists of the committed art scene in the Weimar Republic. He was a member of the Association of Proletarian Revolutionary Art (ASSO for short)\, which was founded in 1928 and belonged to the KPD\, which cooperated with the Soviet avant-garde artist group Oktober. At that time there was no conflict between positions of aesthetic modernism and KPD politics. In 1932 the political and artistic avant-garde in the Soviet Union fell apart\, with serious consequences for left-wing artists in Germany. Almost at the same time\, the Nazi system broke with all forms of modernity. With his idea of art suddenly doubly isolated within his own party\, which followed Stalin’s art verdict\, and within Germany through the Nazi art policy\, Nerlinger went into so-called “inner emigration”\, but behaved in a very contradictory manner and adapted his artistic language to the Nazi aesthetics. After 1945 he joined the SED and followed the given political norms of socialist realism as part of the formalism campaign. \nThe twofold turning point in 1932 and 1933 left lasting traces in Oskar Nerlinger’s art. With this transition from innovation to regression\, Nerlinger stands for a whole generation of politically committed artists in the Weimar Republic who\, blindly believing in the doctrines of the communist party\, gave up their own aesthetic and moral convictions. In a paradoxical way\, Nerlinger was marginalized and at the same time entangled in two dictatorships. \n\nLecture by\nEckhart Gillen\, PhD\, Independent Curator in Berlin (Germany)\nIntroduced by \nRachel Stern\, Executive Director of the Fritz Ascher Society in New York \nEckhart Gillen\, Art Historian\, Independent Curator\, based in Berlin. Study of art history\, German and Sociology at the University of Heidelberg\, where he received the Doctorate from the Faculty of Philosophy. He has organized numerous exhibitions and published widely on Russian\, American\, and German art of thetwentieth century. Among his exhibition catalogs and books are „Amerika –Traum und Depression 1920/40“\, Akademie der Künste\, Berlin 1980; „German Art from Beckmann to Richter: Images of a Divided Country“; Yale University Press 1997; „Art of Two Germanys/Cold War Cultures 1945-1989“\, LACMA\, L.A.\, Germanisches Nationalmuseum Nuremberg\, Deutsches Historisches Museum Berlin 2009 (in collaboration with Stephanie Barron); „Feindliche Brüder? Der Kalte Krieg und die deutsche Kunst 1945-1989“\, Berlin 2009; R.B.Kitaj – The Retrospective\, 2012\, Jewish Museum Berlin\, Jewish Museum London and Hamburger Kunsthalle; Art in Europe 1945-1968: Facing the Future\, BOZAR\, Brussels\, ZKM\, Karlsruhe\, Pushkin Museum\, Moscow\, 2016/17; „FLASHES OF THE FUTURE. The Art of the 68ers“\, Ludwig Forum\, Aachen\, 2018; „Constructing the World. Art and Economy 1919 to 1939 in USA\, Soviet Union and Germany“ in the Kunsthalle Mannheim\, 2018/19.\nNumerous distinctions\, including „einheitspreis – Bürgerpreis zur deutschen Einheit“ 2003 (bestowed by the Federal Agency for Civic Education)\, AICA-USA 2009 for Best Thematic Museum Show\, and the Friedlieb Ferdinand Runge Award 2011 conferred by the foundation Preußische Seehandlung  for unconventional art communication (together with Stefanie Barron). Adjunct professor for art history at the Film University in Potsdam-Babelsberg since 2011. \nThe event is part of our monthly series\nFlight or Fight. stories of artists under repression\, which is generously sponsored by Allianz Partners. \nFUTURE EVENTS AND RECORDINGS OF PAST EVENTSAusgegrenzt und doch verstrickt in zwei Diktaturen: Der politische Konstruktivist Oskar Nerlinger (1893-1969)\nEckhart Gillen\, Berlin \nOskar Nerlinger (1893-1969) gehörte zu den wichtigsten Künstlern der engagierten Kunstszene in der Weimarer Republik. Er war Mitglied der 1928 gegründeten Assoziation der proletarisch revolutionären Kunst (abgekürzt ASSO)\, die zur KPD gehörte\, die mit der sowjetischen avantgardistischen Künstlergruppe Oktober kooperierte. Es gab zu diesem Zeitpunkt keinen Konflikt zwischen Positionen der ästhetischen Moderne und der KPD-Politik. 1932 erfolgte dann das für die linken Künstler_innen in Deutschland  folgenschwere Auseinanderfallen von politischer und künstlerischer Avantgarde in der Sowjetunion. Fast gleichzeitig vollzog das NS-System den Bruch mit allen Formen der Moderne. Mit seiner Kunstauffassung plötzlich doppelt isoliert innerhalb seiner eigenen Partei\, die Stalins Kunstverdikt folgte\, und innerhalb Deutschlands durch die NS-Kunstpolitik\, ging Nerlinger in die sogenannte „innere Emigration“\, verhielt sich dabei aber sehr widersprüchlich und passte seine Kunstsprache der NS-Ästhetik an. Nach 1945 trat er in die SED ein und folgte im Rahmen der Formalismuskampagne den vorgegebenen politischen Normen des Sozialistischen Realismus. \nDie doppelte Zäsur der Jahre 1932 und 1933 hinterließ nachhaltige Spuren in Oskar Nerlingers Kunst. Mit diesem Umschlag von Innovation in Regression steht Nerlinger für eine ganze Generation von politisch engagierten Künstlern in der Weimarer Republik\, die im blinden Glauben an die Doktrinen der kommunistischen Partei ihre eigenen ästhetischen und moralischen Überzeugungen aufgegeben haben. In paradoxer Weise wurde Nerlinger ausgegrenzt und war zugleich verstrickt in zwei Diktaturen. \nSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/excluded-and-yet-entangled-in-two-dictatorships-the-political-constructivist-oskar-nerlinger-eckhart-gillen-berlin/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20210127T120000
DTEND;TZID=America/New_York:20210127T130000
DTSTAMP:20260403T185115
CREATED:20210111T111038Z
LAST-MODIFIED:20220218T121909Z
UID:5153-1611748800-1611752400@fritzaschersociety.org
SUMMARY:Between Art and Record Keeping - Artistic Representations of the HolocaustOri Z Soltes\, Washington DC
DESCRIPTION:WATCH THE RECORDING OF THIS EVENT HERE. \nVisual art during and after the Holocaust\, by victims and survivors eloquently contradicts the famous comment by Theodor Adorno that “after the Holocaust to make art is barbaric.” On the contrary\, it was and is necessary: as part of the record of events as they were transpiring\, and as part of the human response to horror–to express anger\, to raise questions\, to offer healing–in the time after those events. Who creates the art and what kind of art is created? What role does it play in wrestling with the question of what God is and what we humans are? These issues have implications both from within the heart of the Holocaust and from well beyond its particular boundaries.\nOn January 27\, we celebrate the anniversary of the liberation of Auschwitz-Birkenau and commemorate the six million Jewish victims of the Holocaust and millions of other victims of Nazism. The United Nations General Assembly designated this day as International Holocaust Remembrance Day. \nLecture by\nOri Z Soltes\, PHD\, Teaching Professor at Georgetown University in Washington DC\nIntroduced by \nRachel Stern\, Executive Director of the Fritz Ascher Society in New York \n\nOri Z Soltes teaches at Georgetown University across the disciplines of theology\, art history\, philosophy and politics. He is the former Director and Curator of the B’nai B’rith Klutznick National Jewish Museum where he curated some 80 exhibitions. He is the author of several hundred articles and catalogue essays\, and the author or editor of 24 books\, including The Ashen Rainbow: The Holocaust and the Arts; Symbols of Faith: How Jewish\, Christian\, and Muslim Art Draw from the Same Source; and Tradition and Transformation: Three Millennia of Jewish Art and Architecture. \n\nIMAGE: Margit Koretzova\, Butterflies\, 1944. Collection of the Jewish Museum Prague.\nMargit Koretzova (April 8\, 1933-April 1944 Auschwitz) was 11 years old when she perished at Auschwitz not long after painting this work. \nButterflies was painted at the Terezin (Theresienstadt) ghetto\, where artist Friedl Dicker-Brandeis organized art lessons encouraging the children to express their feelings in their work. Before being shipped to Auschwitz\, Friedl Dicker-Brandeis buried 4500 of pieces of artwork in two suitcases. Others were found hidden in mattresses and stuffed in cracks between the walls. These drawings allow us to see what life was like in Terezin\, through the eyes of children: a heart rending look at the misery\, sadness\, and fear of these innocents as well as their courage\, their hopes\, and their fears.\nIn autumn of 1944 Friedl Dicker-Brandeis and the majority of her students were deported East\, and with her nearly all of them perished in the gas chambers of Auschwitz. Of the 15\,000 children who passed through the Terezin (Theresienstadt) ghetto\, only about 100 survived. \nThis is the largest collection of children’s drawings from the period of the Shoah in the world. It is in the collection of the Jewish Museum Prague. \nFriedl Dicker-Brandeis (1898–1944 Auschwitz) was a painter\, interior and stage designer\, graduate of the Bauhaus\, and pupil of Franz Čížek\, Johann Itten\, Lyonel Feininger\, Oskar Schlemmer and Paul Klee.\nAs part of what was mostly a clandestine education programme for children at Terezín\, the art classes were very specific in nature\, reflecting the progressive pedagogical ideas that Friedl Dicker-Brandeis had adopted during her studies at the Bauhaus (especially in the initial course developed by Johannes Itten). Drawing was seen as a key to understanding and a way of developing basic principles of communication\, as well as a means of self-expression and a way of channelling the imagination and emotions. From this perspective\, art classes also functioned as a kind of therapy\, in some way helping the children to endure the harsh reality of ghetto life. \nFUTURE EVENTS AND RECORDINGS OF PAST EVENTSsupport us
URL:https://fritzaschersociety.org/exhibition-event/holocaust-and-art/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20210119T140000
DTEND;TZID=America/New_York:20210119T150000
DTSTAMP:20260403T185115
CREATED:20201231T113649Z
LAST-MODIFIED:20220218T122341Z
UID:5130-1611064800-1611068400@fritzaschersociety.org
SUMMARY:Live From  Museum of Jewish Heritage Carolyn Enger's Mischlinge Exposé
DESCRIPTION:Join the Museum of Jewish Heritage  — A Living Memorial to the Holocaust\, the German Consulate General in New York\, and the Fritz Ascher Society for Persecuted\, Ostracized\, and Banned Art for a stirring performance of Enger’s Mischlinge Exposé\, Live from Edmond J. Safra Hall™. The performance will be followed by a discussion between Enger and Rachel Stern\, Founding Director and CEO of the Fritz Ascher Society. \n\n\n\nCarolyn Enger is a pianist based in the greater New York City area\, with roots reaching back to Breslau\, now Wroclaw\, Poland. Her Mischlinge Exposé brings to light the stories of Mischlinge—a derogatory term used by the Nazis to describe people with both Jewish and Aryan ancestry—like her father and godmother\, interwoven with the music and writings of prominent German Jewish converts and Mischlinge. \n\n\nIMAGE: Carolyn Enger \n\nFUTURE EVENTS AND RECORDINGS OF PAST EVENTSSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/carolyn-enger-mischlinge-expose/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20210106T120000
DTEND;TZID=America/New_York:20210106T130000
DTSTAMP:20260403T185115
CREATED:20201202T115119Z
LAST-MODIFIED:20210111T111412Z
UID:5041-1609934400-1609938000@fritzaschersociety.org
SUMMARY:Biala (1903-2000):The Rash Acts of Rescue and EscapeJason Andrew\, New York
DESCRIPTION:WATCH THE RECORDING OF THIS EVENT HERE.\nMore information about Janice Biala is available HERE. \nLecture featuring\nJason Andrew\nIndependent Scholar\, Curator and Producer in New York\n \nIntroduced by \nRachel Stern\nExecutive Director of the Fritz Ascher Society in New York\n\nBiala (1903-2000) was a Polish born American painter whose career stretched over eight decades and spanned two continents. Through it all\, she retained an intimacy in her art rooted in Old World Europe—sensibilities that began with memories of her childhood in a Polish village\, shaped by School of Paris painters like Bonnard\, Matisse and Braque\, inspired by Velázquez and the Spanish Masters\, and broadened by the community of loft-living artists in Post World War II Downtown New York.\n\n\nHer arrival in Paris in 1930 from New York City marked the beginning of an extraordinary life: one full of adventure\, a passion for literature\, and an appetite for art. On that fateful trip she met and fell in love with the English Novelist Ford Madox Ford. Ford shared with her all he knew and introduced her to the many artists forging a new Modernism including Brancusi\, Matisse\, Picasso\, and Gertrude Stein among others. Biala became Ford’s most fierce advocate remaining devoted to him\, at his side\, until his death in Deauville\, France on June 26\, 1939.\n\nBiala’s commitment to Ford did not soften at his death. In this lecture\, Jason Andrew shares his research and insight into Biala’s harrowing effort to traveled back to the South of France\, which was in Mussolini’s crosshairs\, to make the daring rescue of Ford’s manuscripts and library\, just as war would consume all of Europe. Joining Andrew in this presentation is choreographer Julia K. Gleich\, who will bring voice to the letters of Janice Biala.\n\nJason Andrew is an independent scholar\, curator\, and producer. He is the founding partner at Artist Estate Studio LLC\, the entity that represents the estates of Jack Tworkov\, Janice Biala\, and Elizabeth Murray among others. He has written\, lectured\, and curated extensively on the life and art of Janice Biala and her contemporaries including a retrospective of the artist’s work at Provincetown Art Association and Museum in 2018\, as an exhibition focused on Biala’s work 1952-1962 on view at McCormick Gallery\, Chicago through January 2021. \nJulia K Gleich is a choreographer\, teacher\, scholar and mathematics aficionado with an MA from the Bolz Center for Arts Administration at the University of Wisconsin-Madison and an MFA from the University of Utah. In 2004\, Julia Gleich\, in partnership with Jason Andrew\, founded Norte Maar for Collaborative Projects in the Arts with a mission to renew and refresh the exchange within the interdisciplinary arts. She then became a partner in Artist Estate Studio\, LLC. Ms. Gleich is the founder and Artistic Director of Gleich Dances\, which has received critical notice in The New York Times\, DanceInforma\, DanceInsider\, Village Voice\, The New Criterion\, The Brooklyn Rail\, among others. \n  \nThe event is part of our monthly series\nFlight or Fight. stories of artists under repression\, which is generously sponsored by Allianz Partners.\nFuture events and the recordings of past events can be found HERE. \n  \n\nImage: Biala (1903-2000) “Jeune Femme\,” c. 1933\, Oil on panel\, 25 1/2 x 21 1/4 in. (66 x 55.9 cm) Collection of the Estate of Janice Biala © Estate of Janice Biala / Artists Rights Society (ARS)\, New York
URL:https://fritzaschersociety.org/exhibition-event/biala/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201202T120000
DTEND;TZID=America/New_York:20201202T130000
DTSTAMP:20260403T185115
CREATED:20200930T111058Z
LAST-MODIFIED:20220306T163932Z
UID:4791-1606910400-1606914000@fritzaschersociety.org
SUMMARY:White Shadows: The Photograms of Anneliese Hager (1904-1997)Lynette Roth\, Harvard Art Museums
DESCRIPTION:Lecture by \nLynette Roth\nDaimler Curator of the Busch-Reisinger Museum and Head of the Division of Modern and Contemporary Art at the Harvard Art Museums\nModerated by \nRachel Stern\nExecutive Director of the Fritz Ascher Society in New York\nAnneliese Hager (1904-1997) is one of a number of modern artists who began their artistic experimentation in Germany after National Socialist cultural policy began to harden against all forms of modern art. Her preferred medium was the photogram\, a photographic image made by placing an object directly on (or in close proximity to) a light-sensitive surface and exposing it to light. Hager called the reversal of light and dark in the resulting contact print “white shadows.” \nDespite being one of the photogram’s key 20th century practitioners\, Hager has remained virtually unknown. All of her artwork prior to 1945 was completely destroyed in the bombing of Dresden\, but that is only one challenge to broader recognition. Hager’s reception of the Weimar avant-garde in the mid-1930s was mediated through publications\, but also through direct contact with modern artists who had remained in Nazi Germany. It is nonetheless perceived as “belated.” And\, despite her active role in the art of the immediate postwar period – the focus of my recent exhibition Inventur – she\, like many women artists\, was increasingly overlooked in the 1950s as a result of the return to a conservative sexual and social order. This talk will thus examine “white shadows” as an apt metaphor for an artistic project which began under Nazi censure and ended in a different kind of isolation in postwar Germany. \nImage above: Anneliese Hager\, Untitled\, 1950s-1960s. Gelatin silver print\, 29 × 38 cm (11 7/16 × 14 15/16 in.) Harvard Art Museums/Busch-Reisinger Museum\, Gift of the German Friends of the Busch-Reisinger Museum\, 2018.323. © Estate of Anneliese Hager. \nLynette Roth is Daimler Curator of the Busch-Reisinger Museum and Head of the Division of Modern and Contemporary Art at the Harvard Art Museums. She received her B.A. from the University of Michigan and her Ph.D. from Johns Hopkins University. Roth’s research focuses on art from German-speaking countries\, with publications and exhibitions on the Weimar period (Cologne Progressives\, Max Beckmann\, August Sander)\, the immediate postwar period (Inventur–Art in Germany\, 1943–55)\, and contemporary art (Rebecca Horn\, Shahryar Nashat\, Wolfgang Tillmans). Current projects include exhibitions on the photogram\, German art and identity after 1980\, and a re-imagining of the Busch-Reisinger’s 18th century porcelain collection with artist Arlene Shechet. \nThe event is part of our monthly series\nFlight or Fight. stories of artists under repression\, which is generously sponsored by Allianz Partners. \n\nWeisse Schatten: Die Fotogramme von Anneliese Hager (1904-1997)\n\nAnneliese Hager (1904-1997) gehört zu einer Reihe moderner KünstlerInnen\, die ihre künstlerischen Experimente in Deutschland begannen\, nachdem sich die nationalsozialistische Kulturpolitik gegen alle Formen der modernen Kunst zu verhärten begann. Ihr bevorzugtes Medium war das Fotogramm\, ein fotografisches Bild\, das durch Platzieren eines Objekts direkt auf (oder in unmittelbarer Nähe) einer lichtempfindlichen Oberfläche und Belichten mit Licht erstellt wurde. Hager nannte die Umkehrung von Hell und Dunkel im resultierenden Kontaktdruck „weiße Schatten“. \nObwohl Hager eine der wichtigsten PraktikerInnen des Fotogramms im 20. Jahrhundert ist\, ist sie praktisch unbekannt geblieben. Alle ihre Kunstwerke vor 1945 wurden bei den Bombenangriffen auf Dresden vollständig zerstört\, aber das ist nur eine Herausforderung für eine breitere Anerkennung. Hagers Rezeption der Weimarer Avantgarde Mitte der 1930er Jahre wurde durch Veröffentlichungen\, aber auch durch direkten Kontakt zu modernen Künstlern vermittelt\, die im nationalsozialistischen Deutschland geblieben waren. Es wird dennoch als “verspätet” wahrgenommen. Und trotz ihrer aktiven Rolle in der Kunst der unmittelbaren Nachkriegszeit – im Mittelpunkt meiner jüngsten Ausstellung Inventur – wurde sie\, wie viele Künstlerinnen\, in den 1950er Jahren aufgrund der Rückkehr zu einer konservativen sexuellen und sozialen Ordnung zunehmend übersehen. In diesem Vortrag werden daher „weiße Schatten“ als passende Metapher für ein künstlerisches Projekt untersucht\, das unter nationalsozialistischer Kritik begann und im Nachkriegsdeutschland in einer anderen Art von Isolation endete. \nLynette Roth ist Daimler-Kuratorin des Busch-Reisinger-Museums und Leiterin der Abteilung für moderne und zeitgenössische Kunst an den Harvard Art Museums. Sie erhielt ihren B.A. von der University of Michigan und ihren Ph.D. von der Johns Hopkins University. Roths Forschung konzentriert sich auf Kunst aus dem deutschsprachigen Raum mit Publikationen und Ausstellungen zur Weimarer Zeit (Kölner Progressive\, Max Beckmann\, August Sander)\, zur unmittelbaren Nachkriegszeit (Inventur-Kunst in Deutschland\, 1943–55) und zur zeitgenössischen Kunst (Rebecca Horn\, Shahryar Nashat\, Wolfgang Tillmans). Zu den aktuellen Projekten gehören Ausstellungen zum Fotogramm\, deutscher Kunst und Identität nach 1980 sowie eine Neuinterpretation der Porzellansammlung des Busch-Reisinger aus dem 18. Jahrhundert mit der Künstlerin Arlene Shechet.
URL:https://fritzaschersociety.org/exhibition-event/anneliese-hager-lynette-roth/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2020/09/Hager-2018.323.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201104T120000
DTEND;TZID=America/New_York:20201104T130000
DTSTAMP:20260403T185115
CREATED:20200918T030634Z
LAST-MODIFIED:20201104T200137Z
UID:4394-1604491200-1604494800@fritzaschersociety.org
SUMMARY:John Heartfield (1891-1968)His Political Engagement and Private Life in LondonRosa von der Schulenburg\, Berlin
DESCRIPTION:WATCH THE RECORDING OF THIS EVENT HERE. \nLecture featuring\nRosa von der Schulenburg\, Head of the Art Collection of the Academy of Arts in Berlin\nModerated by \nRachel Stern\, Executive Director of the Fritz Ascher Society in New York \nJohn Heartfield (1891-1968) was a German visual artist who pioneered the use of art as a political weapon. This presentation starts with preliminary remarks about John Heartfield’s bequest in the Akademie der Künste in Berlin and shows how it is accessible nowadays. A short introduction of how all began follows\, showing the background of the birth of Heartfield’s political photo-montages (World War I\, Dada\, Communist Party\, Willi Münzenberg’s Die Arbeiter-Illustrierte-Zeitung in short AIZ)\, glances at Heartfield’s first exile stage in Prague and then focuses on his 12 years as an emigrant in London\, asking how a German communist artist could continue working in exile in Great Britain during the war. \nDr. habil. Rosa von der Schulenburg is the Head of the Art Collection of the Academy of Arts in Berlin. She trained as a restorer for paintings and sculptures\, studied art history\, history and German\, dissertation on George Grosz and the legal prosecution of his satirical art during the Weimar Republic\, collaboration on various exhibition projects (including Bibliotheca Palatina\, Matthaeus Merian the Elder\, Pacifism between the world wars\, blue – the color of the distance)\, worked for several years in an auction house\, in the antiquarian book and publishing industry (Heidelberg) and in the Museum of Applied Art (Frankfurt / Main)\, from 1993 to 2000 research assistant at the Institute for Book Studies at Gutenberg University Mainz\, 2001 habilitation on Art in Exile at Goethe University Frankfurt / Main\, from 2001-2003 visiting professor (DAAD guest lecturer) at Concordia University and at McGill University in Montréal\, 2004/05 Consultant for the exhibition project “Die Zeit im Blick. Felix Nussbaum und die Moderne” on behalf of the Felix-Nussbaum-Haus\, Osnabrück and editor of the catalog of the same name\, since 2005 head of the art collection of the Akademie der Künste\, Berlin\, from 2008 also lecturer for art history at Humboldt University in Berlin. Publications mainly on modern and contemporary art (partly under the pen name Rosamunde Neugebauer). \nThe event is part of our monthly series\nFlight or Fight. stories of artists under repression\, which is generously sponsored by Allianz Partners. \n\nImage: John Heartfield\, Durch Licht zur Nacht\, Titelseite der Arbeiter-Illustrierten-Zeitung\, 1933\, Nr. 18\, Kupfertiefdruck\n© The Heartfield Community of Heirs / VG Bild-Kunst\, Bonn 2020\nAkademie der Künste\, Berlin\,  Inv.Nr. JH 2195\n\n  \nJohn Heartfield (1891-1968). Sein Politisches Engagement und Privatleben in London \nJohn Heartfield (1891-1968) war ein deutscher bildender Künstler\, der Pionierarbeit im Umgang mit Kunst als politische Waffe leistete. Diese Präsentation beginnt mit einigen einleitenden Bemerkungen zu John Heartfields Vermächtnis in der Akademie der Künste in Berlin und zeigt\, wie es heutzutage zugänglich ist. Es folgt eine kurze Einführung in die Anfänge und den Hintergrund der Geburt von Heartfields politischen Foto-Montagen (Erster Weltkrieg\, Dada\, Kommunistische Partei\, Willi Münzenbergs Die Arbeiter-Illustrierte-Zeitung\, kurz AIZ). Es folgt ein Blick auf Heartfields erste Exilphase in Prag und konzentriert sich dann voll und ganz auf seine 12 Jahre als Auswanderer in London und fragt\, wie ein deutscher kommunistischer Künstler während des Krieges weiterhin im britischen Exil arbeiten kann. \nDr. Rosa habil. von der Schulenburg\, geb. 1958 in Augsburg\, Ausbildung zur Restauratorin für Gemälde und Skulpturen\, Studium der Kunstgeschichte\, Geschichte und Germanistik\, Diss. über George Grosz und die juristische Verfolgung seiner satirischen Kunst zur Zeit der Weimarer Republik\, Mitarbeit an diversen Ausstellungsprojekten (u.a. Bibliotheca Palatina\, Matthaeus Merian d.Ä.\, Pazifismus zwischen den Weltkriegen\, Blau – Farbe der Ferne)\, mehrjährige Tätigkeit in einem Auktionshaus\, im Antiquariats- und Verlagswesen (Heidelberg) und im Museum für Angewandte Kunst (Frankfurt/Main)\, von 1993 bis 2000 wissenschaftliche Mitarbeiterin des Instituts für Buchwissenschaft an der Gutenberg-Universität Mainz\, 2001 Habilitation zur Kunst im Exil an der Goethe-Universität Frankfurt/Main\, von 2001-2003 Visiting Professor (DAAD-Gastdozentur) an der Concordia University und an der McGill University in Montréal\, 2004/05 Beraterin für das Ausstellungsprojekt Die Zeit im Blick. Felix Nussbaum und die Moderne im Auftrag des Felix-Nussbaum-Hauses\, Osnabrück und Herausgeberin des gleichnamigen Katalogs\, seit 2005 Leiterin der Kunstsammlung der Akademie der Künste\, Berlin\, ab 2008 zudem für einige Jahre Privatdozentin für Kunstgeschichte an der Humboldt-Universität zu Berlin. Publikationen vor allem zu Kunst der Moderne und der Gegenwart (teils unter dem Autorennamen Rosamunde Neugebauer). \n 
URL:https://fritzaschersociety.org/exhibition-event/john-heartfield-1891-1968his-political-engagement-and-private-life-in-londonrosa-von-der-schulenburg-berlin-2/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2020/09/Durch-Licht-zur-Nacht-AIZ-Prag-1933.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201007T120000
DTEND;TZID=America/New_York:20201007T130000
DTSTAMP:20260403T185115
CREATED:20200916T132558Z
LAST-MODIFIED:20201007T190859Z
UID:4509-1602072000-1602075600@fritzaschersociety.org
SUMMARY:Painting as an Act of Resistance.The artist Felix Nussbaum (1904-1944)Anne Sibylle Schwetter\, Osnabrück
DESCRIPTION:WATCH THE RECORDING OF THIS EVENT HERE. \nLecture featuring\nAnne Sibylle Schwetter\, Curator of the Felix Nussbaum Collection in the Felix Nussbaum House in the Osnabrück Museum Quarter\, Osnabrück\nModerated by \nRachel Stern\, Executive Director of the Fritz Ascher Society in New York \nThe German-Jewish artist Felix Nussbaum (1904 Osnabrück – 1944 Auschwitz) started a promising career in Berlin around 1930\, which ended abruptly when the National Socialists came to power in 1933. Years in exile in Italy and Belgium followed. In 1942 Nussbaum went into hiding in Brussels. The artist’s last paintings were created here from June 1943 until shortly before his arrest in June 1944. A little later he was murdered in Auschwitz.\nLike hardly any other painter of his generation\, Nussbaum reflected on personal experiences in the context of the time in his pictures and developed his own artistic style within figurative-representational modernism. Nussbaum was forced to concentrate on his own survival at the height of his artistic work. However\, the increasingly difficult conditions in exile and the life-threatening situation in hiding did not lead to artistic stagnation. On the contrary\, Nussbaum condenses his painting in his later works into a simile imagery that gives the existential themes of his pictures a timeless dimension.\nThe lecture explores the life and work of Felix Nussbaum and outlines the artistic strategies of the painter\, for whom painting became an act of resistance against dehumanization and against oblivion. \nAnne Sibylle Schwetter is the curator of the Felix Nussbaum Collection in the Felix Nussbaum House in the Osnabrück Museum Quarter. She studied art history and German in Osnabrück and Münster. In her master’s thesis she researched the subject of “Big City\, Technology and Sport. Aspects of Modernism in Felix Nussbaum’s Early Work”. Since 2004 she has been editing the catalog raisonné of the artist Felix Nussbaum. In 2006 she designed the publication as an online catalog raisonné. She curated numerous exhibitions on Felix Nussbaum\, including “Danse macabre. Dance and Death in Art of the Early Twentieth Century” (2017) and exhibitions on ostracized artists. Together with Rachel Stern\, she organized the exhibition “Leben ist Glühn. The Expressionist Fritz Ascher” at the Felix-Nussbaum-Haus. Most recently she curated the exhibition on Felix Nussbaum as part of the Digital Art Hall in cooperation with ZDF-Kultur as well as the temporary collection exhibition in the Felix Nussbaum House “Seeing Nussbaum differently. New Perspectives on the Collection” (until November 1\, 2020). \nThe event is part of our monthly series\nFlight or Fight. stories of artists under repression\, which is generously sponsored by Allianz Partners. \n\nImage: Felix Nussbaum\, Self Portrait with Jewish Passport [Selbstbildnis mit Judenpass]\, ca. 1943\, oil on canvas\, 56 x 49 cm. Felix-Nussbaum-Haus im Museumsquartier Osnabrück\, Loan from Niedersächsischen Sparkassenstiftung.\n\n  \nMalen als Akt des Widerstands – Der Künstler Felix Nussbaum  \nDer deutsch-jüdische Künstler Felix Nussbaum (1904 Osnabrück – 1944 Auschwitz) startete in Berlin um 1930 eine vielversprechende Karriere\, die mit der Machtergreifung der Nationalsozialisten 1933 abrupt beendet wurde. Es folgten Jahre im Exil in Italien und Belgien. 1942 tauchte Nussbaum in einem Versteck in Brüssel unter. Hier entstanden ab Juni 1943 die letzten Gemälde des Künstlers bis kurz vor seiner Verhaftung im Juni 1944. Wenig später wurde er in Auschwitz ermordet.\nWie kaum eine andere Malerin oder ein anderer Maler seiner Generation hat Nussbaum in seinen Bildern die persönlichen Erfahrungen im Kontext der Zeit reflektiert und dabei in Auseinandersetzung mit der figurativ-gegenständlichen Moderne einen eigenen künstlerischen Stil entwickelt. Nussbaum war gezwungen\, sich auf dem Höhepunkt seines künstlerischen Schaffens auf das eigene Überleben zu konzentrieren. Die zunehmend schwierigen Bedingungen im Exil und die lebensbedrohliche Situation im Versteck führten jedoch nicht zu künstlerischer Stagnation. Im Gegenteil\, Nussbaum verdichtet seine Malerei in den späten Werken zu einer gleichnishaften Bildsprache\, die den existenziellen Themen seiner Bilder eine zeitlose Dimension verleiht.\nDer Vortrag geht Leben und Werk Felix Nussbaums nach und wird die künstlerischen Strategien des Malers skizzieren\, für den die Malerei zu einem Akt des Widerstands gegen die Entmenschlichung und gegen das Vergessen wurde. \nAnne Sibylle Schwetter ist Kuratorin der Sammlung Felix Nussbaum im Felix-Nussbaum-Haus des Museumsquartiers Osnabrück. Sie studierte Kunstgeschichte und Germanistik in Osnabrück und Münster. In ihrer Magisterarbeit beschäftigte sie sich mit dem Thema „Großstadt\, Technik und Sport. Aspekte der Moderne im frühen Werk Felix Nussbaums“. Seit 2004 bearbeitet sie das Werkverzeichnis des Künstlers Felix Nussbaum. 2006 konzipierte sie die Publikation als Online-Werkverzeichnis. Sie kuratierte zahlreiche Ausstellungen zu Felix Nussbaum\, u.a. „Danse macabre. Tanz und Tod in der Kunst des frühen zwanzigsten Jahrhunderts“ (2017) sowie Ausstellungen zu verfemten Künstler:innen. Zusammen mit Rachel Stern hat sie 2016 die Ausstellung „Leben ist Glühn. Der Expressionist Fritz Ascher“ im Felix-Nussbaum-Haus organisiert. Zuletzt kuratierte sie die Ausstellung zu Felix Nussbaum im Rahmen der Digitalen Kunsthalle in Kooperation mit ZDF-Kultur sowie die temporäre Sammlungsausstellung im Felix-Nussbaum-Haus „Nussbaum anders sehen. Neue Perspektiven auf die Sammlung“ (bis 1. November 2020). \n 
URL:https://fritzaschersociety.org/exhibition-event/painting-as-an-act-of-resistance-the-artist-felix-nussbaum-1904-1944anne-sibylle-schwetter-osnabruck/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Lectures
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200916T170000
DTEND;TZID=America/New_York:20200916T180000
DTSTAMP:20260403T185115
CREATED:20200916T131937Z
LAST-MODIFIED:20200916T235558Z
UID:4504-1600275600-1600279200@fritzaschersociety.org
SUMMARY:Dance under the Swastika:Mary Wigman and Gyp Schlicht (1917-2015)Sabine Rollberg\, Freiburg
DESCRIPTION:View a recording of this event HERE. \nEXCLUSIVE: Watch Annette von Wangenheim’s German language documentary film “Tanz unterm Hakenkreuz” from 2003 HERE. Big thanks to Annette von Wangenheim and Sabine Rollberg for making this possible!\nGyp Schlicht speaks at 38:02 min. \nLecture featuring\nSabine Rollberg\, Professor Emeritus of Documentary Film at the Academy of Media Arts in Cologne and former ARTE Representative and ARTE Commissioning Editor for WDR\nModerated by \nRachel Stern\, Executive Director of the Fritz Ascher Society in New York \nIn times of Nazi Germany\, becoming an artist was not the typical career path for women. The „deutsche Frau“ was supposed to represent the “good housewife”\, as a mother of many children\, not wearing make-up and fancy dresses. The Nazis were refuting what they considered the decadency of the Weimar Republic\, producing self-reliant\, smoking\, smart women. But to establish an image as a modern\, future-oriented nation vis-a-vis other countries\, they needed some modern women like Leni Riefenstahl\, Marika Röck\, or Ilse Werner\, who amused and distracted the German audience from seeing the committed cruelties.\nMy mother\, a daughter of an assimilated German Jew and an Italian Catholic mother was a dancer in these days\, a student of Mary Wigman\, who is considered the founder of the German expressive dance. In this talk\, I will try to describe their professional lives not as an academic researcher\, but as a daughter and journalist\, hoping to find answers to how they pursued their career while their friends or relatives were deported or killed in concentration camps. \nProf. Sabine Rollberg was born in Freiburg in 1953 and studied History\, German Language and Literature and Political Science to doctorate level in Freiburg and Bonn. Freelance work: SWF (radio/TV broadcaster)\, Badische Zeitung (newspaper) and Frankfurter Rundschau (newspaper). After training at WDR\, she was appointed editor of International Programming (World Review\, World Review for Children\, Cultural World Review\, International Studio\, Burning Issues\, Reviews)\, Culture and Science; reporter for TV programmes Weltspiegel (World Review)\, Auslandsreport (International Report) and Auslandsstudio (International Studio)\, moderator of Treffpunkt Dritte Welt (Third World Meeting Place) and talk show Leute (People) for Berlin-based broadcaster SFB.\nFrom 1995 to 2005 she was on the media advisory board of the Goethe-Institut and Jury Member of the European Journalism Award at Freie Universität\, Berlin. From 1989 to 1994 Sabine Rollberg was ARD’s correspondent in Paris and was ARTE Editor-in-Chief in Strasbourg between 1994 and 1997. From 1999 to 2019 she was ARTE representative and ARTE Commissioning Editor for WDR. From 2007 to 2019 she was Professor of Documentary Film at the Academy of Media Arts Cologne.\nAmong other things\, she was responsible for overseeing many WDR/ARTE documentary films which won numerous international awards\, including two Oscar nominations\, among them „Darwin’s Nightmare“\, „Lost Children“\, „Losers and Winners“\, „Chernobyl: The Invisible Thief“\, “The Picture of the Napalm Girl”\, „The Green Wave / Iran Elections 2009“\, “I Shot My Love”\, “The Boy Mir – Ten Years In Afghanistan”\, “7 Or Why I Exist” and “Burma VJ – Reporting From A Closed Country”.\nSabine Rollberg is board member of Freiburg University and teaching professor at the Freiburg University College for Liberal Arts and Sciences. \n  \nThe event is part of our monthly series\nFlight or Fight. stories of artists under repression. \nSponsored by Allianz Partners. \n\nImage: Sabine Rollberg\, Freiburg.\n\n  \nTanz unter der Swastika: Mary Wigman und Gyp Schlicht (1917-2015) \nIn Zeiten des nationalsozialistischen Deutschlands war es nicht der typische Karriereweg für Frauen\, Künstlerin zu werden. Die „deutsche Frau“ sollte die „gute Hausfrau“ als Mutter vieler Kinder sein\, die kein Make-up und keine Kostüme trug. Die Nazis widerlegten\, was sie als Dekadenz der Weimarer Republik betrachteten\, die eigenständige\, rauchende\, kluge Frauen hervorgebracht hatte. Aber um ein Image als moderne\, zukunftsorientierte Nation gegenüber anderen Ländern zu etablieren\, brauchten sie einige moderne Frauen wie Leni Riefenstahl\, Marika Röck oder Ilse Werner\, die das deutsche Publikum amüsierten und davon ablenkten\, die begangenen Grausamkeiten zu sehen.\nMeine Mutter\, eine Tochter eines assimilierten deutschen Juden und einer italienischen katholischen Mutter\, war in diesen Tagen Tänzerin\, eine Schülerin von Mary Wigman\, die als Begründerin des deutschen Ausdruckstanzes gilt. In diesem Vortrag werde ich versuchen\, ihr Berufsleben nicht als akademische Forscherin\, sondern als Tochter und Journalistin zu beschreiben\, in der Hoffnung\, Antworten darauf zu finden\, wie sie ihre Karriere verfolgten\, während ihre Freunde oder Verwandten in Konzentrationslagern deportiert oder getötet wurden.
URL:https://fritzaschersociety.org/exhibition-event/dance-under-the-swastikamary-wigman-and-gyp-schlicht-1917-2015sabine-rollberg-freiburg/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Lectures
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2020/08/2_foto35_Mary-Wigman-unterrichtend-mit-Gyp-Schlicht.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200916T170000
DTEND;TZID=America/New_York:20200916T180000
DTSTAMP:20260403T185115
CREATED:20200819T213240Z
LAST-MODIFIED:20200925T112827Z
UID:4152-1600275600-1600279200@fritzaschersociety.org
SUMMARY:Dance under the Swastika:Mary Wigman and Gyp Schlicht (1917-2015)Sabine Rollberg\, Freiburg
DESCRIPTION:View a recording this event HERE \nEXCLUSIVE: Watch Annette von Wangenheim’s German language documentary film “Tanz unterm Hakenkreuz” from 2003 HERE. Big thanks to Annette von Wangenheim and Sabine Rollberg for making this possible!\nGyp Schlicht speaks at 38:02 min. \nLecture featuring\nSabine Rollberg\, Professor Emeritus of Documentary Film at the Academy of Media Arts in Cologne and former ARTE Representative and ARTE Commissioning Editor for WDR\nModerated by \nRachel Stern\, Executive Director of the Fritz Ascher Society in New York \nIn times of Nazi Germany\, becoming an artist was not the typical career path for women. The „deutsche Frau“ was supposed to represent the “good housewife”\, as a mother of many children\, not wearing make-up and fancy dresses. The Nazis were refuting what they considered the decadency of the Weimar Republic\, producing self-reliant\, smoking\, smart women. But to establish an image as a modern\, future-oriented nation vis-a-vis other countries\, they needed some modern women like Leni Riefenstahl\, Marika Röck\, or Ilse Werner\, who amused and distracted the German audience from seeing the committed cruelties.\nMy mother\, a daughter of an assimilated German Jew and an Italian Catholic mother was a dancer in these days\, a student of Mary Wigman\, who is considered the founder of the German expressive dance. In this talk\, I will try to describe their professional lives not as an academic researcher\, but as a daughter and journalist\, hoping to find answers to how they pursued their career while their friends or relatives were deported or killed in concentration camps. \nProf. Sabine Rollberg was born in Freiburg in 1953 and studied History\, German Language and Literature and Political Science to doctorate level in Freiburg and Bonn. Freelance work: SWF (radio/TV broadcaster)\, Badische Zeitung (newspaper) and Frankfurter Rundschau (newspaper). After training at WDR\, she was appointed editor of International Programming (World Review\, World Review for Children\, Cultural World Review\, International Studio\, Burning Issues\, Reviews)\, Culture and Science; reporter for TV programmes Weltspiegel (World Review)\, Auslandsreport (International Report) and Auslandsstudio (International Studio)\, moderator of Treffpunkt Dritte Welt (Third World Meeting Place) and talk show Leute (People) for Berlin-based broadcaster SFB.\nFrom 1995 to 2005 she was on the media advisory board of the Goethe-Institut and Jury Member of the European Journalism Award at Freie Universität\, Berlin. From 1989 to 1994 Sabine Rollberg was ARD’s correspondent in Paris and was ARTE Editor-in-Chief in Strasbourg between 1994 and 1997. From 1999 to 2019 she was ARTE representative and ARTE Commissioning Editor for WDR. From 2007 to 2019 she was Professor of Documentary Film at the Academy of Media Arts Cologne.\nAmong other things\, she was responsible for overseeing many WDR/ARTE documentary films which won numerous international awards\, including two Oscar nominations\, among them „Darwin’s Nightmare“\, „Lost Children“\, „Losers and Winners“\, „Chernobyl: The Invisible Thief“\, “The Picture of the Napalm Girl”\, „The Green Wave / Iran Elections 2009“\, “I Shot My Love”\, “The Boy Mir – Ten Years In Afghanistan”\, “7 Or Why I Exist” and “Burma VJ – Reporting From A Closed Country”.\nSabine Rollberg is board member of Freiburg University and teaching professor at the Freiburg University College for Liberal Arts and Sciences. \n  \nThe event is part of our monthly series\nFlight or Fight. stories of artists under repression. \nSponsored by Allianz Partners. \n\nImage: Sabine Rollberg\, Freiburg.\n\n  \nTanz unter der Swastika: Mary Wigman und Gyp Schlicht (1917-2015) \nIn Zeiten des nationalsozialistischen Deutschlands war es nicht der typische Karriereweg für Frauen\, Künstlerin zu werden. Die „deutsche Frau“ sollte die „gute Hausfrau“ als Mutter vieler Kinder sein\, die kein Make-up und keine Kostüme trug. Die Nazis widerlegten\, was sie als Dekadenz der Weimarer Republik betrachteten\, die eigenständige\, rauchende\, kluge Frauen hervorgebracht hatte. Aber um ein Image als moderne\, zukunftsorientierte Nation gegenüber anderen Ländern zu etablieren\, brauchten sie einige moderne Frauen wie Leni Riefenstahl\, Marika Röck oder Ilse Werner\, die das deutsche Publikum amüsierten und davon ablenkten\, die begangenen Grausamkeiten zu sehen.\nMeine Mutter\, eine Tochter eines assimilierten deutschen Juden und einer italienischen katholischen Mutter\, war in diesen Tagen Tänzerin\, eine Schülerin von Mary Wigman\, die als Begründerin des deutschen Ausdruckstanzes gilt. In diesem Vortrag werde ich versuchen\, ihr Berufsleben nicht als akademische Forscherin\, sondern als Tochter und Journalistin zu beschreiben\, in der Hoffnung\, Antworten darauf zu finden\, wie sie ihre Karriere verfolgten\, während ihre Freunde oder Verwandten in Konzentrationslagern deportiert oder getötet wurden.
URL:https://fritzaschersociety.org/exhibition-event/dance-under-the-swastika-sabine-rollberg/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2020/08/2_foto35_Mary-Wigman-unterrichtend-mit-Gyp-Schlicht.jpg
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