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DTSTART;TZID=America/New_York:20210913T120000
DTEND;TZID=America/New_York:20210913T130000
DTSTAMP:20260426T091412
CREATED:20210728T110111Z
LAST-MODIFIED:20220218T102638Z
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SUMMARY:Memory\, Empathy and Image: The Art of Luise Schröder (Germany)and Kitra Cahana (Canada)
DESCRIPTION:Discussion with artists\nLuise Schröder (Germany) and\nKitra Cahana (Canada) \nModerated by\nOri Z Soltes\, PHD\nTeaching Professor at Georgetown University in Washington DC\n\nIntroduced by \nRachel Stern\nDirector and CEO of the Fritz Ascher Society in New York NY\n\n\n\n\n\n\n\n\n\n\nThis program explores the work of two young artists — Kitra Cahana\, from Canada; and Luise Schroeder\, from Germany — whose photography\, documentary filmmaking and other work have been informed by an acute awareness of the myriad complications that have beset diverse individuals and groups within the complexities of the twentieth- and twenty-first-century world. Their inspirational sources range from the Holocaust to the Black Lives Matter movement as\, in similar and yet very different ways\, they focus on and champion under-represented and under-considered subjects who struggle within often callous or oppressed conditions and yet survive and even\, ocassionally\, triumph. \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\nIMAGES (both details):\nLEFT: Luise Schröder\, re-ENVISIONING (Vergegenwärtigen)\, 2004/05\nRIGHT: Kitra Cahana\, Caravane Migrante: The Question of the Future\, 2018 \n\n\n\n\nWEBSITE KITRA CAHANA\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nKitra Cahana is a freelance documentary photographer\, videographer\, a photo/video artist and a TED speaker. She is a contributing photographer to National Geographic Magazine. She has a B.A. in philosophy from McGill University and a M.A. in Visual and Media anthropology from the Freie Universitat in Berlin. Her work ranges from photographic studies of American Teens for National Geographic Magazine to documentaries on the annual life-saving dance competition in a small town in northern Canada. She is renowned for work that consistently reflects a deep sense of empathy with her subjects.\n\n\n\nKitra is the recipient of numerous grants and awards\, including two Canada Council Grants for the Visual Arts\, a 2016 TED Senior Fellowship\, a 2015 Pulitzer Center for Investigative Reporting grant\, a 2014-2015 artist residency at Prim Centre\, the 2013 International Center of Photography’s Infinity Award\, first prize for the 2010 World Press Photo\, a scholarship at FABRICA in Italy and the Thomas Morgan internship at the New York Times. \n\n\n\n\n\n\n\n\nWEBSITE LUISE SCHROEDER\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nLuise Schröder is a visual artist working in France and Germany. She studied Photography and Media Arts at the Academy of Visual Arts in Leipzig\, Germany. Within her artistic practice she is dealing with aspects of “history in the making” from a today’s perspective. She is interested in how cultures of remembrance and commemoration are influenced and formed by political agendas\, media and image production and how this affects identities and communities. In recent years\, Luise Schröder has taken part in numerous single and group exhibitions\, among others at the Rencontres International Paris/Berlin (FRANCE)\, at the Kunsthalle Baden Baden (GER)\, at the Gallery EIGEN+ART (Berlin/Leipzig\, GER)\, and at the 7th Berlin Biennale for Contemporary Art in Berlin. Alongside numerous other distinctions\, the artist got the C/O Talents Preis [C/O Talents Award] in 2012 and the SpallArt Price Salzburg in 2020. Furthermore she held a residency at the Villa Aurora in Los Angeles in 2016 and was awarded a residency at Cité Internationale des Arts in 2018/19 in Paris by the German Federal Government Commissioner for Culture and the Media. Recently she is working on her project: La Barricade – Existing as a promise\, which is supported by the French Ministry of Culture CNAP and Ateliers Médicis.\n\n\n\n\n\n\n\n\n\n RELATED EVENTS: TRAUMA\, MEMORY\, AND ARTDONATE TODAY
URL:https://fritzaschersociety.org/exhibition-event/schroeder-cahana/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Memory,Past Events
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210804T120000
DTEND;TZID=America/New_York:20210804T130000
DTSTAMP:20260426T091412
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210721T120000
DTEND;TZID=America/New_York:20210721T130000
DTSTAMP:20260426T091413
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210707T120000
DTEND;TZID=America/New_York:20210707T130000
DTSTAMP:20260426T091413
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
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2021/04/Metzger-image-selection_Page_10-copy.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210614T120000
DTEND;TZID=America/New_York:20210614T130000
DTSTAMP:20260426T091413
CREATED:20210331T173644Z
LAST-MODIFIED:20210614T220703Z
UID:5409-1623672000-1623675600@fritzaschersociety.org
SUMMARY:Weaving Resilience: Shoshana Comet’s TapestriesAn Interactive Virtual Tour by Ted Comet
DESCRIPTION:THIS EVENT WAS NOT RECORDED. \n\n\n\n\nAfter surviving the Holocaust\, Shoshana Comet (1923-2012) could not speak about her experiences. One day in 1968\, Shoshana announced that she had joined a course on weaving. At home\, she wove five 6-foot high tapestries which served as a means to unshackle herself from her holocaust trauma. Shoshana then trained to become a psychotherapist\, working with Holocaust survivors and their families who had been scarred by their experience. (See Ted Comet\, Transforming Trauma Into Creative Energy\, March 10\, 2014)\n\n\n\n\n\n\n\nTed is giving tours of Shoshana’s tapestries to diverse groups\, including students from Germany. For the past year\, these tours are virtual\, developed and conducted by DOROT\, an innovative leader in designing intergenerational programs\, supportive services and opportunities that enhance the lives of older adults. \n\n\n\n\nOpening remarks \nConsul Heiko Schwarz\nHead of Political Department\, Consulate General of the Federal Republic of Germany in New York \nRachel Stern\nDirector and CEO\, Fritz Ascher Society for Persecuted\, Ostracized and Banned Art \nAbout the Speaker: \nTed Comet is Honorary Associate Executive Vice President of the American Jewish Joint Distribution Committee\, which is engaged in rescue\, relief and reconstruction activities in over 70 countries worldwide. He was born in Cleveland and now lives in New York City. Ted founded the Salute to Israel Parade and has received numerous awards for his work during a lifetime of community service. \nThe event is organized in partnership with DOROT.
URL:https://fritzaschersociety.org/exhibition-event/weaving-resilience-shoshana-comets-tapestries/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2021/03/TapestryTourFlyer-copy-2-scaled.jpeg
ORGANIZER;CN="Dorot":MAILTO:info@dorotusa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210610T120000
DTEND;TZID=America/New_York:20210610T130000
DTSTAMP:20260426T091413
CREATED:20210525T084810Z
LAST-MODIFIED:20220218T104345Z
UID:5548-1623326400-1623330000@fritzaschersociety.org
SUMMARY:Alice Lok Cahana -Beyond 'The Last Days':Familial Continuity\, Creativity\, and ImmortalityWith Michael Berenbaum\, Michael Z Cahana\, Ken Lipper\, Ori Z Soltes
DESCRIPTION:Join us for a discussion about the Hungarian born Holocaust survivor Alice Lok Cahana\, whose life and art are recently recognized in two very different ways: The just remastered\, Academy Award®-winning documentary\, The Last Days\, presented by Steven Spielberg and USC Shoah Foundation and the book Immortality\, Memory\, Creativity\, and Survival: The Arts of Alice Lok Cahana\, Ronnie Cahana\, and Kitra Cahana\, recently published by the Fritz Ascher Society of Persecuted\, Ostracized and Banned Art\, which investigates three generations of the Cahana family and their art in the context of biological and psychological research\, allowing a deep understanding of how trauma and especially the Holocaust experience is remembered. \nThis event investigates the portrayal of Alice Lok Cahana\, her life and art\, in art book and documentary film\, the decisions that went into the production of each\, as well as the strengths and limitations of each medium in capturing Alice and educating a broader audience about her experiences during the Holocaust\, and how they affected her. \n\n\n\n\n\n\n\n\nPanel discussion featuring\nMichael Berenbaum\nHistorian\, The Last Days; Director of the Sigi Ziering Institute\,\nand Past Executive Director of USC Shoah Foundation\nRabbi Michael Cahana\nCongregation Beth Israel;\nAlice’s son and part of her legacy of multi-valent creativity\nKen Lipper\nAcademy Award®-Winning Producer\, The Last Days;\nChairman of Lipper & Co\nOri Z Soltes\nTeaching Professor\, Georgetown University\, Washington D.C.;\nEditor of Immortality\, Memory\, Creativity\, and Survival: The Arts of Alice Lok Cahana\, Ronnie Cahana\, and Kitra Cahana\nModerated by\nRachel Stern\nDirector & CEO\, Fritz Ascher Society for Persecuted\, Ostracized and Banned Art \n\n\n\n\n\n\n\n\n\nThe Last Days\, the Academy Award®-winning documentary feature executive produced by Steven Spielberg\, directed by James Moll\, produced by June Beallor and Ken Lipper\, and featuring music by Hans Zimmer\, has been remastered and is streaming worldwide on Netflix in 33 languages. The film was also re-released by Universal Pictures Home Entertainment to own on Blu-ray™\, as part of USC Shoah Foundation’s Stronger Than Hate Initiative. \nThe Last Days traces the compelling experiences of five Hungarian Holocaust survivors who fell victim to Adolf Hitler’s brutal war against the Jews during the final days of World War II. The film shares the remarkable stories of five people – a grandmother\, a teacher\, a businessman\, an artist\, and a U.S. congressman – as they return from the United States to their hometowns\, and to the ghettos and concentration camps that once imprisoned them. Through the eyes of the survivors and other witnesses\, including a former Nazi doctor at Auschwitz\, the film recounts one of the darkest chapters in human history. Above all\, The Last Days is a potent depiction of personal strength and courage\, and a testament to the power of the human spirit. \n\n\n\n\n\n\nImmortality\, Memory\, Creativity\, and Survival: The Arts of Alice Lok Cahana\, Ronni Cahana\, and Kitra Cahana starts with the art of Holocaust survivor Alice Lok Cahana. How have artistic sensibilities\, traumatic memory—and a sense of obligation to improve the world—been expressed through three generations of her family—both in who her children and grandchildren are and in how they express themselves artistically? The book investigates this layered issue from other angles: what have recent biological and psychological investigations offered\, regarding what memory is and how it works\, if and how trauma can be carried in the DNA—and the implications of all of this for understanding the impact of catastrophes like the Holocaust beyond the generation of those who experienced them directly. \nThe book was generously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\n\n\n\nACCESS THE BOOK HERE\n\n\n  \nMichael Berenbaum is a writer\, lecturer\, and teacher consulting in the conceptual development of museums and the development of historical films. He is director of the Sigi Ziering Institute: Exploring the Ethical and Religious Implications of the Holocaust at the American Jewish University where he is also a Professor of Jewish Studies. He was the Executive Editor of the Second Edition of the Encyclopaedia Judaica.\nFor the past three years\, he was President and Chief Executive Officer of the Survivors of the Shoah Visual History Foundation. From 1988–93 he served as Project Director of the United States Holocaust Memorial Museum\, overseeing its creation. He was Deputy Director of the President’s Commission on the Holocaust where he authored its Report to the President.\nBerenbaum is the author and editor of 22 books\, scores of scholarly articles\, and hundreds of journalistic pieces. His work in film has earned multiple awards. He has been the producer\, co-producer\, executive producer\, historical consultant\, writer and interviewer and interviewee on more than two dozen films in multiple languages broadcast throughout the world. \n\n\n\nRabbi Michael Z Cahana is the middle child of Alice Lok Cahana. He also is Senior Rabbi of Congregation Beth Israel in Portland\, Oregon. Born in Houston\, Texas\, Rabbi Cahana comes from multiple generations of rabbis including his late father\, Rabbi Moshe Cahana\, and his older brother\, Rabbi Ronnie Cahana. Rabbi Cahana began with a career in theater\, including acting\, directing\, and theatrical design. In 1994\, he became the first Reform rabbi in his family’s long rabbinic history. Rabbi Cahana integrates his rabbinical training with his theater background to create an environment in which prayer becomes an art form. \nKenneth Lipper is the Academy Award®-winning producer of The Last Days. He wrote the novel and original screenplay for City Hall as well as produced the film\, produced the play & film The Winter Guest\, and was the chief technical advisor of the film and author of the novel Wall Street. He is the co-publisher of the Lipper/Viking Penguin “Penguin Lives” biography series.\nKenneth Lipper is chairman of Lipper & Co\, an investment bank and investment management company. He was the Commissioner of Port Authority of New York and New Jersey\, served as New York City’s Deputy Mayor under Mayor Ed Koch\, and was General Partner of investment banks Lehman Brothers and Salomon Brothers. He was also Adjunct Professor at the School of International and Public Affairs\, Columbia University. \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\n\nAlice Lok Cahana\, Detail of Raoul Wallenberg-Schutz Pass\, 93 1/4 x 112 inches\, mixed media on canvas and paper\, 1981. \n\n\n\nEvent Partner \n\n\n\n\n\nDONATE TODAY
URL:https://fritzaschersociety.org/exhibition-event/alice-lok-cahana/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Memory,Past Events
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DTSTART;TZID=America/New_York:20210602T120000
DTEND;TZID=America/New_York:20210602T130000
DTSTAMP:20260426T091413
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:20210527T200000
DTEND;TZID=America/New_York:20210527T210000
DTSTAMP:20260426T091413
CREATED:20210511T182929Z
LAST-MODIFIED:20220218T114200Z
UID:5529-1622145600-1622149200@fritzaschersociety.org
SUMMARY:#EVERYNAMECOUNTS LIVE ZOOM DATA ENTRY EVENT
DESCRIPTION:Join the Fort Tryon Jewish Center (FTJC) and the Fritz Ascher Society for a LIVE DATA ENTRY EVENT to help build the world’s largest digital monument to victims of the Holocaust: the Arolsen Archives’ #everynamecounts. \nTHIS EVENT WAS NOT RECORDED. \nOpening Remarks \nRabbi Guy Austrian\nFort Tryon Jewish Center in New York \n\n\n\nRachel Stern\nDirector and CEO of the Fritz Ascher Society in New York \nIntroduction and Moderation \n\n\n\nElizabeth Berkowitz\nDigital Interpretation Manager of the Fritz Ascher Society in New York \n\n\n\n\n\n\n\n#everynamecounts is a crowd-sourced data entry initiative to return the names of Holocaust victims\, their families\, and details of their lives into the findable\, keyword-searchable public record. Participants enter information about Nazi victims and family members from digitized Buchenwald incarceration registration cards\, part of the Arolsen Archives’ 30 million document holdings. Data entry for each document takes approximately 4-5 minutes to complete. \nThe International Tracing Service (ITS)\, now called the Arolsen Archives\, was established by the Allied powers in 1948 as a central search and information center. Today based in Germany and governed as a collaboration among eleven member countries\, the international Arolsen Archives has since become the world’s most comprehensive repository of materials connected to National Socialist victims and survivors—currently documenting the persecution of over 17.5 million people. The Archives’ vast holdings include concentration camp\, ghetto\, and penal institution prisoner rolls; documents about forced laborers; personal effects taken from concentration camp inmates; and Displaced Persons records from the early post-war period\, among many other testaments to lives lost and lived under Nazi persecution. More information HERE. \nThe Fort Tryon Jewish Center (FTJC) is an independent traditional egalitarian Jewish congregation and community serving Northern Manhattan since 1938. \n\nElizabeth Berkowitz is an art historian specializing in modern art historiography\, pre-World War II European painting\, and digital humanities strategies. Her writings have appeared in both popular and academic publications\, and she has extensive experience as an educator and program developer for universities and cultural organizations. Elizabeth is currently acting as the Fritz Ascher Society’s Digital Interpretation Manager for grant-based projects. \nIMAGE: #everynamecounts by Arolsen Archives\, Arolsen (Germany) \nPROJECT PAGE #EVERYNAMECOUNTSSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/everynamecounts-live-data-entry-event/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Past Events
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DTSTART;TZID=America/New_York:20210526T120000
DTEND;TZID=America/New_York:20210526T130000
DTSTAMP:20260426T091413
CREATED:20201208T102805Z
LAST-MODIFIED:20220218T105158Z
UID:5060-1622030400-1622034000@fritzaschersociety.org
SUMMARY:Helene Klodawsky\, Film Director (Canada) and Sabine Rollberg\, Expert of Documentary Film (Germany) discuss"Undying Love." Stories of Romance\, Marriage and Rebirth in Displaced Persons’ Camps
DESCRIPTION:This exclusive program features two award winners: \nHelene Klodawsky\, Independent Filmmaker\, Writer and Director of “Undying Love”\, Montreal (Canada)\nin conversation with\nSabine Rollberg\, Professor of Artistic Television Formats\, Film and Television\, Freiburg (Germany)\nModerated by Rachel Stern\, Director of the Fritz Ascher Society\, New York (USA) \n\n\n\n\n\n\nUndying Love tells the poignant\, enduring\, and miraculous love stories of the survivors of World War II. Against the brutalized landscape of post-war Europe\, this film focuses on how survivors struggled to reconstruct personal identities and forge intimate relationships. Using searing testimonies\, poetic dramatizations\, archives and images of romantic love from the pre- and post-Holocaust era\, Undying Love is a textured retelling of several extraordinary love stories which emerged “out of the ashes.” \n\nA feature documentary written and directed by Helene Klodawsky. Produced by Ina Fichman. With film awards from the US\, Canada\, Poland\, and Israel\, Undying Love has been televised around the world. It is included in the 2017 Réalisatrices Équitables/ Films Fatales 100 Best Canadian Films by Women\, and was featured in DOC 35’s line up at the 2018 Rencontres Internationales du Documentaire in Montreal.\n\n\n\nWATCH THE FILM HERE\n\n\nIndependent filmmaker Helene Klodawsky is a passionate storyteller committed to portraying political and social struggles\, as well as to exploring the documentary art form. Her award winning work\, spanning thirty-five years\, is screened\, and televised around the world in venues as diverse as New York’s Museum of Modern Art and Kenyan refugee camps. \n\n\n\n\nHer work includes Painted Landscapes of the Times (1984)\, Shoot and Cry (1986)\, Motherland (1994)\, What If? (1998) Undying Love (2002) No More Tears Sister (2004) Family Motel (2007) Malls R Us (2009) Come Worry With Us! (2013) Grassroots in Dry Lands (2015) From Janet With Love (2017) and The Invisible Everywhere (2019).  Helene is in pre-production with Intuitive Pictures and The National Film Board of Canada as director/writer of Stolen Time\, a feature documentary on nursing home negligence. \nHelene’s films have received awards and nominations from the Academy of Canadian Cinema\, Hot Docs\, Les Rendez-vous du Cinema Quebecois\, Rencontres Internationales du Documentaire de Montréal\, Warsaw Jewish Film Festival\, The World Press Photo Festival\, the Jerusalem International Film Festival\, The Montréal International Festival of Films on Art\, Columbus Film Festival to name a few. The Canadian Broadcasting Corporation\, PBS\, CTV\, Channel Four\, Canal+\, and The Australian Broadcasting Corporation are among the broadcasters she has collaborated with. Her films appear in university curricula worldwide. \n\nThroughout her career\, Sabine Rollberg has edited\, taught and promoted documentary film. She studied History\, German Language\, Literature and Political Science to doctorate level in Freiburg and Bonn. After training at broadcaster WDR\, she was appointed editor of International Programming\, Culture and Science; reporter for TV programs Weltspiegel\, Auslandsreport and Auslandsstudio\, moderator of Treffpunkt Dritte Welt and talk show Leute for Berlin-based broadcaster SFB. From 1989-94 Sabine Rollberg was ARD’s correspondent in Paris and was ARTE Editor-In-Chief in Strasbourg 1994-97. 1999-2019 she was ARTE representative and ARTE Commissioning Editor for broadcaster WDR\, and 2007-19 Professor of Documentary Film at the Academy of Media Arts Cologne. Among other things\, she was responsible for overseeing numerous important documentary films which won national and international awards\, including the German Film Award\, LOLA\, Grimme Preis\, European Film Awards\, Prix Italia\, Golden Gate Award\, several Human Rights Awards and Journalist Award\, and two Oscar nominations. \nIMAGE: Detail from “Undying Love” Film Poster\, 2002. \n\nSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/undying-love/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Memory,Past Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20210505T120000
DTEND;TZID=America/New_York:20210505T130000
DTSTAMP:20260426T091413
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:20210428T170000
DTEND;TZID=America/New_York:20210428T180000
DTSTAMP:20260426T091413
CREATED:20210331T013900Z
LAST-MODIFIED:20220218T112324Z
UID:5410-1619629200-1619632800@fritzaschersociety.org
SUMMARY:Worlds Apart: Antithetical Jewish Experiences in the Twentieth CenturyA book discussion with Dr. Ori Z Soltes\, Washington D.C.
DESCRIPTION:Conversation with \nDr. Meital Orr and Dr. Ori Z. Soltes\n\n\n\nOpening remarks\nRachel Stern\, Fritz Ascher Society forPersecuted\, Ostracized and Banned Art\nAnke Yael Popper\, Embassy of the Federal Republic of Germany \nOrganized by the Center for Jewish Civilization at Georgetown University in Washington D.C. \nThis program delves into the following books by Ori Z Soltes: \n\n\n\n\n\n\n\n\nImmortality\, Memory\, Creativity\, and Survival: The Arts of Alice Lok Cahana\, Ronnie Cahana\, and Kitra Cahana  \nThis book reviews the story of a 14-year-old girl from Sarvar\, Hungary who was deported to Auschwitz by the Nazis\, together with her family. She was the sole survivor of the deportation and transit through three different camps\, ended up marrying a rabbi\, moving to Houston\, Texas\, by way of Israel\, and becoming an artist. She defeated Hitler in three ways: she survived; she ended up turning the destructive processes of her Holocaust experience into creative expression–extracting rainbows from the ashes; and she and her husband produced three children (both sons becoming rabbis) and nine grandchildren. Her older son\, Ronnie\, also achieved artistic success as a poet; his oldest daughter\, Kitra\, has already gained recognition as a photographer and filmmaker–and both of them and their work are in part informed by Alice’s experience and the powerful impact of its transmission on their lives and those of the other members of the family. These two narratives could hardly be more opposite in expressing aspects of the Jewish experience in the modern and contemporary world. The talk will include an array of visual images. \nDr. Ori Z. Soltes conceived this publication with Rachel Stern\, the Founding Director and CEO of The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art in New York. Immortality\, Memory\, Creativity\, and Survival: The Arts of Alice Lok Cahana\, Ronnie Cahana and Kitra Cahana was published by The Fritz Ascher Society\, which researches\, discusses\, publishes\, and exhibits artists whose life and work were affected by the German Nazi regime between 1933 and 1945. Its work commemorates their artistic achievements\, introduces work that may have been forgotten to a broad audience\, and initiates an active dialogue about individuality and artistic integrity in response to conditions of extreme duress and to political tyranny. \nFunding for this publication was made possible with a grant by the Federal Republic of Germany. \n\n\n\n\n\nPROJECT PAGE “TRAUMA\, MEMORY AND ART” WITH ACCESS TO BOOK\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nGrowing Up Jewish in India: Synagogues\, Customs and Ceremonies from the Bene Israel to the Art of Siona Benjamin \nThis book considers the diverse and positive experience of the Jewish communities in India\, culminating with a discussion of the work of an artist who\, growing up in that Hindu and Muslim country\, went to Catholic and Zoroastrian (Parsi) schools\, before migrating to America and finding her artistic voice as a harmony of multi-cultural\, multi-ethnic and multi-religious influences. \n\n\n\n\nAbout the Speakers: \nDr. Meital Orr\, Center for Jewish Civilization\nDr. Orr is a literary critic who has published peer-reviewed articles on modern Jewishliterature and film in comparative context. Dr. Orr recently worked on a speakingengagement on modern Jewish literature at the 2020 ASEES conference\, and an article fora special edition of SHOFAR\, ‘The Modern Jewess: Images and Text\,’ on the convergence ofwomen’s voices in 21st century Israeli and Palestinian Literature and Film. \nDr. Ori Z. Soltes\, Center for Jewish Civilization\nDr. Soltes is the former Director the B’nai B’rith Klutznick National Jewish Museum. As co-founding Director of the Holocaust Art Restitution Project he has spent twenty yearsfocused on the issue of Nazi-plundered art. Soltes has authored and edited 19 books andscores of articles and exhibition catalogue essays. \n\nRachel Stern\, The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\nMs. Stern is the Founding Director and CEO of The Fritz Ascher Society. Born and educatedin Germany\, she worked for ten years in the Department of Drawings and Prints at theMetropolitan Museum of Art in New York. She has also independently organized numerousart exhibitions\, and has written extensively about art. \n\nAnke Yael Popper\, Embassy of the Federal Republic of Germany\nMs. Popper has been posted to the German Embassy in Washington D.C. since July 2018.She initially served as Deputy Director of the German Information Center and then as Headof the Cultural Section (since Sept. 2020). She previously served at the Federal ForeignOffice in Berlin as Head of Real Estate Management Europe\, and before that was postedabroad as Head of the Economic Department of the German Embassy in Tel Aviv\, and inother roles in Bucharest and the Hague.
URL:https://fritzaschersociety.org/exhibition-event/worlds-apart-antithetical-jewish-experiences-in-the-twentieth-century/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Past Events
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DTSTART;TZID=America/New_York:20210407T120000
DTEND;TZID=America/New_York:20210407T130000
DTSTAMP:20260426T091413
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:20210310T120000
DTEND;TZID=America/New_York:20210310T130000
DTSTAMP:20260426T091413
CREATED:20210304T162412Z
LAST-MODIFIED:20220218T113723Z
UID:5300-1615377600-1615381200@fritzaschersociety.org
SUMMARY:Building the Largest Digital Memorial to the Victims of Nazism: The Arolsen Archiveswith Floriane Azoulay and Giora Zwilling\, Arolsen
DESCRIPTION:The International Tracing Service (ITS)\, since 2019 called Arolsen Archives\, was established by the Allies in 1948 as a central search and information center. They house the world’s most extensive collection of documents about the victims of National Socialist persecution\, including documents from Nazi concentration camps\, ghettoes and penal institutions\, documents about forced laborers\, and documents from the early post-war period about Displaced Persons\, mainly Holocaust survivors\, former concentration camp prisoners\, and forced laborers. People who had fled the sphere of influence of the Soviet Union for political reasons are also included.\n\nThe archive’s holdings consist of 30 million documents in total and belong to UNESCO’s Memory of the World. \nAt this event\, Floriane Azoulay (Director) and Giora Zwilling (Deputy Head of Archives) from the Arolsen Archives speak about the importance of the documents at Arolsen Archives for Holocaust research\, and the role that the crowdsourcing initiative “everynamecounts” plays in their effort in making the information globally accessible. \nAs the first US partner in the crowdsourcing initiative “everynamecounts”\, this event starts our partnership with the Arolsen Archives. \n\nIMAGE: Arolsen Archives\, Arolsen (Germany) \nLecture by\nFloriane Azoulay\, Director of the Arolsen Archives\, Arolsen (Germany)\nGiora Zwilling\, Deputy Head of Archives of the Arolsen Archives\, Arolsen (Germany) \nIntroduced by \nRachel Stern\, Director and CEO of the Fritz Ascher Society in New York\n\nFloriane Azoulay is the current Director of the Arolsen Archives. A French human rights expert\, she previously served as Head of the Tolerance and Non-Discrimination Department at the Office for Democratic Institutions and Human Rights (ODIHR) of the Organization for Security and Co-operation in Europe (OSCE) – an intergovernmental organization with 57 participating states. She has a Master’s degree in Social Sciences from the EHESS in Paris\, a Master’s degree in Management from ESCP Europe\, and a Bachelor’s degree in Philosophy from the University of Paris-La Sorbonne. \n\n\n\nGiora Zwilling is the Deputy Head of the Archives Department and Head of the Archival Description Office of the Arolsen Archives. He previously was a Media consultant for the United Nations Independent Commission of Inquiry on the 2014 Gaza Conflict (2015)\, Head of the Arrangement and Digitization Department and Cataloging (2010-2014) and arrangement assistant (20o7-2010) of the Yad Vashem Archives\, Israel\, as well as Editor for Kineret Zmora-Bitan publishers\, Israel (2005-2007). He studied history at the Open University of Israel and Tel Aviv University. \n\n\n\nPROJECT PAGE #EVERYNAMECOUNTSButton Text
URL:https://fritzaschersociety.org/exhibition-event/arolsen-archives/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Past Events
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DTSTART;TZID=America/New_York:20210303T120000
DTEND;TZID=America/New_York:20210303T130000
DTSTAMP:20260426T091413
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:20260426T091413
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:20260426T091413
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:20260426T091413
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:20260426T091413
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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DTSTART;TZID=America/New_York:20201202T120000
DTEND;TZID=America/New_York:20201202T130000
DTSTAMP:20260426T091413
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201125T120000
DTEND;TZID=America/New_York:20201125T130000
DTSTAMP:20260426T091413
CREATED:20201028T105419Z
LAST-MODIFIED:20201125T211020Z
UID:4864-1606305600-1606309200@fritzaschersociety.org
SUMMARY:Legacy And Creativity:The Filmmaking and Photography of Kitra CahanaIn Conversation with Ori Z Soltes
DESCRIPTION:WATCH THE RECORDING OF THIS EVENT HERE. \nConversation featuring\nKitra Cahana\, Documentary Photographer\, Videographer and Photo/Video Artist\nand\nOri Z Soltes\, Teaching Professor at Georgetown University in Washington DC\nIntroduced by\nRachel Stern\, Executive Director of The Fritz Ascher Society in New York NY \nKitra Cahana’s award winning work ranges from photographic studies of American Teens for National Geographic Magazine to documentaries on the annual life-saving dance competition in a small town in northern Canada. She is renowned for work that consistently reflects a deep sense of empathy with her subjects. Her grandmother was a teen-aged Holocaust survivor who became an intense and powerful painter. Her father\, a rabbi and a poet\, was severely disabled by a stroke at the age of 57\, and Kitra became a key caretaker as he fought his way back to a speaking capability. \nWhat is the range of subjects upon which she has focused and what brought her toward such variety? Is there a theme that connects them all? How was she affected\, growing up\, by her grandmother’s story and its implications for her role in the world? How was her father affected by his mother\, who in turn influenced her early on? How\, more recently\, did her father’s sudden change in condition yield new and further directions for her thinking and her work? How is Kitra’s work and its inimitable style a reflection of the transmission of trauma and memory and how is it simply a function of Kitra as Kitra? \nThis webinar explores Kitra Cahana’s work and its sources in a discussion with Ori Z Soltes. \nKitra Cahana (b. 1987) is a freelance documentary photographer\, videographer\, a photo/video artist and a TED speaker. She is a contributing photographer to National Geographic Magazine. She has a B.A. in philosophy from McGill University and a M.A. in Visual and Media anthropology from the Freie Universitat in Berlin. Kitra is the recipient of numerous grants and awards\, including two Canada Council Grants for the Visual Arts\, a 2016 TED Senior Fellowship\, a 2015 Pulitzer Center for Investigative Reporting grant\, a 2014-2015 artist residency at Prim Centre\, the 2013 International Center of Photography’s Infinity Award\, first prize for the 2010 World Press Photo\, a scholarship at FABRICA in Italy and the Thomas Morgan internship at the New York Times. https://kitracahana.com/home/. \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\, among some 80 exhibitions he curated an exhibited the work of Alice Lok Cahana. 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. \nThis event discusses topics which are explored more deeply in the book “Immortality\, Memory\, Creativity\, and Survival: The Arts of Alice Lok Cahana\, Ronnie Cahana and Kitra Cahana\,” which is edited by Ori Z Soltes and will be published in December 2020 by The Fritz Ascher Society. \nGenerously sponsored by the\nConsulate General of the Federal Republic of Germany in New York. \nImage: Kitra Cahana\, The Cult of Maria Lionza: Fire\, 2009.
URL:https://fritzaschersociety.org/exhibition-event/kitra-cahana/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Memory,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2020/10/Kitra-Cahana-fsl.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201118T120000
DTEND;TZID=America/New_York:20201118T130000
DTSTAMP:20260426T091413
CREATED:20201027T121536Z
LAST-MODIFIED:20201118T193457Z
UID:4857-1605700800-1605704400@fritzaschersociety.org
SUMMARY:Immortality\, Memory\, Creativity\, and Survival: The Arts of Alice Lok Cahana\, Ronnie Cahana\, and Kitra Cahana Lecture by Ori Z Soltes\, Washington DC
DESCRIPTION:WATCH THE RECORDING OF THIS EVENT HERE. \nLecture featuring\nOri Z Soltes\, Teaching Professor at Georgetown University in Washington DC\nModerated by \nRachel Stern\, Executive Director of the Fritz Ascher Society in New York \nThis lecture explores several interlocking themes. The work of three artists\, each in a different medium—Alice was primarily a painter\, Ronnie is a poet\, and Kitra is a well-recognized photographer and filmmaker—will be presented and explored with regard to both aesthetic and conceptual intentions and outcomes. Since these three artists represent three generations from within one family\, the question of how that familial relationship does or does not impinge on the artistic output will be explored. Inevitably\, the fact that the first of the three was a Holocaust survivor and the second is a survivor of a major stroke—who is slowly re-gaining his ability to speak and to move–will lead to a discussion of the various levels at which one may understand the concept “survival”–physical\, mental\, psychological-spiritual–and how the interwoven layers of that concept may be said to have affected the life and the art of all three generations in this matrix. \nThis talk discusses topics which are explored more deeply in the book with the same title\, which is edited by Ori Z Soltes and is published in December 2020 by The Fritz Ascher Society. \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\, among some 80 exhibitions he curated an exhibited the work of Alice Lok Cahana. 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. \nGenerously sponsored by the\nConsulate General of the Federal Republic of Germany in New York. \nImage: Alice Lok Cahana\, Whirlwind\, ca 1980. Acrylic and water color on canvas\, 54 x 62 inches. Courtesy Cahana family archives.
URL:https://fritzaschersociety.org/exhibition-event/cahana-soltes/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Memory,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2020/10/034-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201109T120000
DTEND;TZID=America/New_York:20201109T133000
DTSTAMP:20260426T091413
CREATED:20201018T203323Z
LAST-MODIFIED:20201112T164245Z
UID:4833-1604923200-1604928600@fritzaschersociety.org
SUMMARY:"Trauma\, Memory and Art" An interdisciplinary virtual conference with Ori Z. Soltes\, Larry R. Squire\, Natan P.F. Kellermann and Eva Fogelman
DESCRIPTION:WATCH THE RECORDING OF THIS EVENT HERE. \nIn this interdisciplinary conference\, four experts discuss the transmission of Holocaust trauma and memory against the backdrop of art. The starting point of the discussion is the art of Holocaust survivor Alice Lok Cahana and how artistic sensibilities\, traumatic memory—and a sense of obligation to improve the world—have been expressed through three generations of her family—both in who her children and grandchildren are and in how they express themselves artistically.\nThe discussion will amplify this layered issue from other angles: what have recent biological and psychological investigations offered\, regarding what memory is and how it works\, if and how trauma can be carried in the DNA—and the implications of all of this for understanding the impact of catastrophes like the Holocaust beyond the generation of those who experienced them directly. \nThis conference discusses topics which are explored more deeply in the book “Immortality\, Memory\, Creativity\, and Survival: The Arts of Alice Lok Cahana\, Ronnie Cahana and Kitra Cahana\,” which is edited by Ori Z. Soltes\, Teaching Professor at Georgetown University\, Washington DC\, and will be published in December 2020 by The Fritz Ascher Society. \nGenerously sponsored by the\nConsulate General of the Federal Republic of Germany in New York. \nGreetings \nHon. David Gill\, Consulate General of the Federal Republic of Germany in New York \nPanelists \nOri Z. Soltes PhD\, Teaching Professor at Georgetown University in Washington D.C.\n“The art of Alice Lok Cahana\, Ronnie Cahana\, and Kitra Cahana” \nLarry R. Squire PhD\, Professor of Psychiatry\, Neurosciences\, and Psychology at the University of California in San Diego CA\n“Remembering” \nNatan P. F. Kellermann PhD\, Psychologist and Psychodramatist in Jerusalem\, Israel\n“Major Variables of Holocaust Trauma Transmission” \nEva Fogelman PhD\, Social Psychologist and Psychotherapist in New York NY\n“Descendants of Holocaust Survivors: Myths and Realities” \nModerator \nRachel Stern\, Executive Director of The Fritz Ascher Society in New York NY \n  \nDr. Ori Z. Soltes teaches at Georgetown University across a range of disciplines\, from art history and theology to philosophy and political history. He is the former Director of the B’nai B’rith Klutznick National Jewish Museum\, and has curated more than 85 exhibitions there and in other venues across the country and overseas. He has authored or edited 21 books and scores of articles and essays. Some of his recent books include Our Sacred Signs: How Jewish\, Christian and Muslim Art Draw from the Same Source; Searching for Oneness: Mysticism in Judaism\, Christianity and Islam; Untangling the Web: Why the Middle East is a Mess and Always Has Been; and Tradition and Transformation: Three Millennia of Jewish Art & Architecture. \nLarry R. Squire\, a Fellow of the American Academy since 1996\, is Research Career Scientist at the Veterans Affairs San Diego Healthcare System and Distinguished Professor of Psychiatry\, Neurosciences\, and Psychology at the University of California\, San Diego. He is the author of Memory and Brain (1987) and Memory: From Mind to Molecules (with Eric Kandel\, 2009)\, and is also an editor of Fundamental Neuroscience (fourth edition\, 2013). \nNatan P. F. Kellerman was born in Sweden\, studied psychology at the University of Stockholm\, and moved to Israel in 1980. After training at the Moreno Institute in New York\, he became a practitioner of psychodrama. For many years\, he worked in Amcha: an Israeli treatment center for Holocaust survivors and their families\, and lectured on Holocaust trauma at the International School for Holocaust Studies in Yad Vashem. He is the author of Holocaust Trauma: Psychological Effects and Treatment (iUniverse\, 2009). \nEva Fogelman is a social psychologist\, psychotherapist\, author and filmmaker. She is in private practice in New York City and was co-founder and co-director of Psychotherapy with Generations of the Holocaust and Related Traumas at Training Institute for Mental Health\, and Jewish Foundation for Christian Rescuers\, ADL (Jewish Foundation for the Righteous)\, currently co-director Child Development Research (includes International Study of Organized Persecution of Children). Dr. Fogelman is co-editor of Children During the Nazi Reign: Psychological Perspective on the Interview Process and Children in the Holocaust and Its Aftermath. She is the writer and co-producer of the award-winning documentary Breaking the Silence: The Generation After the Holocaust(PBS). Dr. Fogelman is a Pulitzer Prize nominee for Conscience and Courage: Rescuers of Jews During the Holocaust.Her hundreds of writings appear in professional as well as popular publications.  Dr. Fogelman is a pioneer in therapeutic interventions for generations of the Holocaust and related historical traumas\, and is a frequent consultant and speaker nationally and internationally.
URL:https://fritzaschersociety.org/exhibition-event/immortality-memory-creativity-survival/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Memory,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2020/10/family28aAlice-and-Ronnie-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201104T120000
DTEND;TZID=America/New_York:20201104T130000
DTSTAMP:20260426T091413
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201029T120000
DTEND;TZID=America/New_York:20201029T130000
DTSTAMP:20260426T091413
CREATED:20200930T153010Z
LAST-MODIFIED:20201103T010958Z
UID:4776-1603972800-1603976400@fritzaschersociety.org
SUMMARY:Twitterview @Ascher_SocietyGiora Seeliger“Ask A Healthcare Clown!”
DESCRIPTION:Twitter @Ascher_Society \n\n\n\n\n\n\nGiora Seeliger\, Artistic Director and Founder of Red Noses Clowndoctors International\, takes over the FAS Twitter account to answer your burning questions about clowning\, the role of a healthcare clown\, and anything else that comes to mind! \n\n\n\nSubmit your questions in advance by writing to info@fritzaschersociety.org \n\n\n\nPart of “Send in the Clowns\,” an interactive two-week digital initiative\, which explores the clown as a figure between tragedy and comedy\, between self- identification and stage–a character designed to (literally) mask the performer’s true feelings behind a facade of happiness. “Send in the Clowns” uses the prominence of the “clown” figure in Fritz Ascher’s work as a lens through which to explore the duality of the clown both historically and today. \nGenerously sponsored by Allianz Partners. \nGiora Seeliger is a renowned clowning expert\, actor and director. He founded RED NOSES in 1994 in Austria/Europe and built up 11 RED NOSES organizations in Europe and the Middle East as well as many artistic programs as “Emergency Smile\,” where clowns work worldwide with people affected by crisis. As he is responsible for the high artistic quality within the group\, he developed a rigorous curriculum that every clown has to go through.
URL:https://fritzaschersociety.org/exhibition-event/twitter-takeover-ascher_society-ask-a-hospital-clown/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Past Events,Send in the Clowns
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2020/09/GioraTwitterviewAd.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201028T120000
DTEND;TZID=America/New_York:20201028T130000
DTSTAMP:20260426T091413
CREATED:20200930T152711Z
LAST-MODIFIED:20201028T182447Z
UID:4765-1603886400-1603890000@fritzaschersociety.org
SUMMARY:"The Hospital Clown: Between Joy and Sadness"Roundtable featuringGiora Seeliger\, Harry Page\, Ed StephanModerated by Elizabeth Berkowitz
DESCRIPTION:Watch the recording of this event HERE. \nRoundtable featuring\nGiora Seeliger\nArtistic Director and Founder of the Red Noses Clowndoctors International\nHarry Page\n“Flash” the Clown\nEd Stephan\n“Dumbbell” the Clown\nModerated by\nElizabeth Berkowitz\nArt Historian and Digital Interpretation Manager\, The Fritz Ascher Society in New York \nOne of the more appealing aspects of the clown subject to artists like Fritz Ascher was the divide between a public persona committed to joy and happiness\, and the pain or sadness that might lurk beneath the real\, human surface. Hospital or healthcare clowns straddle this divide every day of their professional lives—working to bring happiness to child patients who are often in circumstances that might otherwise inspire grief or pain. This roundtable features three professional hospital or healthcare clowns who will reflect upon their experiences in the field\, their most popular programming\, as well as coping mechanisms they use to ensure that their audience receives only positivity from their encounter. \nPart of “Send in the Clowns\,” an interactive two-week digital initiative\, which explores the clown as a figure between tragedy and comedy\, between self- identification and stage–a character designed to (literally) mask the performer’s true feelings behind a facade of happiness. “Send in the Clowns” uses the prominence of the “clown” figure in Fritz Ascher’s work as a lens through which to explore the duality of the clown both historically and today. \nGenerously sponsored by Allianz Partners. \nGiora Seeliger is a renowned clowning expert\, actor and director. He founded RED NOSES in 1994 in Austria/Europe and built up 11 RED NOSES organizations in Europe and the Middle East as well as many artistic programs as “Emergency Smile”\, where clowns work worldwide with people affected by crisis. As he is responsible for the high artistic quality within the group\, he developed a rigorous curriculum that every clown has to go through. \n\nHarry Page retired from Chrysler Corporation in 2001 and shortly thereafter moved with his wife to Knoxville\, Tennessee. In the development where they lived there was a group of people who organized the Volunteer Clowns of Tellico Village\, and Harry soon joined. The clown trope visited assisted living\, nursing homes\, and the area hospitals\, and Harry soon focused solely on hospital clowning at Fort Loudon Hospital and the University of Tennessee Medical Center. In 2016\, Harry and his wife moved to Marco Island\, FL\, where he has been clowning at Naples Community Hospital and the Golisano Children’s Hospital.\n\nEd Stephan is currently clowning at Golisano Children’s Hospital in Ft. Myers\, Florida. As “Dumbbell\,” Ed entertains children\, staff\, and visitors. Ed’s work at Golisano Children’s Hospital includes participating in special events held at the Hospital and the offsite offices. \nElizabeth Berkowitz is an art historian specializing in European modernism and modern art historiography. She currently serves as the Fritz Ascher Society’s Digital Interpretation Manager\, and previously was the Mellon/ACLS Public Fellow at the Rockefeller Archive Center. She has extensive experience as a university and museum educator\, and her writings have appeared in both popular and academic publications.
URL:https://fritzaschersociety.org/exhibition-event/the-hospital-clown/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Past Events,Send in the Clowns
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2020/09/SitCLogoC.JPG_REVISED-HOSPITAL-CLOWN-10.28.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20201027T193000
DTEND;TZID=Europe/Berlin:20201027T203000
DTSTAMP:20260426T091413
CREATED:20200930T102154Z
LAST-MODIFIED:20201028T185831Z
UID:4780-1603827000-1603830600@fritzaschersociety.org
SUMMARY:Bilder im Gespräch: BajazzoGuided Tour through the Exhibition “The Loner. Clowns in the Art of Fritz Ascher"by Curator Julia Diekmann\, Höxter (Germany)
DESCRIPTION:Exhibition curator Julia Diekmann guides through the exhibition. \nWhether in dramatic context or as individual figure\, the clown always plays the role of the outsider\, of the one opposite the many. He is laughed at and ridiculed\, is the fool\, despised\, and humiliated\, always operating from the margin. In Ascher’s work\, the figure of the clown\, the Bajazzo\, appears first around 1916. It becomes a lifelong interest\, expressed in paintings\, drawings\, lithographs and poems. Based on the opera I Pagliacci by Ruggero Leoncavallo (1857-1919)\, which was popular in the 1920s\, Ascher creates both dramatic scenes of the tragic love burlesque and studies of the Bajazzo\, the Pagliaccio or clown as a single figure. The intensity in the artistic expression of the figure\, especially the face\, encourages us to see these works as analogies to the artist himself\, the increasing parallelism between role and own artistic self. In the exhibition\, these depictions of clowns are contrasted with the powerful landscapes that dominate the work from 1945 onwards. \n\n\n\n\nDue to the corona protection regulations\, the number of participants is limited and registration is required. \nForum Jacob Pins\nWesterbachstr. 35/37\, 37671 Höxter\nT: +49 (5271) 694 74 41\nE: forum@jacob-pins.de\nwww.jacob-pins.de \nThe exhibition is on view until November 29\, 2020\, Tuesday – Sunday 10:00 am – 5:00 pm. \n\n\n\n\nThe exhibition is co-organized by The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, Inc.\, New York and the Jacob Pins Gesellschaft Kunstverein Höxter e.V.\, and is co-curated by Rachel Stern and Julia Diekmann. The exhibition is sponsored by the Ministry for Culture and Science of North Rhine Westphalia. Support for the catalogue was provided by Reinwald GmbH\, Leipzig. \nDEUTSCH \nAusstellungs-Kuratorin Julia Diekmann führt durch die Ausstellung. \nOb in szenischem Zusammenhang oder als Einzelfigur\, der Clown nimmt immer die Rolle des Abseitigen ein\, die des Einzelnen gegenüber Vielen. Er wird belacht und verlacht\, ist Narr\, Verachteter und Erniedrigter\, handelt immer aus einer Randposition heraus. Seit ca. 1916 setzt sich Fritz Ascher in Gemälden\, Zeichnungen\, Lithografien und Gedichten intensiv mit der Figur des Clowns\, des Bajazzo auseinander. Ausgehend von der in den 1920er Jahren beliebten Oper „I Pagliacci“ von Ruggero Leoncavallo (1857 – 1919) kreiert er sowohl szenische Darstellungen der tragischen Liebesburleske als auch Studien des Bajazzo\, des Pagliaccio oder Clowns als Einzelfigur. Die Intensität im künstlerischen Ausdruck der Figur verweist auf Analogien zu ihm selbst\, die zunehmende Parallelität zwischen Rolle und eigenem künstlerischem Ich. In der Ausstellung werden diese Darstellungen von Clowns den kraftvollen Landschaften gegenübergestellt\, die das Werk ab 1945 dominieren \nDie Ausstellung wurde von der Fritz Ascher Gesellschaft für verfolgte\, geächtete und verbotene Kunst\, Inc.\, New York in Zusammenarbeit mit der Jacob Pins Gesellschaft organisiert und von Rachel Stern und Julia Diekmann kuratiert. Die Ausstellung wird vom Ministerium für Kultur und Wissenschaft Nordrhein-Westfalens gesponsert. Den Katalog unterstützte die Reinwald GmbH\, Leipzig. \nDie Ausstellung ist zu sehen vom 6. September bis 29. November 2020 im Forum Jacob Pins\, Westerbachstr. 35/37\, 37671 Höxter\, Tel.: 05271-694 74 41\, www.jacob-pins.de\, Di. – So. 10:00 – 17:00 Uhr.
URL:https://fritzaschersociety.org/exhibition-event/bilder-im-gesprachguided-tour-through-the-exhibition-the-loner-clowns-in-the-art-of-fritz-ascherby-curator-julia-diekmann-hoxter-germany/
LOCATION:Forum Jacob Pins\, Westerbachstr. 35-37\, Höxter\, 37671\, Germany
CATEGORIES:Events,Past Events
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ORGANIZER;CN="Gewandhaus zu Leipzig":MAILTO:forum@jacob-pins.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201021T120000
DTEND;TZID=America/New_York:20201021T130000
DTSTAMP:20260426T091413
CREATED:20200929T205346Z
LAST-MODIFIED:20201022T043530Z
UID:4756-1603281600-1603285200@fritzaschersociety.org
SUMMARY:“The Clown on Stage”Roundtable featuringMatthew R. Wilson\, Ori Z. Soltes\, Tricia Manuel / "Pricilla Mooseburger"Moderated by Elizabeth Berkowitz
DESCRIPTION:Watch the recording of this event HERE. \nRoundtable featuring\nMatthew R. Wilson\nDirector (SDC)\, Actor (AEA\, SAG-AFTRA)\, and Fight Director (SAFD\, SDC)\, as well as a scholar and playwright\nOri Z. Soltes\nTeaching Professor at Center for Jewish Civilization\, Georgetown University\, Washington D.C.\nTricia Manuel / “Pricilla Mooseburger” the Clown\nTricia Manuel is the unmistakable Pricilla Mooseburger!\nModerated by\nElizabeth Berkowitz\nArt Historian and Digital Interpretation Manager\, The Fritz Ascher Society in New York \nHow do we define “the clown\,” historically\, in art\, and today\, in practice? What is the appeal of the clown in performance\, and how has the clown subject impacted popular culture? This roundtable pools the expertise from a diversity of fields to place Fritz Ascher’s interest in “the clown” in the context of historical and contemporary performance and imagery. \nPart of “Send in the Clowns\,” an interactive two-week digital initiative\, which explores the clown as a figure between tragedy and comedy\, between self- identification and stage–a character designed to (literally) mask the performer’s true feelings behind a facade of happiness. “Send in the Clowns” uses the prominence of the “clown” figure in Fritz Ascher’s work as a lens through which to explore the duality of the clown both historically and today. \nGenerously sponsored by Allianz Partners. \nMatthew R. Wilson teaches at The George Washington University’s Corcoran School of the Arts & Design and serves as Director of Graduate Studies for its Academy for Classical Acting in partnership with The Shakespeare Theatre Company. Dr. Wilson previously served as the International Coordinator of SAT’s worldwide Commedia dell’Arte Day and as Chair of Movement & Physical Theatre for the Southeastern Theatre Conference. He has studied\, taught\, and performed Commedia across Europe and North America including six years teaching at Antonio Fava’s Stage Internazionale di Commedia dell’Arte in Reggio-Emilia\, Italy. Wilson earned a Helen Hayes Award as founder and former Artistic Director of DC’s Faction of Fools Theatre and has toured the world with The Great One-Man Commedia Epic since 2004. Selected publications include chapters in The Routledge Companion to Commedia dell’Arte (Routledge 2015)\, the play A Commedia Christmas Carol (Playscripts 2013). Visit www.matthewrwilson.com for more information. \n\nOri Z. Soltes teaches at Georgetown University across a range of disciplines. He is former Director the B’nai B’rith Klutznick National Jewish Museum. In that capacity he has curated over 80 exhibitions domestically and internationally. Soltes has authored or edited 24 books and scores of articles and exhibition catalogue essays including Our Sacred Signs: How Jewish\, Christian and Muslim Art Draw from the Same Source; Mysticism in Judaism; Tradition and Transformation: Three Millennia of Jewish art and Architecture; and Magic and Religion in the Greco-Roman World: The Beginnings of Judaism and Christianity.\n\nPricilla Mooseburger got her start clowning with Ringling Bros. Barnum and Bailey in 1982. She is the owner of Pricilla Mooseburger Originals supplying high quality clown costumes and make-up for over 25 years. She is the founder of Mooseburger Clown Arts Camp and received the prestigious Lifetime Achievement award from the Midwest Clown Assoc. and Clowns of America International. Sher was honored with the Lifetime of Laughter award from the International Clown Hall of Fame for her contribution to clown arts education and 24 years of Mooseburger Clown Arts Camp. She launched a new virtual program The Joyful Journey bring together clowns from all over the world! Her e-newsletter Mooseburger Newz is followed by thousands providing free clown arts education.
URL:https://fritzaschersociety.org/exhibition-event/the-clown-on-stage/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Past Events,Send in the Clowns
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2020/09/SitCLogoC.JPG.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201007T120000
DTEND;TZID=America/New_York:20201007T130000
DTSTAMP:20260426T091413
CREATED:20200831T105047Z
LAST-MODIFIED:20201007T190633Z
UID:4264-1602072000-1602075600@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/10-7-20-felix-nussbaum/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2020/08/W439_FN_SB-mit-Judenpass-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20200916T170000
DTEND;TZID=America/New_York:20200916T180000
DTSTAMP:20260426T091413
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20200912T150000
DTEND;TZID=Europe/Berlin:20200912T160000
DTSTAMP:20260426T091413
CREATED:20200903T193121Z
LAST-MODIFIED:20200930T103857Z
UID:4276-1599922800-1599926400@fritzaschersociety.org
SUMMARY:Guided Tour through the Exhibition “The Loner. Clowns in the Art of Fritz Ascher"by Curator Julia Diekmann\, Höxter (Germany)
DESCRIPTION:Exhibition curator Julia Diekmann guides through the exhibition. \nWhether in dramatic context or as individual figure\, the clown always plays the role of the outsider\, of the one opposite the many. He is laughed at and ridiculed\, is the fool\, despised\, and humiliated\, always operating from the margin. In Ascher’s work\, the figure of the clown\, the Bajazzo\, appears first around 1916. It becomes a lifelong interest\, expressed in paintings\, drawings\, lithographs and poems. Based on the opera I Pagliacci by Ruggero Leoncavallo (1857-1919)\, which was popular in the 1920s\, Ascher creates both dramatic scenes of the tragic love burlesque and studies of the Bajazzo\, the Pagliaccio or clown as a single figure. The intensity in the artistic expression of the figure\, especially the face\, encourages us to see these works as analogies to the artist himself\, the increasing parallelism between role and own artistic self. In the exhibition\, these depictions of clowns are contrasted with the powerful landscapes that dominate the work from 1945 onwards. \n\n\n\n\nDue to the corona protection regulations\, the number of participants is limited and registration is required. \nForum Jacob Pins\nWesterbachstr. 35/37\, 37671 Höxter\nT: +49 (5271) 694 74 41\nE: forum@jacob-pins.de\nwww.jacob-pins.de \nThe exhibition is on view until November 29\, 2020\, Tuesday – Sunday 10:00 am – 5:00 pm. \n\n\n\n\nThe exhibition is co-organized by The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, Inc.\, New York and the Jacob Pins Gesellschaft Kunstverein Höxter e.V.\, and is co-curated by Rachel Stern and Julia Diekmann. The exhibition is sponsored by the Ministry for Culture and Science of North Rhine Westphalia. Support for the catalogue was provided by Reinwald GmbH\, Leipzig. \nDEUTSCH \nAusstellungs-Kuratorin Julia Diekmann führt durch die Ausstellung. \nOb in szenischem Zusammenhang oder als Einzelfigur\, der Clown nimmt immer die Rolle des Abseitigen ein\, die des Einzelnen gegenüber Vielen. Er wird belacht und verlacht\, ist Narr\, Verachteter und Erniedrigter\, handelt immer aus einer Randposition heraus. Seit ca. 1916 setzt sich Fritz Ascher in Gemälden\, Zeichnungen\, Lithografien und Gedichten intensiv mit der Figur des Clowns\, des Bajazzo auseinander. Ausgehend von der in den 1920er Jahren beliebten Oper „I Pagliacci“ von Ruggero Leoncavallo (1857 – 1919) kreiert er sowohl szenische Darstellungen der tragischen Liebesburleske als auch Studien des Bajazzo\, des Pagliaccio oder Clowns als Einzelfigur. Die Intensität im künstlerischen Ausdruck der Figur verweist auf Analogien zu ihm selbst\, die zunehmende Parallelität zwischen Rolle und eigenem künstlerischem Ich. In der Ausstellung werden diese Darstellungen von Clowns den kraftvollen Landschaften gegenübergestellt\, die das Werk ab 1945 dominieren \nDie Ausstellung wurde von der Fritz Ascher Gesellschaft für verfolgte\, geächtete und verbotene Kunst\, Inc.\, New York in Zusammenarbeit mit der Jacob Pins Gesellschaft organisiert und von Rachel Stern und Julia Diekmann kuratiert. Die Ausstellung wird vom Ministerium für Kultur und Wissenschaft Nordrhein-Westfalens gesponsert. Den Katalog unterstützte die Reinwald GmbH\, Leipzig. \nDie Ausstellung ist zu sehen vom 6. September bis 29. November 2020 im Forum Jacob Pins\, Westerbachstr. 35/37\, 37671 Höxter\, Tel.: 05271-694 74 41\, www.jacob-pins.de\, Di. – So. 10:00 – 17:00 Uhr.
URL:https://fritzaschersociety.org/exhibition-event/julia-diekmann-9-12-2020/
LOCATION:Forum Jacob Pins\, Westerbachstr. 35-37\, Höxter\, 37671\, Germany
CATEGORIES:Events,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2020/09/Druck_A3_Poster-Hochformat_Der-Vereinsamte_200819-copy-3.jpg
ORGANIZER;CN="Gewandhaus zu Leipzig":MAILTO:forum@jacob-pins.de
END:VEVENT
END:VCALENDAR