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SUMMARY:Liebe und Verrat: Fritz AscherKurator Erik Riedel im Gespräch mit Rachel SternJüdisches Museum Frankfurt (Germany)
DESCRIPTION:Der Maler\, Grafiker und Dichter Fritz Ascher (1893-1970) wurde bereits als 16-Jähriger von Max Liebermann an die Akademie in Königsberg empfohlen. Ab 1913 gehörte er zu den gefragten Malern in Berlin. Er war ein genauer Beobachter seiner Zeit; die Urkatastrophe des Ersten Weltkriegs und die revolutionären Unruhen in Berlin führten ihn zu christlichen und mystischen Themen\, die er radikal neu interpretierte. Nach 1933 erhielt Ascher als Jude Berufsverbot. Während der Pogrome am 9./10. November 1938 wurde er verhaftet und im Konzentrationslager Sachsenhausen und im Potsdamer Gestapo-Gefängnis interniert. \nDie Schoa überlebte er ab 1942 versteckt in einem Keller in Berlin-Grunewald. Während dieser einsamen Jahre verfasste er Gedichte. Als Künstler fand Ascher nach 1945 seinen ganz eigenen Stil. Angeregt vom nahe gelegenen Grunewald schuf er ein Spätwerk\, das sich auf Landschaften konzentrierte und dabei seiner expressionistischen Bildsprache treu blieb. Bis zu seinem Tod am 26. März 1970 lebte er zurückgezogen. \nDie Kunsthistorikerin sowie Gründungsdirektorin und Geschäftsführerin der Fritz Ascher Society for Persecuted\, Ostracized and Banned Art Rachel Stern\, gibt an diesem Abend einen Einblick in das Leben und Wirken Fritz Aschers. Und damit in die Ausstellung „Liebe und Verrat“ im Haus der Graphischen Sammlung in Freiburg (bis 2. März 2025)\, die sie zusammen mit Jutta Götzmann\, Leitende Direktorin der Städtischen Museen Freiburg\, kuratiert hat. \nDas Gespräch mit ihr führt Erik Riedel\, Kurator für den Bereich Bildende Kunst einschließlich des Ludwig Meidner-Archivs des Jüdischen Museums. \n\n\n\n\nImage above: Jüdisches Museum Frankfurt (Germany) \n\n\n\n\nFritz Ascher\, Il Pagliaccio (Der Clown)\, 1916. White gouache over pencil\, black ink and watercolor on paper\, 43\,8 x 31\,3 cm. © Bianca Stock \nFritz Ascher\, Female Nude (Windsbraut?)\, 1916. White gouache over pencil\, black ink and watercolor on paper\, 44 x 31 cm. © Bianca Stock \n\n\n\n\n\n\nThe painter\, graphic artist and poet Fritz Ascher (1893-1970) was recommended to the academy in Königsberg by Max Liebermann when he was just 16 years old. From 1913 he was a sought-after painter in Berlin. He was a keen observer of his time; the catastrophe of the First World War and the revolutionary unrest in Berlin led him to Christian and mystical themes\, which he radically reinterpreted. After 1933\, Ascher was banned from working as a Jew. During the pogroms on November 9/10\, 1938\, he was arrested and interned in the Sachsenhausen concentration camp and the Potsdam Gestapo prison. \nHe survived the Shoah from 1942 onwards\, hiding in a cellar in Berlin-Grunewald. During these lonely years he wrote poems. As an artist\, Ascher found his very own style after 1945. Inspired by the nearby Grunewald\, he created a late work that focused on landscapes while remaining true to his expressionist visual language. He lived a secluded life until his death on March 26\, 1970. \nRachel Stern\, art historian and founding director and managing director of the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, will give an insight into the life and work of Fritz Ascher this evening. And thus into the exhibition “Love and Betrayal” in the House of the Graphic Collection in Freiburg (until March 2\, 2025)\, which she curated together with Jutta Götzmann\, Managing Director of the Freiburg Municipal Museums. \nThe conversation with her will be conducted by Erik Riedel\, curator for the Fine Arts department including the Ludwig Meidner Archive of the Jewish Museum. \n\n\n\n\n\n\nJÜDISCHES MUSEUM FRANKFURT\n\n\n\n\n\nThe exhibition “Love and Betrayal – The Expressionist Fritz Ascher from New York Private Collections” can be seen from November 8\, 2024 to March 2\, 2025 in the Haus der Graphische Sammlung at Augustinermuseum\, Salzstrasse 32/34\, 79098 Freiburg im Breisgau. \nIt was curated by Dr. Jutta Götzmann\, Managing Director of the Freiburg Municipal Museums\, and Rachel Stern\, Director of the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. \nThe exhibition catalogue\, published by Michael Imhof Verlag\, costs EUR 23.90 in the online shop and in-house\, and is available in bookstores for EUR 34.95. \n\n\n\n\n\n\nHAUS DER GRAPHISCHEN SAMMLUNG FREIBURG\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/liebe-und-verrat-frankfurt/
LOCATION:Jewish Museum Frankfurt\, Bertha-Pappenheim-Platz 1\, Frankfurt am Main\, 60311\, Germany
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/10/2020-10-15.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241110T080000
DTEND;TZID=America/New_York:20241110T090000
DTSTAMP:20260416T091516
CREATED:20241022T120118Z
LAST-MODIFIED:20241124T194053Z
UID:8511-1731225600-1731229200@fritzaschersociety.org
SUMMARY:Fritz Ascher in Berlin – eine Spurensuche Kurzvortrag und Führung von Rachel Stern\, New YorkAugustinermuseum\, Haus der Graphischen Sammlung\, Freiburg
DESCRIPTION:Der spätexpressionistische Künstler Fritz Ascher (1893-1970) überlebte zwei Weltkriege und die Verfolgung durch das nationalsozialistische Regime. Als aufmerksamer Beobachter der Schrecken des Ersten Weltkriegs und der revolutionären Unruhen wandte er sich christlich-spirituellen Themen zu\, die er radikal neu interpretierte. In intimen Zeichnungen beschäftigte er sich ab 1916 mit dem Thema Liebe und Verrat\, sowohl in seiner Auseinandersetzung mit dem Kreuzigungsthema als auch mit der Figur des Bajazzo in der tragikomischen Oper „I Pagliacci“. \nKurzvortrag und Führung von Rachel Stern zeigen den Künstler in seinem sozialen und politischen Umfeld. \n\n\n\n\nImage above: Fritz Ascher\, Im Wald\, um 1919. Weisse Gouache und schwarze Tusche über Aquarell und Bleistift auf Papier\, 34 x 32\,2 cm © Bianca Stock \n\n\n\n\n\n\n\n\n\n\n\n\nThe late expressionist artist Fritz Ascher (1893-1970) survived two world wars and persecution by the National Socialist regime. As an attentive observer of the horrors of the First World War and the revolutionary unrest\, he turned to Christian-spiritual themes\, which he radically reinterpreted. From 1916 onwards\, he dealt with the theme of love and betrayal in intimate drawings\, both in his exploration of the crucifixion theme and in the figure of Bajazzo in the tragicomic opera “I Pagliacci”. \nA short lecture and guided tour by Rachel Stern show the artist in his social and political environment. \n\n\n\n\n\n\n\n\nBUY TICKETS HEREFritz Ascher\, Il Pagliaccio (Der Clown)\, 1916. White gouache over pencil\, black ink and watercolor on paper\, 43\,8 x 31\,3 cm. © Bianca Stock \nFritz Ascher\, Theseus and Antiope\, ca. 1916. White gouache over pencil\, black ink and watercolor on paper\, 39\,6 x 30\,6 cm. © Bianca Stock \n\n\n\n\n\n\nRachel Stern studierte Kunstgeschichte und Wirtschaftswissenschaften an der Georg-August-Universität Göttingen. Sie leitet als Gründungsdirektorin die Fritz Ascher Society for Persecuted\, Ostracized and Banned Art in New York. Sie wanderte 1994 in die USA aus\, schrieb für den AUFBAU und arbeitete zehn Jahre lang in der Abteilung für Zeichnungen und Drucke am Metropolitan Museum of Art in New York. Zuletzt veröffentlichte sie eine Auswahl von Gedichten von Fritz Ascher\, Poesiealbum 357 (Wilhelmshorst: Märkischer Verlag 2020) und gab zusammen mit Ori Z Soltes Welcoming the Stranger. Abrahamic Traditions and Its Contemporary Implications\, (New York: Fordham University Press 2024) heraus\, und mit Jutta Götzmann den Ausstellungskatalog Liebe und Verrat. Der Expressionist Fritz Ascher aus New Yorker Privatsammlungen heraus\, der in diesem Monat erschienen ist (Petersberg: Michael Imhof Publishers 2024). \n\nDie Ausstellung “Liebe und Verrat – Der Expressionist Fritz Ascher aus New Yorker Privatsammlungen“ ist zu sehen vom 8. November 2024 bis zum 2. März 2025 im Haus der Graphischen Sammlung im Augustinermuseum\, Salzstrasse 32/34\, 79098 Freiburg im Breisgau. \nKuratorinnen der Ausstellung sind Jutta Götzmann\, Leitende Direktorin der Städtischen Museen Freiburg\, und Rachel Stern\, Direktorin und CEO Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. \nDer Katalog zur Ausstellung\, erschienen im Michael Imhof Verlag\, kostet im Online-Shop und im Haus 23\,90 Euro\, im Buchhandel ist er für 34\,95 Euro erhältlich. \n\n\n\n\n\n\n\n\n\n\n\nRachel Stern studied art history and economics at the Georg August University in Göttingen. She is the founding director of the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art in New York. She emigrated to the USA in 1994\, wrote for AUFBAU and worked between 2000 and 2010 in the Department of Drawings and Prints at the Metropolitan Museum of Art in New York. In 2014\, she founded the Fritz Ascher Society in New York\, and in 2019 the Fritz Ascher Foundation in the Stadtmuseum Berlin. Recent publications include a selection of poems by Fritz Ascher\, Poesiealbum 357 (Wilhelmshorst: Märkischer Verlag 2020) and  Welcoming the Stranger. Abrahamic Traditions and Its Contemporary Implications\, (New York: Fordham University Press 2024) with Ori Z Soltes\, and with Jutta Götzmann the exhibition catalogue Love and Betrayal: The Expressionist Fritz Ascher from New York Private Collections\, which was published this month (Petersberg: Michael Imhof Publishers 2024). \nThe exhibition “Love and Betrayal – The Expressionist Fritz Ascher from New York Private Collections” can be seen from November 8\, 2024 to March 2\, 2025 in the Haus der Graphische Sammlung at Augustinermuseum\, Salzstrasse 32/34\, 79098 Freiburg im Breisgau. \nIt was curated by Dr. Jutta Götzmann\, Managing Director of the Freiburg Municipal Museums\, and Rachel Stern\, Director of the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. \nThe exhibition catalogue\, published by Michael Imhof Verlag\, costs EUR 23.90 in the online shop and in-house\, and is available in bookstores for EUR 34.95. \n\n\n\n\n\n\nAusstellung Liebe und Verrat – Der Expressionist Fritz Ascher aus New Yorker Privatsammlungen\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/fritz-ascher-in-berlin/
LOCATION:Augustinermuseum\, Augustinerplatz\, Freiburg im Breisgau\, 79098
CATEGORIES:Events,Lectures,Past Events
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ORGANIZER;CN="Augustinermuseum":MAILTO:augustinermuseum@stadt.freiburg.de
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241023T120000
DTEND;TZID=America/New_York:20241023T130000
DTSTAMP:20260416T091516
CREATED:20240930T122030Z
LAST-MODIFIED:20241023T175417Z
UID:8463-1729684800-1729688400@fritzaschersociety.org
SUMMARY:Sculpting a Life: Chana Orloff during Occupation\, Escape\, Exile\, Return (1938-1949) Presentation by Paula J. Birnbaum\, San Francisco (CA)
DESCRIPTION:This talk analyzes the Ukrainian born French sculptor Chana Orloff’s (1888-1968) perseverance and tremendous sacrifices during World War II\, when the Nazis came to her studio\, stole much of her work\, and brutally vandalized what they left behind. Her tenacity led to her narrow and difficult escape from Paris first to the south of France and then on to Geneva with her young adult son\, who was disabled. The presentation explores how Orloff managed her life and career under Nazi Occupation in Paris for two years\, when she was among the many French and foreign-born Jews banned from public spaces\, forced to observe a curfew and wear the yellow armband with the Star of David and the word “Juif” written on it. Professionally stifled and prohibited from exhibiting or selling her work\, Orloff strategically created what she called sculptures de poches or “pocket sculptures\,” that could easily fit in her pocket. Following a dramatic escape through the Alps\, Orloff lived over two years in forced exile in Geneva\, where remarkably she was able to rebuild her life and career\, producing more than fifty sculptures and holding a successful exhibition in 1945 at the Moos Gallery. \n\n\n\n\nImage above: Installation photograph\, February 1945. Moos Gallery\, Geneva. Courtesy of Ateliers Chana Orloff \n\n\n\n\nWhen she returned to Paris\, Orloff reclaimed her ransacked studio and home which had been officially occupied during the War years. The talk explores how she began to rebuild her professional life with incredible determination\, creating powerful works\, notable among them\, a large sculpture entitled The Return that confronted the horrors of war and dislocation of the Jewish people. Orloff’s tenacity and perseverance in the face of adversity led to her international success\, with several important exhibitions in the late 1940s in the United States (New York\, Boston\, Chicago\, and San Francisco. Orloff’s cosmopolitan modernism is contextualized in light of her relationships with international patrons and relationships with museums in France\, the United States and Israel that regularly purchased her works. \nChana Orloff\, Self-Portrait\, 1940. Plaster. Courtesy of Ateliers Chana Orloff \nChana Orloff\, Grasshopper\, 1939. Bronze. Courtesy of Ateliers Chana Orloff \n\n\nChana Orloff. Study for The Return\, 1944. Courtesy of Ateliers Chana Orloff\n\n\nChana Orloff\, The Return\, 1945. Bronze. Courtesy of Ateliers Chana Orloff \n\n\n\n\n\n\nPaula J. Birnbaum is the inaugural Ann Getty Endowed Chair and Professor of Arts History and Museum Studies and the founding director of at the Museum Studies Master of Arts Program and  University of San Francisco. She is a specialist in modern and contemporary art and holds a doctorate in Art History from Bryn Mawr College. Birnbaum is a former Fulbright Scholar in France and fellow at the Institute for Research on Women and Gender at Stanford University.\nHer research focuses on modern and contemporary art in relationship to gender and sexuality\, as well as institutional and social politics in museum exhibitions. She is the author of\, among other works\, Sculpting a Life: Chana Orloff between Paris and Tel Aviv (Brandeis University Press\, 2023)\, Women Artists in Interwar France (Routledge\, 2011; 2016) and the co-edited anthology Essays on Women’s Artistic and Cultural Contributions 1919-1939 (Edwin Mellen\, 2009). Paula is a regular contributor to scholarly journals and museum exhibition catalogs exploring the role of gender and sexuality in modernism. \n\n\n\n\n\n\nORDER THE BOOK HERE\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/chana-orloff/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/09/12-4_Copie-de-Galerie-Moos-1945.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241009T120000
DTEND;TZID=America/New_York:20241009T130000
DTSTAMP:20260416T091516
CREATED:20241001T130353Z
LAST-MODIFIED:20241009T182507Z
UID:8473-1728475200-1728478800@fritzaschersociety.org
SUMMARY:Otto Antoine (1865-1951): “The Painter of Berlin” between Compliance and Defiance  Presentation by Kathleen Langone and Q&A with Jacquelyn Delin McDonald
DESCRIPTION:Kathleen Langone speaks about the German born painter Otto Antoine (1865-1951)\, followed by a conversation with Jacquelyn Delin McDonald from the University of Texas at Dallas. \n\n\n\n\nImage above: Otto Antoine\, Brandenburg Gate\, 1928. Oil on cardboard \n\n\n\n\n\n\n\n\n\n\n\n\nAntoine displayed an early artistic talent but\, due to economic circumstances\, started a long-term career as a civil servant\, initially as a clerk at a local post office. His drawing abilities were soon recognized\, and he increasingly was used as a painter\, engraver and designer of stamps for the German postal service. They also sent him to many far-flung places outside of Germany (such as Africa) to paint bucolic landscapes of those countries\, which were used to promote their international services. \nIn 1891\, he had been enrolled at the Prussian Academy of Art to receive formal art training. There\, he was strongly influenced by Franz Skarbina\, co-founder of the Berlin Secession\, who exposed Antoine to Impressionism. Antoine’s oil paintings soon reflected this style. The stability of his job allowed him to spend considerable time creating his art. He became a member of the Association of Berlin Artists. \n\n\n\n\n\n\n\n\nOtto Antoine\, New Year 1900 Reich Post Museum\, 1900. Todd Barrowcliff Collection \nOtto Antoine\, Self Portrait\, c. 1920. Todd Barrowcliff Collection \n\n\n\n\n\n\nAntoine officially retired from civil service in 1930. To continue creating art\, he became a member of the Nazi controlled Reich Chamber of Culture in 1933. According to his family\, Antoine hated the Nazis and painted Hitler as the devil. These artworks were found by the SS\, he was beat up and the paintings destroyed. Antoine increasingly depicted landscapes and Berlin cityscapes. His artwork was displayed at Große Deutsche Kunstausstellung (“Great German Art Exhibition”) at Haus der Deutschen Kunst in Munich\, which displayed Nazi-supported art between 1937 and 1944. \nThis presentation will present the full arc of Otto Antoine’s career and pose questions around both his defiance and compliance with the Nazi art edicts. \n\n\n\n\n\n\n\n\nOtto Antoine\, Forest and Church\, c. 1915. Todd Barrowcliff Collection\n\n\nOtto Antoine\, Country Side and Church\, not dated. Todd Barrowcliff Collection \n\n\n\n\n\n\nKathleen Langone is a researcher and freelance writer. Prior to 2000\, she worked part-time as a researcher for state government agencies\, providing records on natural history. Recently she has produced a podcast series\, People Hidden in History\, with 22 episodes covering profiles of lesser known but fascinating persons in America from the 1600’s through to the early 1960’s. One of most popular episodes\, chronicles the life and times of William Shirer in 1930’s Berlin and his first-hand account of the rise of Nazism. She has had an active speaking career being well received at museums\, historical societies and has been interviewed on TV and radio. Most recently she did extensive research on two artist who were also relatives\, Otto Antoine and Amalia Kussner. Her biography on Kussner\, a Gilded Age artist\, will be published in spring of 2025. \n\nDr. Jacquelyn Delin McDonald is an art historian whose research focuses on art and its historicity from German-speaking countries\, sculptural types\, American art\, and women artists during the long nineteenth and twentieth centuries. Her current book project involves the study of German-American sculptor Elisabet Ney. She has published on Ney as well as the ‘sculptress phenomenon’ of the late-nineteenth century. She is currently a Lecturer at the University of Texas at Dallas and adjunct professor for the University of North Texas\, where she designed and taught a course on Nazi-Looting\, Provenance\, and Restitution. She has held fellowships with the U.S. Capitol as well as the Edith O’Donnell Institute of Art History. \n\n\n\n\n\n\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/otto-antoine/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/10/1_Otto-Antoine_Brandenburg-Gate-1928_Oil-on-cardboard_23.7x31.7.jpeg
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DTSTART;TZID=America/New_York:20240925T120000
DTEND;TZID=America/New_York:20240925T130000
DTSTAMP:20260416T091516
CREATED:20240901T120429Z
LAST-MODIFIED:20240925T174220Z
UID:8425-1727265600-1727269200@fritzaschersociety.org
SUMMARY:Misunderstandings and Contradictions:The Art and Life of Jacqueline de Jong (1939-2024) Presentation by Curator Ariella Wolens\, Fort Lauderdale (FL)
DESCRIPTION:In this virtual talk\, curator Ariella Wolens presents the late Dutch artist\, Situationist\, and Pataphysician Jacqueline de Jong (1939-2024). Born into a Jewish family in Enschede\, Netherlands\, De Jong’s infancy was spent in exile in Switzerland; she and her mother narrowly escaped deportation to Sobibor after being taken in by the resistance. For the rest of her life\, she remained universally empathic\, and chose art as her own form of resistance. \n\n\n\n\nImage above: Jacqueline de Jong\, Naufrage en Mediterranée (Border Line)\, 2020. Oil and nepheline gel on canvas\, 35 3/8 x 47 1/4 in / 90 x 120 cm. BPS22\, Musée d’art de la Province de Hainaut\, Belgium. Courtesy the artist’s estate and Ortuzar Projects\, New York. © 2024 Jacqueline de Jong estate \n\n\n\n\nDe Jong was a central figure within the 1960s avant-garde of Paris\, however\, she remained a forward-facing figure all her life\, fully engaged in contemporary discourse until her last days. She defied categorization\, engaging in painting\, printmaking\, sculpture\, graphic design\, typography\, jewelry and ceaseless experimentation. \nJacqueline de Jong\, Mr. Homme attaque Mr. Mutant\, 1962. Oil on canvas\, 24 x 19.6 in / 61 x 50 cm. Ambassade Hotel London. Courtesy the artist’s estate and Pippy Houldsworth Gallery\, London. © 2024 Jacqueline de Jong estate \nJacqueline de Jong in front of her TV Drawings at Cité Prost in Paris\, 1968. Courtesy of the Jacqueline de Jong estate. © 2024 Jacqueline de Jong estate \n\n\n\n\n\n\nDe Jong has historically long been recognized for her role as co-founder\, editor\, publisher and designer of the 1960s artist-led periodical\, The Situationist Times—a radical counter-cultural publication that remains a touchstone for independent publishing. Despite this legacy\, her formal practice has been long overlooked\, and it was only towards the end of her life that cultural critics began to sincerely acknowledge the rich and vital contribution of her oeuvre\, one that spanned over sixty years. \n\n\n\n\n\n\n\n\nJacqueline de Jong\, Playboy No. 1\, 1964. Oil on canvas\, 76 x 51.2 inches. Collection of Cobra Museum of Modern Art\, Amstelveen. © 2024 Jacqueline de Jong estate \n\n\nJacqueline de Jong\, Le carambole inspiré par un burin de J. Minne\, 1976. Oil on canvas\, 76.7 x 51.1 in / 195 x 130 cm. Courtesy the artist’s estate and Pippy Houldsworth Gallery\, London. Photo: Gert Jan van Rooij \n\n\n\n\n\n\nMisunderstandings and Contradictions will accompany the forthcoming exhibition Jacqueline de Jong: Vicious Circles\, the first U.S. museum survey dedicated to this monumental artist. Curated by Ariella Wolens\, the exhibition will open at the NSU Art Museum Fort Lauderdale on November 17\, 2024. Both events will explore De Jong’s legacy through the recurring theme of conflict\, a concept the artist believed to be the foundation of all creative and human activity. \nAriella Wolens is the Bryant Taylor Curator of NSU Art Museum Fort Lauderdale\, where she has organized over a dozen exhibitions including\, Walasse Ting: Parrot Jungle\, Confrontation: Pierre Alechinsky & Keith Haring\, and Scott Covert: I Had a Wonderful Life. In November\, she will present Jacqueline de Jong: Vicious Circles\, the first exhibition dedicated to Jacqueline de Jong to take place at an American institution. Wolens received a master’s from Columbia University\, and her undergraduate degree from University College London. She has written for publications such as Art in America\, Elephant\, Flash Art and Spike Magazine. \n\n\n\n\n\n\nNSU ART MUSEUM WEBSITEJacqueline de Jong\, Tournevicieux cosmonautique (les âmes les plus confuses se retrouvent un matin conditionnés par un peu de pesanteur)\, 1966. Acrylic on canvas\, 114 x 162 cm. Private Collection\, Amsterdam © 2024 Jacqueline de Jong estate \nJacqueline de Jong\, Ocean Viking (Border Line)\, 2021. Oil and nepheline gel and gold leaf on canvas\, 35 3/8 x 47 1/4 in / 90 x 120 cm. Private Collection. Courtesy the artist’s estate and Ortuzar Projects\, New York © 2024 Jacqueline de Jong estate \n\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/jacqueline-de-jong/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/09/AO-1490_JdJ_Naufrage-eb-Mediterranee-2020_Main_Cropped.jpg
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DTSTART;TZID=America/New_York:20240919T180000
DTEND;TZID=America/New_York:20240919T193000
DTSTAMP:20260416T091516
CREATED:20240809T191029Z
LAST-MODIFIED:20240920T111528Z
UID:8333-1726768800-1726774200@fritzaschersociety.org
SUMMARY:BOOK TALK: Welcoming the Stranger. Abrahamic Hospitality and Its Contemporary ImplicationsGeorgetown University\, Washington (DC)
DESCRIPTION:Welcoming the Stranger\, a collection of essays\, explores hospitality and inclusion in Abrahamic traditions from historical\, theoretical\, theological\, and practical perspectives. It offers an enlightening and compelling discussion of what the Abrahamic traditions teach us regarding welcoming people we don’t know. Join the Center for Jewish Civilization and Mortara Center for International Studies for a conversation with editors Ori Soltes and Rachel Stern\, refreshments\, and a book signing. \n\nImage above: David Stern\, Snow Crash (Lost Agency)\, 2018-19. Acrylics and pigments on paper\, 27 x 35 inches. © David Stern / Artists Rights Society (ARS)\, New York \n\nThis timely book offers theoretical and practical reflections on ‘welcoming the stranger.’ From the theological analysis of Abraham to the legal and political discussion of immigration and refugees\, the volume explores how hospitality—welcoming the ‘other’ into our tents—leads to peace and improving the world.—Mehnaz Afridi\, Director\, Holocaust\, Genocide & Interfaith Education Center and Professor\, Religious Studies\, Manhattan College \nEnter 25% off plus free shipping discount code at checkout: WELCOME25-FI  \nORDER THE BOOK HERE WELCOMING THE STRANGER\nABRAHAMIC HOSPITALITY AND ITS CONTEMPORARY IMPLICATIONS \nEdited by Ori Z Soltes and Rachel Stern\nForeword by Endy Moraes\nPublication Date: April 2\, 2024\nISBN: 9781531507329\n224 pages\, 30 color illustrations\nPaperback\, $35.00 (SDT)\, £29.99\nSimultaneous electronic edition available\nPublished by The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\nand the Fordham University Institute on Religion\, Law and Lawyer’s Work\nDistributed by Fordham University Press \nBook Contributors: \nLindsay Balfour\, PhD\, Assistant Professor\, Coventry University\, London (UK)\nThomas Massaro\, S.J.\, Professor of Moral Theology at Fordham University in New York\nEndy Moraes\, LLM\, Director of the Institute on Religion\, Law\, and Lawyer’s Work at Fordham Law School\nRev Craig B. Mousin\, DePaul University; Refugee and Forced Migration Studies\, Grace School of Applied Diplomacy\nCarol Prendergast\, Senior Advisor to Alfanar Venture Philanthropy\nZeki Saritoprak\, PhD\, Bediuzzaman Said Nursi Chair in Islamic Studies and a Professor in the Department of Theology and Religious Studies at John Carroll University in Cleveland\, Ohio\nOri Z Soltes\, PhD\, Teaching Professor at Georgetown University in Washington\, DC\nRachel Stern\, Director of the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art in New York\nMohsin Mohi Ud Din\, artist\, activist\, and founder of the global nonprofit #MeWe International Inc. (#MeWeIntl) \nDONATE HEREThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU.
URL:https://fritzaschersociety.org/exhibition-event/welcoming-the-stranger-georgetown-university/
LOCATION:Mortara Center for International Studies  at Georgetown University\, 36th Street Northwest\, Washington\, DC\, 20007
CATEGORIES:Events,Lectures,Past Events
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ORGANIZER;CN="Center for Jewish Civilization":MAILTO:cjcinfo@georgetown.edu
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DTSTART;TZID=America/New_York:20240910T120000
DTEND;TZID=America/New_York:20240910T130000
DTSTAMP:20260416T091516
CREATED:20240704T232036Z
LAST-MODIFIED:20240910T191418Z
UID:8304-1725969600-1725973200@fritzaschersociety.org
SUMMARY:Painted Memories of a Jewish Childhood in Poland Before the Holocaust Presentation by Barbara Kirshenblatt-Gimblett
DESCRIPTION:Lest future generations know more about how Jews died than how they lived\, Mayer Kirshenblatt (1916-2009) made it his mission to remember the world of his childhood in images and words. Born in Opatów (Apt in Yiddish)\, Mayer left for Canada in 1934 at the age of 17. \n\n\n\n\nImage above: Mayer Kirshenblatt\, Synagogue interior\, 1991. Acrylic on canvas. Gift of the Kirshenblatt Family. Taube Family Mayer July Art Collection at POLIN Museum of the History of Polish Jews\, Warsaw. \n\n\n\n\n\n\n\n\n\n\n\n\nHe had always told his family stories about growing up in Poland before the Holocaust. After his family begged him to paint what he could remember\, Mayer finally picked up his brush in 1989 at the age of 73. To his amazement\, the town of his childhood emerged in living color. Painting by painting\, story by story\, he had recreated the entire world of his youth. He created hundreds of paintings and drawings during the last 20 years of his life. \n\nThe paintings and stories capture the curiosity of a boy who was fascinated by the world in which he lived\, unaware of the tragedy to come. He passed away in 2009 at the age of 93 and was one of the last to have first-hand experience of Jewish life in Poland before the Holocaust. \n\n\n\n\n\n\n\nMayer Kirshenblatt\, Boy with Herring\, 1992. Acrylic on canvas. Gift of the Kirshenblatt Family. Taube Family Mayer July Art Collection at POLIN Museum of the History of Polish Jews\, Warsaw. \nMayer Kirshenblatt\, Water Carrier\, 1990s. Acrylic on canvas. Gift of the Kirshenblatt Family. Taube Family Mayer July Art Collection at POLIN Museum of the History of Polish Jews\, Warsaw. \n\n\n\n\n\n\nThis lecture by the artist’s daughter Barbara Kirshenblatt-Gimblett\, an acclaimed scholar of East European Jewish culture\, will present the artist and his work in the context of two exhibition\, one at the Jewish Museum in New York (2009) and the second at POLIN Museum (May 17–December 16\, 2024). The exhibition at POLIN Museum of the History of Polish Jews in Warsaw is staged as a dialogue between Mayer’s shtetl as represented in his paintings\, and today’s Opatów as a post-Jewish town. \n\n\n\n\n\n\nMayer Kirshenblatt\, Friday Men’s Day at the Mikve\, 2001. Acrylic on canvas. Gift of the Kirshenblatt Family. Taube Family Mayer July Art Collection at POLIN Museum of the History of Polish Jews\, Warsaw. \nMayer Kirshenblatt\, Synagogue exterior\, 1990. Acrylic on canvas. Gift of the Kirshenblatt Family. Taube Family Mayer July Art Collection at POLIN Museum of the History of Polish Jews\, Warsaw \n\n\n\n\n\n\nBarbara Kirshenblatt-Gimblett is the Ronald S. Lauder Chief Curator of the Core Exhibition at POLIN Museum of the History of Polish Jews in Warsaw and University Professor Emerita of Performance Studies at New York University. Her books include They Called Me Mayer July: Painted Memories of Jewish Life in Poland Before the Holocaust (with Mayer Kirshenblatt)\, and Image Before My Eyes: A Photographic History of Jewish Life in Poland\, 1864–1939 (with Lucjan Dobroszycki)\, among others. She has received honorary doctorates from the Jewish Theological Seminary of America\, University of Haifa\, and Indiana University. She was elected to the American Academy of Arts and Sciences\, was decorated with the Officer’s Cross of the Order of the Republic of Poland for her contribution to the creation of POLIN Museum\, and received the 2020 Dan David Prize. She has served on Advisory Boards for the Council of American Jewish Museums\, Jewish Museum Vienna\, and Jewish Museum Berlin\, and is Vice-Chair of ICMEMOHRI\, the International Committee of Memorial and Human Rights Museums. She advises on museum and exhibition projects in Lithuania\, Belarus\, Albania\, Israel\, New Zealand\, and the United States. \n\n\n\n\n\n\nMayer Kirshenblatt\, Purim Play: The Krakow Wedding\, c. 1994. Acrylic on canvas. Gift of the Kirshenblatt Family. Taube Family Mayer July Art Collection at POLIN Museum of the History of Polish Jews\, Warsaw. \nMayer Kirshenblatt\, Slaughter of the Innocents\, 2\, late 1990s. Acrylic on canvas. Gift of the Kirshenblatt Family. Taube Family Mayer July Art Collection at POLIN Museum of the History of Polish Jews\, Warsaw. \nPOLIN MUSEUM EXHIBITION WEBSITE\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/mayer-kirshenblatt/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240724T120000
DTEND;TZID=America/New_York:20240724T130000
DTSTAMP:20260416T091516
CREATED:20240702T171032Z
LAST-MODIFIED:20240724T184550Z
UID:8276-1721822400-1721826000@fritzaschersociety.org
SUMMARY:George Grosz (1893-1959): The Stick Men Presentation by Karli Wurzelbacher\, PhD\, Huntington (New York)
DESCRIPTION:George Grosz (American\, b. Germany\, 1893–1959) created the “Stick Men” series in Huntington\, where he lived from 1947 until shortly before his death. Featuring hollow figures in an apocalyptic landscape\, this group of watercolors offers a searing indictment of humanity following World War II\, the Holocaust\, and the dropping of atomic bombs on Hiroshima and Nagasaki. Grosz was an internationally renowned German-born artist who remained invested in political art following his immigration to the United States in 1933. In the “Stick Men” series\, he wrestles with the emergence of Abstract Expressionism and reaffirms the ability of painting to impact society. \n\n\n\n\nImage above: Detail of George Grosz (American\, b. Germany\, 1893–1959)\, The Grey Man Dances\, 1949. Oil on canvas. George Grosz Estate © Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS)\, New York \n\n\n\n\n\n\n\n\n\n\nKarli Wurzelbacher\, PhD\, is the Chief Curator of The Heckscher Museum of Art\, where she has curated more than a dozen exhibitions. She has also worked at the Baltimore Museum of Art in Maryland and the Columbus Museum of Art in Ohio. Wurzelbacher has published on artists including Grosz\, Courtney M. Leonard\, Joan Mitchell\, Louise Nevelson\, Joseph Stella\, and Jack Whitten. She earned a PhD in art history from the University of Delaware. \n\n\n\n\n\n\nGeorge Grosz (American\, b. Germany\, 1893–1959)\, Waving the Flag\, 1947-1948. Watercolor on paper\, Sheet (Irregular): 26-1/8 x 19-13/16 in. Whitney Museum of American Art\, New York; Purchase and exchange 54.9 © Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS)\, New York \nGeorge Grosz (American\, b. Germany\, 1893–1959)\, The Enemy of the Rainbow\, 1946. Watercolor and India ink on paper\, 25-3/8 x 18-7/8 in. Collection Judin\, Berlin © Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS)\, New York \nGeorge Grosz (American\, b. Germany\, 1893–1959)\, Eclipse of the Sun\, 1926. Oil on canvas\, 81-5/8 x 71-7/8 in. The Heckscher Museum of Art\, Museum Purchase 1968.1 © Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS)\, New York \n\n\n\n\n Alfredo Valente (American\, b. Italy\, 1899–1973)\, George Grosz in his studio in Huntington\, NY\, with artworks from the “Stick Men” series\, \, c. 1950.  Alfredo Valente papers\, 1941–1978. Archives of American Art\, Smithsonian Institution © Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS)\, New York \n\n\n\n\n\n\n\n\n\n\nThis talk is presented on the occasion of the exhibition George Grosz: The Stick Men\, on view at The Heckscher Museum of Art in Huntington\, New York\, from May 11 through September 1\, 2024. It is a collaboration with The Heckscher Museum of Art. \n\n\n\n\n\n\nMUSEUM EXHIBITION PAGE\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/george-grosz/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240710T120000
DTEND;TZID=America/New_York:20240710T130000
DTSTAMP:20260416T091516
CREATED:20240628T111335Z
LAST-MODIFIED:20240710T200715Z
UID:8189-1720612800-1720616400@fritzaschersociety.org
SUMMARY:“My verses are like dynamite”  Curt Bloch's Het Onderwater Cabaret Presentation by Aubrey Pomerance\, Berlin (Germany)
DESCRIPTION:Under threat from Nazi antisemitism\, the young Jewish lawyer Curt Bloch (1908–1975) fled Dortmund for the Netherlands in 1933. He went into hiding there in 1942 and emigrated to the United States after the war. In his hiding place\, from August 1943 to April 1945 Bloch produced a magazine with the telling title Het Onderwater Cabaret – “The Underwater Cabaret.” \n\n\n\n\nImage above: Curt Bloch\, Het Onderwater Cabaret 30 Aug 1943; Jewish Museum Berlin\, Convolute/816\, Curt Bloch collection\, loaned by the Charities Aid Foundation America thanks to the generous support of Curt Blochʼs family \n\n\n\n\n\n\n\n\n\n\n\n\nWeek by week\, Curt Bloch created small-format booklets with artfully designed covers\, containing a total of 483 handwritten poems in German and Dutch\, embellished with artistic collages and photo montages. His cover designs and poems referred to political and military events\, addressing his situation in hiding and the fate of his family. He unmasked Nazi propaganda with caustic irony and sardonic wit\, yet always fully aware that the National Socialists were committing mass murder against the European Jews. \n\n\n\n\n\n\n\n\nCurt Bloch\, Het Onderwater Cabaret\, Magazine cover from 18 December 1943; Jewish Museum Berlin\, Convolute/816\, Curt Bloch collection\, loaned by the Charities Aid Foundation America thanks to the generous support of Curt Blochʼs family \nCurt Bloch\, Het Onderwater Cabaret\, Magazine cover from 03 February 1945; Jewish Museum Berlin\, Convolute/816\, Curt Bloch collection\, loaned by the Charities Aid Foundation America thanks to the generous support of Curt Blochʼs family \n\n\n\n\n\n\nCurt Bloch preserved his unique legacy in his New York home for many decades. Through his daughter\, Simone Bloch\, it has come to the Jewish Museum Berlin\, where it was shown to the public for the first time (February 9 – June 23\, 2024). The unique work is a powerful testimony of creative resistance to war\, disinformation\, and persecution. \n\n\n\n\n\n\nCurt Bloch\, Bevrijd! (Liberated!)\, excerpt\, Het OWC\, issue dated 3 April 1945; Jewish Museum Berlin\, collection/816\, Curt Bloch Collection\, Loan of Charities Aid Foundation America\, thanks to the generous support of the family of Curt Bloch \nCurt Bloch\, undated; Jewish Museum Berlin\, accession 2023/90/5\, gift of Lide Schattenkerk \n\n\n\n\n\n\nAubrey Pomerance has directed the archives of the Jewish Museum Berlin\, and the JMB branches of the archives of the Leo Baeck Institute New York and of the Wiener Holocaust Library\, since 2001. He was born in Canada in 1959 and studied Jewish Studies and East and Southeast European History at the Free University of Berlin. In 1995/96\, he became a research assistant at the Institute for Jewish Studies there. From 1996 to 2001\, Aubrey Pomerance was a research assistant at the Salomon Ludwig Steinheim Institute for German-Jewish History in Duisburg. At the Jewish Museum Berlin\, he curated the exhibitions Roman Vishniac’s Berlin\, Ruth Jacobi: Photographs\, and Shrines\, Papyri\, and Winged Goddesses: The Archaeologist Otto Rubensohn\, and was also one of the curators of the JMB’s new core exhibition\, which opened in 2020. He publishes on German-Jewish commemorative culture\, Jewish lives during the Nazi era\, Jewish photographers in Berlin\, archives\, and archival education. \n\n\n\n\n\n\n\nCURT BLOCH WEBSITECURT BLOCH ON JEWISH MUSEUM BERLIN WEBSITE\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/curt-bloch/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240619T120000
DTEND;TZID=America/New_York:20240619T130000
DTSTAMP:20260416T091516
CREATED:20240602T195325Z
LAST-MODIFIED:20240619T183738Z
UID:8232-1718798400-1718802000@fritzaschersociety.org
SUMMARY:Art and Internment. Heinz Henghes the Stowaway Sculptor  Presentation by Ian Henghes\, London (UK)
DESCRIPTION:Heinz Henghes (1906-1975) was born in Hamburg in 1906\, a ‘Mischling’ of mixed Jewish and German descent. In America for almost 10 years before returning to Europe at a time of great political unrest Heinz spent time in Italy where he enjoyed the patronage of Ezra Pound\, despite Pounds noted anti-semitism. In London at the outbreak of war Heinz was interned and sent to Australia on the notorious ship the Dunera.\n\n\nIan Henghes\, the artist’s son\, presents his father’s extraordinary story and the contact he had with other artists\, writers and thinkers of his time. \n\n\nImage above: Heinz Henghes in Milan studio ca 1935 © Ian Henghes \n\n\n\n\n\n\n\n\n\nIan Henghes is an online communications specialist working primarily in the arts\, education and charitable sectors. Initially trained in photography\, film and television\, Ian founded a video editing company in London’s Soho in the 1980s\, and in the 1990s was project leader for public access systems for the British Museum and the Corporation of London\, as well as websites for Microsoft\, the BBC and many others. A long-term project that is about to be relaunched is historyworld.net\, a major world history website with highly interactive timelines.\nIan is also the son of Heinz Henghes.\n\n\n\n\n\nHeinz Henghes\, Erda\, 1934. Carrara marble  © Ian Henghes \nHeinz Henghes\, The Long Road Back\, 6 Dec 1940. ink on paper  © Ian Henghes \n\n\n\nTo find out more about Heinz Henghes\, check out his website (LINK).\n\n\n\nHeinz Henghes\, Monument to the Unknown Political Prisoner\, 1953 © Ian Henghes \nHeinz Henghes\, Ezra Pound\, 1975. Egg tempera © Ian Henghes \n\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/heinz-henghes/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240605T120000
DTEND;TZID=America/New_York:20240605T130000
DTSTAMP:20260416T091516
CREATED:20240528T133028Z
LAST-MODIFIED:20240606T114623Z
UID:8201-1717588800-1717592400@fritzaschersociety.org
SUMMARY:From Auschwitz to Hollywood: Jack Garfein\, “THE WILD ONE” Film Screening and Conversation with French producer Chantal Perrin
DESCRIPTION:THE WILD ONE illuminates the journey of unsung artist Jack Garfein (1930-2019) – Holocaust survivor\, celebrated Broadway director\, Actors Studio West co-founder\, and controversial filmmaker. The film examines how his experience in Nazi concentration camps shaped his vision of acting as a survival mechanism and propelled his engagement with themes of violence\, power\, and racism in postwar America in two explosive films: THE STRANGE ONE (1957) and SOMETHING WILD (1961).\nTHE WILD ONE explores the importance of his legacy as an artist who confronted censorship and reveals how art can draw on personal memory to better enlighten our present. \n\nImage above: Photo of Jack Garfein. Courtesy of Petite Maison Production \n\n\n\n\n\n\n\n\n\nWATCH THE TRAILER: \n\n\n\n\n\n\n\n\n\n\nSTREAMING LINK (valid through Sunday\, June 9) \n\n\n\n\n\n\n\n\nTHE WILD ONE is produced by Louise-Salomé and Chantal Perrin for Petite Maison Production. It is written by Louise-Salomé and Sarah Contou-Terquem\, in collaboration with Elizabeth Schub Kamir. \nIn a statement\, Louise-Salomé said that “His films addressed critical issues: fascism\, the military\, the functioning of power and its perversity\, the dangers of dogmatism\, racial segregation\, mental manipulation and rape. In other words\, the many ways in which power\, in whatever form it takes\, seizes and appropriates the psychic reality of the individual. His preoccupation with freedom drives both the content of his cinema and his bold way of presenting it. His perception of what constitutes freedom is the secret dimension that animates his work.” (Leo Barraclough\, Variety) \n\n\n\n\n\n\n\n\nWatch the film’s French producer\, Chantal Perrin\, in conversation with Ori Z Soltes from Georgetown University in Washington DC about THE WILD ONE. Moderated by Rachel Stern\, Executive Director of the Fritz Ascher Society. \n\n\n\n\n\n\n\n\nChantal Perrin is a French producer and director and has been the executive of Petite Maison Production since 2006\, supporting filmmakers with a unique voice\, as well as contemporary artists (Sophie Calle\, Terence Koh\, Cindy Sherman) on projects in a wide range of formats. In 1982\, “Atelier Lalanne\,” her first movie as a director about sculptors Claude and François Lalanne\, won first prize at the International Festival of Films on Art (FIFA) in Paris. She then began working as a first assistant director and line producer on films with directors Terry Gilliam\, Adrian Lyne\, Jean-Paul Rappeneau\, Claude Miller\, Maurice Pialat\, and Jean-Jacques Annaud\, among others.\nSince then\, she has produced and directed many documentaries for the TV channels ARTE\, CANAL+\, and France Television and works regularly with various national and international broadcasters. She has focused her efforts on exploring important social issues (i.e. Illegal Love\, Go Green Citizens (Au Vert Citoyens)\, Traditional African Medicine at Keur Massar\, Lyme Disease: A Silent Epidemic) and on depicting the lives and legacies of artists (i.e. Pacific Bluesman\, Sebastien Tellier: Many Lives\, Mr. X: A Vision of Leos Carax\, The People Under the Sea). Currently\, she continues to work for French television on the documentary series Thalassa as a producer and author\, while developing international co-productions and high-quality art films at Petite Maison Production\, which have gone on to screen at Cannes\, CPH:DOX\, Sundance and numerous other international festivals.  More recently\, Lady of the Gobi\,  a documentary shot in Mongolia she wrote and produced\, won the BFI Grierson award. \nOri Z Soltes\, PhD\, teaches at Georgetown University across the disciplines of theology\, art history\, philosophy and politics. He is the former Director and Curator of the B’nai B’rith Klutznick National Jewish Museum where he curated some 80 exhibitions. He is the author of several hundred articles and catalogue essays\, and the author or editor of 25 books\, including The Ashen Rainbow: The Holocaust and the Arts; Symbols of Faith: How Jewish\, Christian\, and Muslim Art Draw from the Same Source; and Tradition and Transformation: Three Millennia of Jewish Art and Architecture. \n\n\n\n\n\n\nJack Garfein’s two films are available online: \nSOMETHING WILD (1961) is on Criterion Collection in the US (LINK) \nTHE STRANGE ONE (1957) is on YouTube: \n\n\n\n\n\n\nBoth Jack Garfein (1930-2019) and his first wife\, the actress Carroll Baker (b. 1931)\, published powerful books: \n\n\n\nLife and Acting: Techniques for the Actor by Jack GarfeinBaby Doll: An Autobiography by Carroll Baker\n\n\nWe thank Jewish Story Partners (JSP) and GOOD DOCS for making THE WILD ONE available. Together they are bringing high-quality films on diverse Jewish subjects to a wide range of audiences in educational settings. \nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nDid you like this program? If you did\, please show us with a generous donation. \nYour donation makes programs like this possible. THANK YOU.  \nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/the-wild-one/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240522T120000
DTEND;TZID=America/New_York:20240522T130000
DTSTAMP:20260416T091516
CREATED:20240402T203600Z
LAST-MODIFIED:20240522T175525Z
UID:8136-1716379200-1716382800@fritzaschersociety.org
SUMMARY:Steinberg before STEINBERG  Lecture by Mario Tedeschini Lalli\, Rome (Italy)
DESCRIPTION:In this presentation Mario Tedeschini Lalli\, Italian journalist and scholar of 20th century history\, tells the story of Saul Steinberg\, before he became STEINBERG\, the majuscules with which he signed his name to the art most people know\, using some of his public art\, some of his clandestine art\, some of his personal art and – yes – some of his top secret art. \n\nImage above: Saul Steinberg\, Seaside\, 1941. © The Saul Steinberg Foundation/Artists Rights Society (ARS) New York \n\n\n\n\n\n\n\n\n\nThe art of Saul Steinberg (1914-1999) was arguably one of the most recognizable for the US public from the mid-1940s until his death in 1999. Much of Steinberg’s best-known work appeared in magazines such as The New Yorker\, but he also produced a larger body of drawings\, paintings\, and sculptures for gallery and museum exhibitions. His work cannot be fixed to one style or school. Though he is sometimes mistakenly called a cartoonist or illustrator\, he was never less than a full-fledged artist. His life was as distinctive as his art\, and as hard to pinpoint and define – it certainly did not help that he considered “autobiography—the last refuge of the scoundrel.” He would never divulge much about his life and what he did say was often misremembered or misrepresented; his tales almost became part of his artistic creations. Instead of self-revelatory disclosures\, he hid details of autobiography in his art\, where the casual observer could not detect them – unless\, of course\, they were already aware of them. An intellectual labyrinth by a master of labyrinths. \n\n\n\n\n\nSaul Steinberg\, Autogeography\, 1966.  Ink\, gouache\, and watercolor\, 29 ½ x 20 ¾ in.\nThe Saul Steinberg Foundation\, New York.\n© The Saul Steinberg Foundation/Artists Rights Society (ARS) New York \nSaul Steinberg in Milan. Unknown Photographer.\n© The Saul Steinberg Foundation/Artists Rights Society (ARS) New York \n\n\n\nSteinberg was especially reserved about his first thirty years: a Romanian Jew who was forced to leave his increasingly anti-Semitic country\, he studied architecture in Italy\, where he began his artistic career\, only to be forced out once more by the racial laws of his adopted country. He ended up in the US and within a few months found himself in the thick of war as a propaganda artist working for Morale Operations division of the Office of Strategic Services (OSS). \n\n\n\nSaul Steinberg\, Arte Pura\, published in Bertoldo\, August 8\, 1937.\n“I told you\, Madam\, that for my watercolors I use eau de Cologne.” © The Saul Steinberg Foundation/Artists Rights Society (ARS) New York \nSaul Steinberg\, Naples OSS.\n© The Saul Steinberg Foundation/Artists Rights Society (ARS) New York \n\n\n\nMario Tedeschini Lalli is a retired professional journalist and a scholar of 20th-century history. He has published several essays on Saul Steinberg’s early life and work\, including “Descent from Paradise: Saul Steinberg’s Italian Years (1933-1941)” (Quest\, no. 2\, October 2011). Previously he wrote extensively about Italian and Fascist policies towards the Arab world and Arab nationalism. His most recent book\, “Nazisti a Cinecittà” (Nutrimenti Editore\, Rome: 2022)\, tells the story of former SS officers who lived in Italy after the war and worked in the booming Italian movie industry of the time. As a journalist he covered international affairs for many years in different newspapers\, then moved into digital journalism\, editing news websites\, teaching and consulting in digital news publishing. \n\nPlease find Mario Tedeschini Lalli’s following publications online: Descent from Paradise: Saul Steinberg’s Italian Years (1933-1941) (2011) and Nazisti a Cinecittà. \n\n\n\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/saul-steinberg/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/04/9Seaside.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240508T190000
DTEND;TZID=America/New_York:20240508T200000
DTSTAMP:20260416T091516
CREATED:20240417T095500Z
LAST-MODIFIED:20240509T010706Z
UID:8162-1715194800-1715198400@fritzaschersociety.org
SUMMARY:“Let’s Talk of Interesting People”:  The Story of Erna Friedländer (1890-1979) With Noit Banai\, PhD\, Hong Kong\, and Ketul Arnold\, Boulder (Colorado)
DESCRIPTION:This presentation by Noit Banai\, PhD\, Hong Kong\, and Ketul Arnold\, Boulder (Colorado)\, traces Erna Friedländer‘s unique journey as a German refugee who survived Nazi persecution and World War II in Hong Kong\, and subsequently migrated to England\, Israel\, and the USA. \n\nImage above: Erna Friedländer\, Chinese Landscape. Undated. Monotype. Courtesy The Studio: An Illustrated Magazine of Fine and Applied Art\, London \n\n\n\n\n\n\n\n\nAs a German refugee who survived World War II in Hong Kong\, and subsequently migrated to England\, Israel\, and the USA\, Erna Friedländer’s journey is unique among the many histories of Jewish dispossession. Though few traces remain of Friedländer artistic oeuvre\, she was a thoroughly modernist artist. Painter\, printmaker\, and teacher at the Hong Kong Working Artist Guild\, she studied in Berlin under Eugene Spiro and in Paris under Mela Muter\, André Lhote\, and Othon Friesz before embarking on an artistic career in Milan in 1933. \n\n\n\n\nErna Friedländer. Four Female Nudes\, not dated. Courtesy Ketul Arnold \nErna Friedländer. Italian Landscape. Undated (1930s). Woodblock print. Collection Ketul Arnold\n\n\n\n\nWorking in an expressionist style developed in German avantgarde circles in the early 20th century and referencing modern dance techniques (Laban Movement)\, Friedländer’s paintings\, watercolors\, and monotypes represent a range of genres\, among them\, portraits of refugees as well as Chinese people and landscapes. What did it mean to bring these techniques\, media\, and motifs in this way?  How was her artwork understood in relation to her status as a female German-Jewish refugee in Hong Kong? And\, how can we interpret her monotypes in relation to various European and non-European traditions of printmaking? \n\n\n\n\nErna Friedländer. In Weekly Illustrated Women’s Magazine\, Israel\, March 3\, 1948\nErna Friedländer. Date unknown (1930s). Photographer unknown. Collection Ketul Arnold. \n\n\n\nFriedländer’s legacy did not end in Hong Kong: Established in New York City from the mid-1950s\, she was an important friend and influential mentor for Ketul Arnold\, who knew her between 1973 and 1979\, and will share memories of Erna’s stories and teachings from her American period. \n\n\n\nErna Friedländer. Nude. Undated. Monotype gouache on paper. Collection Ketul Arnold. \nErna Friedländer. Landscape. Undated. Tempera on paper. Collection Ketul Arnold.\n\n\n\nDr Noit Banai is an art historian and critic who specializes in modern and contemporary art in a global context\, with a focus on conditions of migrations\, exile\, diaspora\, border-regimes and statelessness. Before joining Hong Kong Baptist University as Associate Professor\, Art and Theory\, she was Professor of Contemporary Art in the Department of Art History at the University of Vienna and Lecturer of Modern and Contemporary Art at Tufts University/School of the Museum of Fine Arts\, Boston. She is the author of Yves Klein (Reaktion Books\, 2014)\, Being a Border (Paper Visual Arts\, 2021) and articles appearing in journals such as Third Text\, Stedelijk Studies\, Public Culture\, Performing Arts Journal\, and Texte zur Kunst.  She served as assistant editor for the journal RES: Anthropology and Aesthetics and is a regular contributor to Artforum International.  Her current project “Stateless: Jewish Artist Refugees: Shanghai\, Hong Kong\, and Singapore\, 1933-1950\,” develops a trans-national analysis of the artistic production of stateless European Jewish artists who were living under the logic of modernity/ coloniality and the Japanese Occupation in three East Asian cities. \n\nKetul Arnold\, born Wayne Arnold\, studied at the Integral Yoga Institute in New York and was initiated into a yoga lineage as Ketul. He began teaching yoga about the same time he met Erna Friedländer.  While studying Yoga\, he also was mentored in acting by Stella Adler and by Katya Delakova in ‘The Art of Moving’ at Sarah Lawrence College.  Ketul attended a 4-year conservatory training in acting at SUNY Purchase College for the Arts and graduated one month after Erna’s death in 1979. He performed in NYC in several plays written by Daryl Chin\, and in Lenox\, MA with Shakespeare and Company.  There he met his voice mentor\, Kristin Linklater.  In 1985 Ketul moved into the Kripalu Center for Yoga and Health and specialized in teaching yoga and yoga lifestyle to persons with chronic and life-threatening illnesses.  He continued this focus in his own studio\, Rasa Yoga\, in New York from 1990. Ketul studied ayurvedic medicine and became the first graduate of the Wise Earth School of Ayurveda.  In 2004/05\, Ketul moved to Boulder\, CO\, where he teaches yoga classes specifically for persons living with Parkinson’s Disease\, with which he too is living.  Ketul also developed “Yoga of Voice” and teaches voice\, in ayurvedic terms\, as the single most important tool in healing any impingement to the health of the body/mind/spirit.  All of Ketul’s teaching is offered to the public free of charge. \n\n\n\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/erna-friedlaender/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/04/FriedlanderChineseLandscape.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240415T190000
DTEND;TZID=America/New_York:20240415T210000
DTSTAMP:20260416T091516
CREATED:20240326T194011Z
LAST-MODIFIED:20240416T093520Z
UID:8112-1713207600-1713214800@fritzaschersociety.org
SUMMARY:RESISTANCE - THEY FOUGHT BACKNew York Theatrical Release
DESCRIPTION:Told by survivors\, their children\, and expert witnesses from the U.S. Israel\, and Europe\, Resistance: They Fought Back\, is a revelation based on extensive research of how the Jews of Europe fought back. It uncovers evidence of non-violent methods which served as crucial tools of resistance and evolved into Jewish armed revolts in ghettos\, forests and death camps\, even as the odds of success were vanishingly small. \nOn Monday\, April 15\, the 7:00pm film screening will be followed by Q&A with director Paula S. Apsell and Avinoa J. Patt\, Ph.D.\, Professor of Holocaust Studies\, New York University. \n\nWatch the TRAILER here: \n\n\n\n\n\n\n\n\n\n\nWe’ve all heard of the Warsaw Ghetto Uprising\, but most people have no idea how widespread and prevalent Jewish resistance to Nazi barbarism was. Instead\, it’s widely believed “Jews went to their deaths like sheep to the slaughter.” Filmed in Poland\, Lithuania\, Latvia\, Israel\, and the U.S.\, Resistance – They Fought Back provides a much-needed corrective to this myth of Jewish passivity. There were uprisings in ghettos large and small\, rebellions in death camps\, and thousands of Jews fought Nazis in the forests. Everywhere in Eastern Europe\, Jews waged campaigns of non-violent resistance against the Nazis. \nYou can find upcoming film screenings here: \n\n\n\n\n\n\nUPCOMING SCREENINGS\n\n\nRelease date: April 12\, 2024 (USA)\n\n\n\n\n\n\nDirectors: Paula S. Apsell\, Kirk Wolfinger\n\n\n\n\n\n\nExecutive producers: Michael Berenbaum\, Ori Eisen\, Michael J. Bohnen\, Mirit Eisen\n\n\n\n\n\n\nProducers: Owen Palmquist\, Lisa Goodfellow\nRuntime: 1 hour 40 minutes\n\n\n\nProfessor Richard Freund Z”L at Ponari \nProfessor Richard Freund Z”L \n\nPlease donate generously to make our programs possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/resistance/
LOCATION:DCTV Firehouse Cinema for Documentary Film\, 87 Lafayette Street\, New York\, NY\, 10013\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/03/RESISTANCE_Poster_27x40_FINAL_V2-update_HiRes-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240404T163000
DTEND;TZID=America/New_York:20240404T180000
DTSTAMP:20260416T091516
CREATED:20240326T170524Z
LAST-MODIFIED:20240410T215802Z
UID:8101-1712248200-1712253600@fritzaschersociety.org
SUMMARY:The Vel d’Hiv Round-Up:  The Largest Mass Arrest in Wartime French HistoryA Presentation by Eileen Angelini\, PhD
DESCRIPTION:On July 16-17\, 1942 in Occupied Paris\, more than 13\,000 French Jews were arrested by French Police. The victims were held in deplorable conditions at the Vélodrome  d’Hiver or Vel d’Hiv\, an indoor cycling stadium until they were sent to detainment camps outside of Paris where they either died or were deported to concentration camps. Dr. Eileen Angelini’s presentation will discuss how the Vichy Government planned this round-up and how the French government and people have since dealt with the pain and shame of this traumatic event. \n\nImage above: Entrance to the Vel’ d’Hiv (the Winter Stadium\, or Velodrome d’Hiver)\, where Jews were detained en-masse in preparation for their deportation to concentration camps in France. \n\n\n\n\nEileen Angelini\, PhD\, is Dean of the College of Arts and Sciences at Le Moyne College in Syracuse\, NY. Dr. Angelini holds the international distinction of Chevalier dans l’Ordre des Palmes Académiques\, an honor bestowed by the government of France on distinguished academics. She is a 2010-2011 recipient of a Canada-U.S. Fulbright award as a Fulbright Visiting Research Chair in Globalization and Cultural Studies at McMaster University and was named to the Fulbright Specialist Roster from 2013 to 2017\, enabling her to complete her project “Francophone Culture: Literature\, Pedagogy and Additional Language Acquisition” at the University of Manitoba. She received her B.A. in French from Middlebury College\, having studied abroad in France and Mexico. Her M.A. and Ph.D. in French Studies are from Brown University\, followed by a post-doc year of research and teaching at the Université Lumière Lyon 2 and Université Jean Moulin Lyon 3. \nThis is the only photograph of the Vel d’Hiv Roundup\, July 16 and 17\, 1942: the buses used by French police\, parked rue Nélaton. © Getty – Hulton Archives \nEntrance to the Vel’ d’Hiv (the Winter Stadium\, or Velodrome d’Hiver)\, where Jews were detained en-masse in preparation for their deportation to concentration camps in France. \nThis event was organized by the Keene State College Cohen Center for Holocaust and Genocide Studies and the Holocaust Resource Center of Kean University\, in cooperation with The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/vel-dhiv-round-up/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/03/02_245.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240403T120000
DTEND;TZID=America/New_York:20240403T130000
DTSTAMP:20260416T091516
CREATED:20240328T003415Z
LAST-MODIFIED:20240403T175609Z
UID:8091-1712145600-1712149200@fritzaschersociety.org
SUMMARY:Bruno Schulz (1892-1942):  An Artist\, a Murder\, and the Hijacking of HistoryBenjamin Balint and Ori Z Soltes in Conversation
DESCRIPTION:Benjamin Balint\, author of the National Jewish Book Award winning book\, and Georgetown University professor Ori Z Soltes in conversation. \n\nBruno Schulz is renowned as a master of twentieth-century imaginative fiction. Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” But Schulz was also an exceptionally talented graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz’s art became the currency in which he bought life. \nImage above: Bruno Schulz\, Mural\, 1941-1942. Drohobycz. Discovery Benjamin Geissler\, 2001. \n\n\n\n\n\n\n\n\n\nDrawing on extensive new reporting and archival research\, Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa—the last traces of his vanished world—into multiple dimensions of the artist’s life and afterlife. Sixty years after Schulz was murdered\, those murals were miraculously rediscovered\, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities\, including about who has the right to curate orphaned artworks and to construe their meanings. \n\n\n\n\nBruno Schulz\, ‘Encounter: A Young Jewish Man and Two Women in an Urban Alley\,’ 1920\, oil on cardboard. (Adam Mickiewicz Museum of Literature\, Warsaw) \nBruno Schulz\, ‘The Enchanted Town II\,’ 1920-1922. (Courtesy) \n\n\n\nBenjamin Balint\, a writer living in Jerusalem\, is the author most recently of Bruno Schulz: An Artist\, a Murder\, and the Hijacking of History. The book won this year’s National Jewish Book Award in biography and was named a New York Times Book Review Editors’ Choice. His previous book\, Kafka’s Last Trial\, awarded the 2020 Sami Rohr Prize\, has recently been published in an updated German edition by S. Fischer Verlag. \nOri 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 and Curator of the B’nai B’rith Klutznick National Jewish Museum\, and has curated more than 90 exhibitions there and in other venues across the country and overseas. He is also the author of over 280 books\, articles\, exhibition catalogues\, and essays on diverse topics. Among his books are Fixing the World: Jewish American Painters in the Twentieth Century; The Ashen Rainbow: Essays on the Arts and the Holocaust; Our Sacred Signs: How Jewish\, Christian and Muslim Art Draw from the Same Source; Tradition and Transformation: Three Millennia of Jewish Art and Architecture; and Between Pasts and Future: A Conceptual History of Israeli Art.  \n\n\n\nBruno Schulz in 1935. (Collection of the University of Warsaw Library) \nBook publication by W.W. Norton & Company 2023 \nBUY THE BOOK HERE\n\n\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\n \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/bruno-schulz/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/03/1.2-Discovery-Geissler-copy-scaled.jpeg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240327T120000
DTEND;TZID=America/New_York:20240327T130000
DTSTAMP:20260416T091517
CREATED:20240306T163909Z
LAST-MODIFIED:20240327T174226Z
UID:8069-1711540800-1711544400@fritzaschersociety.org
SUMMARY:The Miraculous San Francisco Discovery of Ary Arkady Lochakov's Lost Art A Talk by Journalist Julie Zigoris\, San Francisco
DESCRIPTION:One sunny May day in 2022—halfway around the world from Paris where the Jewish artist Ary Arkady Lochakov (1892-1941) died of malnutrition in 1941—a miraculous discovery was made. Maintenance staff came upon 48 abandoned artworks in a waterside park\, all of them carefully arranged as if they were meant to be discovered. 38 of the 48 artworks all had the same signature: Ary Arkady Lochakov. Port employees researched Lochakov to discover he was a member of the famed École de Paris and was featured in Hersh Fenster’s essential book Our Martyred Artists. \nSan Francisco Standard journalist Julie Zigoris was the first (and only) to report the story to the public\, following the trail of breadcrumbs to make some incredible discoveries. \n\nImage above: Ary Arkady Lochakov \n\n\n\n\n\n\n\nJulie Zigoris is an Arts & Culture Reporter for the San Francisco Standard. Before becoming a journalist\, she taught English and Soviet history at the University of Pittsburgh\, Stanford University\, the Jewish Community High School of the Bay and Mount Tamalpais College in San Quentin Prison. She’s the author of Belomor: Criminality and Creativity in Stalin’s Gulag. Pennsylvanian by birth and Hungarian by blood\, she is now devoted to all things San Francisco. \n\n\n\nAry Arkady Lochakov\, Portrait of Jewish resistance fighter David Knout\, courtesy Musée d’Art et d’Histoire du Judaïsme\, Paris \nAry Arkady Lochakov\, undated photograph \nArtworks by Ary Arkady Lochakov discovered by the Port of San Francisco at Crace Cove Park\,” Courtesy Arianna Cunha \n\n\n\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\n \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/ary-arkady-lochakov/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/03/Lochakov-art-village-.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240318T180000
DTEND;TZID=America/New_York:20240318T193000
DTSTAMP:20260416T091517
CREATED:20240204T122244Z
LAST-MODIFIED:20240326T210703Z
UID:7956-1710784800-1710790200@fritzaschersociety.org
SUMMARY:BOOK LAUNCH: Welcoming the Stranger. Abrahamic Hospitality and Its Contemporary ImplicationsFordham University\, New York
DESCRIPTION:Join us for an evening of stimulating conversation\, and refreshments\, as we celebrate the publication of Welcoming the Stranger. Abrahamic Traditions and Its Contemporary Implications. Advance copies of the book are available for purchase. \nThis book is a collection of thought-provoking essays exploring the theme of hospitality as a means of building bridges between different cultures and communities. This book is a must-read for anyone interested in interfaith dialogue\, social justice\, and creating a more inclusive society. \nIts contents could hardly be more relevant today. Beginning with the story of Abraham’s hospitality to the three strangers described in Genesis18\, the narrative explores both the theological evolution in and beyond the Abrahamic traditions of the principle of “welcoming the stranger\,” and its on-the-ground application from India to Germany in the past to America in the present. \nConsidered from a range of theological\, cultural\, legal\, and political angles\, the handsomely illustrated volume will be discussed by its editors Ori Z Soltes\, Georgetown University\, Washington DC\, and Rachel Stern\, The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. \n\nThis book launch is organized by the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art and the Institute on Religion\, Law and Lawyer’s Work at Fordham University School of Law. We thank Fordham University’s Center for Jewish Studies and Theology Department\, and Peace Islands Institute New York for publicizing the event.  \nThe event is generously sponsored by 1014.  \nImage above: David Stern\, Snow Crash (Lost Agency)\, 2018-19. Acrylics and pigments on paper\, 27 x 35 inches. © David Stern / Artists Rights Society (ARS)\, New York \n\nThis timely book offers theoretical and practical reflections on ‘welcoming the stranger.’ From the theological analysis of Abraham to the legal and political discussion of immigration and refugees\, the volume explores how hospitality—welcoming the ‘other’ into our tents—leads to peace and improving the world.—Mehnaz Afridi\, Director\, Holocaust\, Genocide & Interfaith Education Center and Professor\, Religious Studies\, Manhattan College \nORDER THE BOOK HERE (discount code: WELCOME25-FI)WELCOMING THE STRANGER\nABRAHAMIC HOSPITALITY AND ITS CONTEMPORARY IMPLICATIONS \nEdited by Ori Z Soltes and Rachel Stern\nForeword by Endy Moraes\nPublication Date: April 2\, 2024\nISBN: 9781531507329\n224 pages\, 30 color illustrations\nPaperback\, $35.00 (SDT)\, £29.99\nSimultaneous electronic edition available\nPublished by The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\nand the Fordham University Institute on Religion\, Law and Lawyer’s Work\nDistributed by Fordham University Press \nBook Contributors: \nLindsay Balfour\, PhD\, Assistant Professor\, Coventry University\, London (UK)\nThomas Massaro\, S.J.\, Professor of Moral Theology at Fordham University in New York\nEndy Moraes\, LLM\, Director of the Institute on Religion\, Law\, and Lawyer’s Work at Fordham Law School\nRev Craig B. Mousin\, DePaul University; Refugee and Forced Migration Studies\, Grace School of Applied Diplomacy\nCarol Prendergast\, Senior Advisor to Alfanar Venture Philanthropy\nZeki Saritoprak\, PhD\, Bediuzzaman Said Nursi Chair in Islamic Studies and a Professor in the Department of Theology and Religious Studies at John Carroll University in Cleveland\, Ohio\nOri Z Soltes\, PhD\, Teaching Professor at Georgetown University in Washington\, DC\nRachel Stern\, Director of the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art in New York\nMohsin Mohi Ud Din\, artist\, activist\, and founder of the global nonprofit #MeWe International Inc. (#MeWeIntl) \nDONATE HEREThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU.
URL:https://fritzaschersociety.org/exhibition-event/welcoming-the-stranger/
LOCATION:Fordham University School of Law\, 150 West 62nd Street\, New York\, NY\, 10023\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/02/COVER_David-Stern_Snow-Crash-lost-agency_2018-19_Acrylics-and-pigments-on-paper_27x35in_0064.jpeg
ORGANIZER;CN="Fordham University School of Law":MAILTO:lawreligion@law.fordham.edu
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240306T120000
DTEND;TZID=America/New_York:20240306T130000
DTSTAMP:20260416T091517
CREATED:20240227T010731Z
LAST-MODIFIED:20240307T121749Z
UID:8028-1709726400-1709730000@fritzaschersociety.org
SUMMARY:Traces of a Jewish Artist: The Lost Life and Work of Rahel Szalit (1888–1942)A Book Talk by Kerry Wallach\, Gettysburg College
DESCRIPTION:In this presentation\, Gettysburg College professor and author Kerry Wallach explores the life and work of Rahel Szalit (1888–1942; also: Szalit-Marcus). Szalit was a sought-after illustrator and painter who was active in 1920s Berlin and 1930s Paris. \n\nImage above: Rahel Szalit-Marcus\, The Drive to the Rabbi\, in Milgroym\, 1922. Lithograph. \n\n\n\n\nRahel Szalit was among the best-known Jewish women artists in Weimar Berlin. She painted and drew landscapes\, Berlin city scenes\, animals\, and portraits of women\, children\, and public figures. She produced numerous lithographs and worked in pen and ink\, pencil\, pastel\, chalk\, oil paint\, and watercolors. Women figured prominently in many scenes\, from small-town Jewish life to snapshots of the metropolis. Szalit’s fascinating life demonstrates how women artists gained access to Jewish and avant-garde movements (Expressionism\, New Objectivity) by experimenting with different media and genres. This presentation situates Szalit with respect to her contemporaries and offers a close look at her art. \nRahel Szalit\, Das bin ich selbst (This is me myself)\, date unknown. \nRahel Szalit\, Kostümball (Costume Ball)\, in Ulk\, supplement to Berliner Tageblatt\, 1930 \nBorn Rahel Markus into a traditional Jewish world in Lithuania (then part of the Russian Empire)\, she came of age in Lodz\, Poland. She moved to Munich in 1910 to study art. From 1916 until soon after the Nazis took power\, Szalit lived in Berlin\, where she became acquainted with Jakob Steinhardt and Ludwig Meidner. She made a name for herself with soulful\, sometimes humorous illustrations of Jewish and world literature and published her work in the mainstream German and Jewish press. Around 1927\, she became active in the Association of Women Artists in Berlin and exhibited alongside such artists as Käthe Kollwitz\, Julie Wolfthorn\, and Lotte Laserstein. Forced to start again in Paris as a refugee from Nazi Germany\, she was fortunate to find a modest amount of success\, though this\, too\, was soon cut short. After she was murdered in the Holocaust\, Szalit was all but lost to history\, and most of her paintings have been destroyed or gone missing. \nRahel Szalit-Marcus\, A Street Sneezes\, in Menshelakh un stsenes (People and Scenes) portfolio\, lithographic illustration from Sholem Aleichem’s Motl\, the Cantor’s Son\, 1922. \nRahel Szalit-Marcus\, Wife Anticipating Her Murder\, lithographic illustration from Leo Tolstoy’s The Kreutzer Sonata\, 1922 \n\n\n\nKerry Wallach is Associate Professor and Chair of German Studies and an affiliate of the Jewish Studies Program at Gettysburg College. She is the author of Traces of a Jewish Artist: The Lost Life and Work of Rahel Szalit (Penn State University Press\, 2024) and Passing Illusions: Jewish Visibility in Weimar Germany (2017)\, and co-editor (with Aya Elyada) of German-Jewish Studies: Next Generations. She is also a co-editor of “German Jewish Cultures\,” a book series published by Indiana University Press. \n\n\n\nPRE-ORDER THE BOOK HERE\n\n\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\n \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/rahel-szalit/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240228T120000
DTEND;TZID=America/New_York:20240228T130000
DTSTAMP:20260416T091517
CREATED:20240202T112322Z
LAST-MODIFIED:20240228T193435Z
UID:7946-1709121600-1709125200@fritzaschersociety.org
SUMMARY:„I'm always on the go…” – The painter Franz Domscheit / Pranas Domšaitis (1880-1965)Lecture by Jan Rüttinger\, Lüneburg (Germany)
DESCRIPTION:Searching\, wandering\, not arriving – this is how the person and art of Franz Domscheit/Pranas Domšaitis can be characterized. Born into a German-Lithuanian family as the son of a farmer and innkeeper\, it was primarily his Lithuanian origins that interested him. The early landscape and cultural impressions of his homeland\, Prussian-Lithuania\, at the interface of German and Lithuanian culture\, shaped his work throughout his life. Landscape is one of the painter’s main themes\, who is primarily perceived as an expressionist. \n\nImage above: Franz Domscheit\, Two Peasant Women\, 1930s. Oil on canvas. Copyright National Lithuanian Art Museum. \n\n\n\n\n\n\n\n\nTrained at the Königsberg Art Academy by Ludwig Dettmann\, among others\, Domscheit then moved out into the world. Berlin\, Paris\, London\, Oslo and St. Petersburg are among his destinations. He always wanted to continue his education and met artists like Lovis Corinth and Edvard Munch who influenced him. The numerous travels\, including beyond the borders of Europe\, were reflected in many of his works of art. \n\n\n\n\nFranz Domscheit\, Potato Peeler\, 1926. Oil on cardboard. Copyright National Lithuanian Art Museum \nFranz Domscheit\, Self Portrait\, 1920s-1950s. Oil on cardboard. Copyright National Lithuanian Art Museum \n\n\n\n\nAfter Domscheit was branded a representative of “degenerate art” during the Nazi era\, he retreated to the Alps and into internal exile. In 1949 he finally emigrated to South Africa. Recognized as a Lithuanian citizen\, he now called himself Pranas Domšaitis (the Lithuanian form of his name). The new surroundings inspired him to create new types of images and compositions\, but his image motifs and themes\, which were influenced by Lithuanian culture\, remained recognizable. \n\n\n\n\nFranz Domscheit\, Annunciation\, 1954-58. Oil on cardboard. Copyright National Lithuanian Art Museum \nFranz Domscheit\, Portrait African Woman\, 1953-54. Oil on cardboard. Copyright National Lithuanian Art Museum \n\n\n\n\nLecture by Jan Rüttinger\, who studied in Erlangen\, Rome and Bamberg. Degree in medieval art history\, medieval history and archeology of the Middle Ages and modern times in Bamberg. Graduate school “Monastery and World” at the University of Paderborn\, collaboration on the large medieval exhibition “Canossa 1077. Erschütterung der Welt” (Shaking the World). Museum traineeship at the German Historical Museum\, Berlin. Afterwards\, he was project coordinator of a German-Polish EU project in Kamenz/Upper Lusatia\, and\, at the same time\, research assistant and responsible for the St. Annen Museum of Sacred Art. He then became collection manager at the Museum of Bread and Art in Ulm and then at the Diocesan Museum in Augsburg. Since the end of 2022\, he is the deputy museum director and curator of art at the East Prussian State Museum in Lüneburg\, Germany. \n\n\n\n\n\n\n\n\n\nThis event is part of the virtual series “Flight or Fight. stories of artists under repression\,” which is organized by The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. Future events and the recordings of past events can be found HERE. \nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/franz-domscheit/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/02/13_Zwei-Bauerinnen_Domscheit_1930er_Ol-auf-Leinwand_c-Nationales-Litauisches-Kunstmuseum-scaled.jpg
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DTSTART;TZID=America/New_York:20240214T120000
DTEND;TZID=America/New_York:20240214T130000
DTSTAMP:20260416T091517
CREATED:20240201T164926Z
LAST-MODIFIED:20240214T201909Z
UID:7932-1707912000-1707915600@fritzaschersociety.org
SUMMARY:The Art of Marc Klionsky: Shaping a Three-World Condition from Minsk to New York Lecture by Ori Z Soltes and conversation with daughter Nadia Klionsky
DESCRIPTION:In this program Georgetown University professor and author\, Ori Z Soltes\, explores Marc Klionsky’s life and work\, in part through conversation with his daughter\, the scholar and artist\, Nadia Klionsky. \n\nImage above: Marc Klionsky\, Dizzie Gillespie: The Man and his Trumpet\, 1988. Oil on canvas\, 52 x 66 inches. National Portrait Gallery\, Washington\, DC. \n\n\n\n\n\n\n\n\n\nThis exciting program features the paintings of Marc Klionsky (1927–2017). Born in the Soviet Union\, Klionsky managed to navigate what has been called a “two-world condition”—creating the particularized Soviet Socialist Realist work that was acceptable to the Stalinist and post-Stalinist State while allowing his soul to reveal itself in work that only a very few trusted viewers might see. As a Jewish artist\, in fact\, he lived through a “three-world condition\,” needing always to negotiate where that part of his identity might or might not express itself in his art. \n\n\n\n\n\nMarc Klionsky\, Russian Mother\, 1964. Oil on canvas\, 35 x 28 inches. \nMarc Klionsky\, Golda Meir\, 1976. Oil on canvas\, 40 x 30 inches. \n\n\n\n\nThe artist managed to immigrate—not without difficulty—to New York City in 1974\, where his work exploded in an endless array of stylistic directions\, developing a substantial career that continued until his death in 2017. Klionsky shaped a mode of self-expression uniquely contoured by his classical Soviet training his perspective of daily life in New York and America. Over the decades he became particularly known for his insightful portraits of world figures who articulated the 20th century\, from Golda Meir to Dizzy Gillespie. John Russell\, art critic for The New York Times\, described him as “a good man and a brave man and one of the most eloquent painters around.” He also simply called Klionsky “one of the best portrait painters around.” \n\n\n\n\nMarc Klionsky\, A Letter\, 1985. Oil on canvas\, 38 x 46 inches. Collection of Mr. and Mrs. Sam Wyly\, Dallas\, TX \nMarc Klionsky\, An Artist and a Model\, 2001. Oil on canvas\, 40 x 50 inches. Collection of Mr. and Mrs. Gary Milman\, New City\, NY. \nOri 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 and Curator of the B’nai B’rith Klutznick National Jewish Museum\, and has curated more than 90 exhibitions there and in other venues across the country and overseas. He is also the author of over 280 books\, articles\, exhibition catalogues\, and essays on diverse topics. Among his books are Fixing the World: Jewish American Painters in the Twentieth Century; The Ashen Rainbow: Essays on the Arts and the Holocaust; Our Sacred Signs: How Jewish\, Christian and Muslim Art Draw from the Same Source; Tradition and Transformation: Three Millennia of Jewish Art and Architecture; and Between Pasts and Future: A Conceptual History of Israeli Art.  \n Marc Klionsky\, Waiting for the Train\, 1986. Oil on canvas\, 66 x 79 inches. Yad Vashem Art Museum\, Jerusalem\, Israel. \n\n\n\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression\,” which is organized by The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. Future events and the recordings of past events can be found HERE. \nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/marc-klionsky/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240131T120000
DTEND;TZID=America/New_York:20240131T130000
DTSTAMP:20260416T091517
CREATED:20240116T162134Z
LAST-MODIFIED:20240131T233636Z
UID:7890-1706702400-1706706000@fritzaschersociety.org
SUMMARY:In Hitler’s Munich: Jews\, the Revolution\, and the Rise of Nazism A Book Talk by Michael Brenner\, Munich and Washington D.C.
DESCRIPTION:In the aftermath of Germany’s defeat in World War I and the failed November Revolution of 1918–19\, which was led by many prominent Jewish politicians\, the conservative government of Bavaria identified Jews with left-wing radicalism. Munich became a hotbed of right-wing extremism\, with synagogues under attack and Jews physically assaulted in the streets. It was here that Adolf Hitler established the Nazi movement and developed his antisemitic ideas. This lecture provides a gripping account of how Bavaria’s capital city became the testing ground for Nazism and the Final Solution. \n\n\n\n\n\nMichael Brenner holds the chair of Jewish History and Culture at Ludwig Maximilian University in Munich. He is also Distinguished Professor of History and Seymour and Lillian Abensohn Chair in Israel Studies at American University andserves as International President of the Leo Baeck Institute for the Study of German-Jewish History. In 2021 he was the first recipient of the Baron Award for Scholarly Excellence in Research of the Jewish Experience. He is author of ten books\, translated into over a dozen languages. His latest books are In Hitler’s Munich: Jews\, the Revolution\, and the Rise of Nazism\, (Princeton University Press 2022) and In Search of Israel: The History of an Idea (Princeton University Press\, 2018). \nBavarian Revolution\, Theresienwiese\, 1918. Public domain \nBavaria’s Prime Minister Kurt Eisner with his wife and minister Hans Unterleitner in January 1919\, right before he was murdered \n\n\nMichael Brenner’s book\, “In Hitler’s Munich: Jews\, the Revolution\, and the Rise of Nazism” was published by Princeton University Press in 2022. \n\n\nORDER THE BOOK HERE\n\n\n\n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\n \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/hitlers-munich/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240124T120000
DTEND;TZID=America/New_York:20240124T130000
DTSTAMP:20260416T091517
CREATED:20231227T011002Z
LAST-MODIFIED:20240124T203623Z
UID:7873-1706097600-1706101200@fritzaschersociety.org
SUMMARY:The New Man as Man Machine A Book Talk by Eckhart Gillen\, Berlin
DESCRIPTION:Fifteen years after the great financial crisis of 2008\, which shook the capitalist economic system in America and Europe to its foundations\, the book “The New Man as Man Machine” presents\, for the first time\, the interrelationship of art and political economy in the Weimar Republic\, the Soviet Union\, and the United States of America during the interwar period. By taking a look back at the 1920s and 1930s\, it attempts to better understand our own era and its well-founded fears with regard to globalization and a new global economic crisis. \n\nImage above: Kliment Redko\, Aufstand\, 1924-25 \n\n\n\n\n\n\n\n\n\nThis project focuses on how artists reacted to the central questions of the political economy in these three paradigmatic cultures and national economies of the interwar years. How did they deal in the United States\, for example\, with the question: Can free markets advance people’s “pursuit of happiness” better than the state in the form of a controlled capitalism or state capitalism? Is the process of consistently economizing and rationalizing all areas of life—as well as the technical-industrial progress\, the deregulation\, and the global effects of an international market that makes all traditional bonds\, regions\, and localities disappear—compatible with a dignified life? Or are there alternatives? Can a rational\, socialist planned economy overcome the negative consequences of capitalism? Does the world of machines demand a new type of human being or is a humanizing of work on machines conceivable? Alternative models for a state-guided economy were developed in the Soviet Union. In the German Empire and the United States\, National Socialism and the New Deal both began simultaneously in March 1933. Roosevelt\, however\, only planned a temporary suspension of the global market policy\, while Hitler aimed for a permanent policy of autarky. \n\n\n\n\n\nMax Beckmann\, The Granate\, 1915 \nGeorge Grosz\, Grey Day\, 1921 \nWhile writing this book\, the coordinates of world politics changed also dramatically. In February 2022 Russia invaded the Ukraine. We are currently experiencing a return of authoritarian regimes\, right-wing populism\, an impending trade war with customs duties\, and growing xenophobia or even open racism. This is true for all three countries compared here. Parallel to the experience that Carl Einstein noted in 1930\, definitions are once again shifting “imperceptibly” and “invisibly.” The long-forgotten novel It Can’t Happen Here by Sinclair Lewis (1935)—which describes\, instead of Roosevelt’s reelection in 1936\, the victory of a right-wing radical by the name of Berzelius (Buzz) Windrip\, who establishes a fascist dictatorship— gained new topicality in America after Trump’s election victory and has been reprinted in Germany as well. \nPiotr Wiljams\, Portrait Meyerhold\, 1925 \nGustav Klucis\, Spartakiade Moskau\, 1928 \nFrom the perspective of today\, it can therefore be shown that a society in a particular situation gets exactly the art it requires so as to reflect on its situation. For the period of time selected\, this is the technology-affirming\, streamlined art of Neue Sachlichkeit (New Objectivity) in Germany\, while it corresponds with Precisionism in the United States\, and with the dynamic urbanism of the Society of Easel Artists (OST) in the Soviet Union. Artists reacted to the great crisis of 1929 with Regionalism\, Native Art\, and Socialist Realism. All three art movements attempted to once again blur the hard contrasts of modern life and to address traditional values\, such as a commitment to rural life\, family\, and community. \nO. Louis Guglielmi\, Mental Geography\, 1938 \nPhilip Evergood\, Dance Marathon\, 1934 \n\n\n\n\n\nEckhart J. Gillen\, born 1947 in Karlsruhe (Germany)\, Art Historian\, freelance Curator\, received the Doctorate from the Faculty of Philosophy at the University of Heidelberg. He has organized numerous exhibitions and published widely on Russian\, American\, and German art of the twentieth century. Among his exhibition catalogs and books are 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\, Los Angeles\, Berlin\, Nuremberg (with Stephanie Barron) 2009; Art in Europe 1945-1968. Facing the Future\, BOZAR\, Brussels\, ZKM\, Karlsruhe\, Pushkin Museum\, Moscow (with Peter Weibel) 2016/17; Flashes of the Future. The Art of the 68er’s\, Ludwig Forum\, Aachen (with Andreas Beitin\, elected by AICA Germany for exhibition of the year 2018); Constructing the World. Art and Economy 1919-1939 in USA\, Germany and Soviet Union\, Kunsthalle Mannheim (with Ulrike Lorenz) 2018. Publications on German\, Russian\, and American art in the 20th century\, including Feindliche Brüder? Der Kalte Krieg und die deutsche Kunst 1945-1990 (Hostile Brothers? The Cold War and German Art 1945-1990)\, Berlin 2009\, and Der neue Mensch als Menschmaschine (The New Man as Man Machine)\, Bonn/Berlin 2023. Numerous distinctions\, including AICA-USA 2009 for Best Thematic Museum Show\, the Friedlieb Ferdinand Runge Award 2011 and Federal Cross of Merit 2022. Visiting lecturer for Art History at the Film University Konrad Wolf in Potsdam-Babelsberg.\n\n\n\n\n\nORDER THE BOOK HERE\n\n\n\n\nThis event is part of the monthly series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\n \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/the-new-man-as-man-machine/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2023/12/6.-Kliment-Redko_Aufstand_1924-25.jpg
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DTSTART;TZID=America/New_York:20231213T120000
DTEND;TZID=America/New_York:20231213T130000
DTSTAMP:20260416T091517
CREATED:20230824T011901Z
LAST-MODIFIED:20231215T162836Z
UID:7573-1702468800-1702472400@fritzaschersociety.org
SUMMARY:Samson Schames: Fragments of Exile Lecture by Annika Friedman\, Frankfurt
DESCRIPTION:This event is sponsored by Ilona Oltuski in memory of Ruth Drory. \n\nImage above: Samson Schames\, Kindling of the Lights\, c. 1956. Glass tiles on glass\, 56 x 71 cm. Jewish Museum Frankfurt \n\n\n\n\n\n\n\n\n\nSamson Schames (1898-1967) came from a long-established Jewish family in Frankfurt am Main. With the support of his uncle\, renowned gallery owner Ludwig Schames\, he made his way into the 1920s art scene and began his training as a painter\, graphic artist\, and stage designer. Schames’ designs\, drawings\, and oil paintings from the period up to 1933 testify to his deep connection to Frankfurt and her landscapes. \n\n\n\n\n\nSamson Schames\, Opernplatz Frankfurt\, 1930. Jewish Museum Frankfurt \nSamson Schames\, The Tear\, c.1941. 57.2 x 45.5 cm. Leo Baeck Institute New York \n\n\n\n\nAfter the National Socialists rose to power\, Schames immigrated to London in 1939\, where he began creating innovative mosaics from shards of glass\, porcelain\, and crockery—the material evidence of the bombings. \nThis presentation elaborates on the three important phases of the artist’s life and relates his time in Frankfurt and artistic beginnings to the work he made in British exile and finally to his new home\, New York. It also pays tribute to the first temporary exhibition the Jewish Museum Frankfurt showed in 1989. \n\n\n\n\nSamson Schames\, Blowing the Shofar\, c. 1956. Glass tiles on glass\, 56 x 71 cm. Jewish Museum Frankfurt \nSamson Schames\, Kindling of the Lights\, c. 1956. Glass tiles on glass\, 56 x 71 cm. Jewish Museum Frankfurt \nAnnika Friedman has been part of the Jewish Museum Frankfurt team since 2021\, initially as curatorial assistance and since 2022 as the curatorial project manager for the permanent exhibition in the Rothschild Palais. In addition to “Samson Schames: Fragments of Exile” she most recently co-curated the 2022/23 exhibition “Back into the Light. Four Women Artists – Their Works. Their Paths” which detailed the lives and careers of four artists whose paths intersected and subsequently diverged in Frankfurt after the rise of the National Socialists.\nShe received her Master in Holocaust Studies at the University of Haifa in Israel and her Bachelor at University of British Columbia in Canada. During her studies she was the assistant curator of the art exhibition “Arrivals\, Departures – The Oscar Ghez Collection\,” and a project coordinator in the archives of the Hecht Museum (Haifa). \nThe cabinet exhibition “Samson Schames: Fragments of Exile” at the Jewish Museum Frankfurt was curated by Annika Friedman and developed in cooperation with the Leo Baeck Institute in New York. It was closed early to make room for Sharone Lifschitz’ 2009 film “The Line and the Circle.” Using the process of developing photos in a darkroom\, the film tells the story of Kibbutz Nir Oz\, which was attacked and destroyed by Hamas on October 7\, 2023. More information HERE. \n\n\n\n\n\nThis event is part of the monthly series “Flight or Fight. stories of artists under repression\,” which is organized by The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. Future events and the recordings of past events can be found HERE. \nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/samson-schames/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20231206T120000
DTEND;TZID=America/New_York:20231206T130000
DTSTAMP:20260416T091517
CREATED:20231027T204147Z
LAST-MODIFIED:20231206T190009Z
UID:7803-1701864000-1701867600@fritzaschersociety.org
SUMMARY:Klaus Friedeberger (1922-2019). Journey Around the World Lecture by Monica Sidhu\, London  Q&A with wife Julie Friedeberger and British Museum curator Stephen Coppel\, London
DESCRIPTION:Presentation by Monica Sidhu\, followed by a conversation with the late Klaus’ wife Julie Friedeberger and British Museum curator Stephen Coppel\, London. \n\nImage above: Klaus Friedeberger\, Children Playing\, 1959-1962\, oil on canvas. Copyright Klaus Friedeberger estate \n\n\n\n\n\n\n\n\n\nBorn in Berlin in 1922 the artist Klaus Friedeberger escaped Nazi Germany in 1937. After studying at the Quaker School in Holland he arrived in London as a refugee in 1939. Classified as ‘enemy alien’ he was interned and subsequently deported to Australia on the transport ship Dunera. He spent two years in internment camps at Hay in New South Wales. Released in 1942 he joined the Australian Army labour corps and after demobilisation he studied art at East Sydney Technical College. After ten years in Australia Friedeberger returned to Europe and settled in London where he lived and worked until his death in 2019. \n\n\n\n\n\nKlaus Friedeberger\, Camp View with Huts\, 1941\, watercolour. Copyright Klaus Friedeberger estate \nKlaus Friedeberger\, Black Rock\, Melbourne\, 1942\, watercolour and gouache on paper. Copyright Klaus Friedeberger estate \n\n\n\n\nThe journey Klaus Friedeberger took from Berlin to Australia via Holland and London shaped his early life. The ten years he spent in Australia in Internment\, in the Army and at Art College shaped his artistic career. \nThis lecture will touch upon the life of emigré artist Klaus Friedeberger\, his early life in Berlin and his school time in Holland. It will examine how he went from a young refugee to a deportee. Using images produced over the course of almost 80 years this talk will focus on Friedeberger’s experiences on the transport ship Dunera and his early artistic training in the Australian internment camps in Hay\, Orange and Tatura. After regaining his freedom Friedeberger continued to develop as an artist and upon his return to Europe successfully established a career both as a painter and as a sought-after graphic designer. Friedeberger’s art progressed from his early initial colourful children’s paintings of the 1950s and 60s to the achromatic abstractions that dominated his later work. Alongside he created monotypes\, charcoal drawings and stripped paper collages. His ideas and working methods can be traced in the innumerable sketchbooks he left behind. \nFriedeberger’s works were exhibited in solo and group exhibitions from his early days as a student to the last show in 2015. \n\n\n\n\nKlaus Friedeberger\, Child Playing (Prisoner)\, 1962\, oil on canvas. Copyright Klaus Friedeberger estate \nKlaus Friedeberger\, Black Space 14\, 2011-12\, oil on canvas. Copyright Klaus Friedeberger estate \nMonica Sidhu trained as an art historian in the History of Art Department at University College London graduating in 1998. She has undertaken various projects at the British Museum working with Stephen Coppel\, Assistant Keeper and other curators in the Department of Prints and Drawings. She has catalogued the extensive archive of paintings\, drawings\, monotypes and papers left by Klaus Friedeberger in his studio after his death and is currently researching and writing a monograph on his career. \nJulie Friedeberger was born in New York City in 1935. She met Klaus Friedeberger on 17 September 1960\, in Florence\, Italy. They married in 1962 and lived together in London until his death in 2019. \nStephen Coppel is curator of modern prints and drawings at the British Museum. \n\n\n\n\n\nThis event is part of the monthly series “Flight or Fight. stories of artists under repression\,” which is organized by The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. Future events and the recordings of past events can be found HERE. \nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/klaus-friedeberger/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231115T120000
DTEND;TZID=America/New_York:20231115T130000
DTSTAMP:20260416T091518
CREATED:20231023T123608Z
LAST-MODIFIED:20231115T183729Z
UID:7783-1700049600-1700053200@fritzaschersociety.org
SUMMARY:Peter László Péri (1899-1967). A Hungarian-born Artist in Berlin and London Lecture by Arie Hartog\, Bremen (Germany)
DESCRIPTION:In this talk\, Arie Hartog\, director of the Gerhard-Marcks-Haus in Bremen\, Germany\, draws attention to a sculptor who contradicts the common narrative of modern art in the 20th century. Péri began as a constructivist and ended as a figurative artist. Yet he was not an academic traditional sculptor. \nIntroductory remarks by Lilla Farkas\, Cultural attaché at the Liszt Institute of the Consulate General of Hungary in New York. \nImage above: Peter László Péri\, Sadness\, 1938–1945\, pigmented and painted concrete\, 52 × 40 × 60 cm. Photo: Jake Wallters © Peter László Péri Estate\, London \n\n\n\n\n\n\n\n\n\n\nPeter László Péri was born Ladislas Weisz in Budapest in 1889. Peri became the Hungarianized family name in 1918. In 1919\, he participated in the Hungarian soviet republic. In 1920\, he came to Berlin. At the beginning of 1933\, he\, a Jew and Communist\, had to and could leave Germany and moved to London with his second\, English wife. These brief key data show a typical biography for Jewish artists in Europe\, and also explain why they are hardly noticed. Despite all the methodological innovations and assurances\, art history is still written primarily according to national patterns. And artists who were forced to move through Europe fall through the cracks. Hungarian and German art history is mostly interested in Péri before 1933\, English in the artist after 1933. \n\n\n\n\n\nPeter László Péri\, Design for a Lenin monument\, 1924. Photo: Jake Wallters © Peter László Péri Estate\, London \nPeter László Péri\, Swings\, 1936\, pigmented concrete\, 52 × 61 × 3 cm. Photo: Jake Wallters © Peter László Péri Estate\, London \n\n\n\n\nArie Hartog is the director of the Gerhard-Marcks-Haus in Bremen\, Germany. He studied art history at the University of Nijmegen. His research focus is the history of sculpture in the 20th century. He is Chairman of the Association of Sculpture Museums and Sculpture Collections and researches on the history of sculpture in the 20th century and the posthumous further development of sculptural oeuvres of the so-called “classic modernism”. Publications are\, among others\, Hans Arp Sculptures. A critical inventory\, Ostfildern/Ruit 2012; Marc Gundel\, Arie Hartog\, Frank Schmidt (ed.): Female sculptors in Germany\, Cologne 2019; Prague Sculptures\, Cologne 2022. \nThe exhibition “Peter László Péri – Péri’s People” at Kunsthaus Dahlem in Berlin and Gerhard-Marcks-Haus in Bremen draws attention to a sculptor who contradicts the common narrative of modern art in the 20th century. He began as a constructivist and ended as a figurative artist. Yet he was not an academic traditional sculptor but combined the achievements of the avant-garde with a socialist-influenced idea of realism. \n\n\n\n\nPeter László Péri in his studio with the sculpture »Reflections«\, ca. 1960. © Peter László Péri Estate\, London \nPeter László Péri\, Help Your Neighbor\, ca. 1960\, Polyester\, 87 × Ø 77 cm. Photo: Jake Wallters © Peter László Péri Estate\, London \nThe exhibition “Peter László Péri – Péri’s People” is on view at Kunsthaus Dahlem\, Berlin until January 28\, 2024\, and at Gerhard-Marcks-Haus\, Bremen from March 10 until June 2nd\, 2024. \nKunsthaus Dahlem\, BerlinGerhard-Marcks-Haus\, Bremen\n\n\n\n\nThis event is part of the monthly series “Flight or Fight. stories of artists under repression\,” which is organized by The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. Future events and the recordings of past events can be found HERE. \nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/peter-lazlo-peri/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231108T180000
DTEND;TZID=America/New_York:20231108T190000
DTSTAMP:20260416T091518
CREATED:20231010T002904Z
LAST-MODIFIED:20231109T014618Z
UID:7775-1699466400-1699470000@fritzaschersociety.org
SUMMARY:Horst Eisfelder (1925-2023): Diasporic Life in Shanghai’s State of Exception Lecture by Dr Noit Banai\, Hong Kong  and Dr Anna Hirsh\, Melbourne
DESCRIPTION:Lecture by Dr Noit Banai and Dr Anna Hirsh\, followed by Q&A with Rodney Eisfelder\, son of Horst Eisfelder. \nImage above: Horst Eisfelder. Street scene in the Shanghai Ghetto\, Shanghai\, China\, circa 1945. Black and white photograph. Copyright: Horst Eisfelder estate \n\n\n\n\n\n\n\n\n\n\nAfter fleeing Berlin a few weeks before Kristallnacht and arriving in Shanghai with his family in late November 1938\, Horst Eisfelder (1925-2023) became one of the most prolific photographers of the ‘Shanghai Ghetto’ before emigrating to Australia in May 1947. Embedded within the history and theory of photography\, this presentation considers his images of the city of Shanghai as well as the Designated Area for Stateless Refugees as vital representations through which to understand the constitution of diasporic life for the diverse Jewish communities who survived the war in this polyglot port of last resort. To do so\, Noit Banai examines Eisfelder’s practice as a continuation of modernist conventions and argues that their use made it possible to transform unfamiliar conditions of stateless into an experience that could be integrated within legible (Western) norms. At the same time\, she asks whether the modernist photographic idiom that Eisfelder adopted was itself transformed via its intersection with a singular state of exception. \n\n\n\n\n\nHorst Eisfelder. Portrait of Hedwig Eisfelder at Café Louis\, 1944\, Shanghai\, China. Black and white photograph. Copyright: Horst Eisfelder estate \nPortrait of Horst Eisfelder in 1945. Black and white photograph \n\n\n\n\n\nDr Noit Banai is an art historian and critic who specializes in modern and contemporary art in a global context\, with a focus on conditions of migrations\, exile\, diaspora\, border-regimes and statelessness. Before joining Hong Kong Baptist University as Associate Professor\, Art and Theory\, she was Professor of Contemporary Art in the Department of Art History at the University of Vienna and Lecturer of Modern and Contemporary Art at Tufts University/School of the Museum of Fine Arts\, Boston. \nShe is the author of Yves Klein (Reaktion Books\, 2014)\, Being a Border (Paper Visual Arts\, 2021) and articles appearing in journals such as Third Text\, Stedelijk Studies\, Public Culture\, Performing Arts Journal\, and Texte zur Kunst.  She served as assistant editor for the journal RES: Anthropology and Aesthetics and is a regular contributor to Artforum International.  Her current project “Stateless: Jewish Artist Refugees: Shanghai\, Hong Kong\, and Singapore\, 1933-1950\,” develops a trans-national analysis of the artistic production of stateless European Jewish artists who were living under the logic of modernity/ coloniality and the Japanese Occupation in three East Asian cities. \n\n\n\n\n\nHorst Eisfelder. Bake staff at Café Louis with Erwin Eisfelder in center\, circa 1941\, Shanghai\, China. Black and white photograph. Copyright: Horst Eisfelder estate \nHorst Eisfelder. Street Scene opposite Café Louis. n.d. Shanghai\, China. black and white photograph. Copyright: Horst Eisfelder estate \nDr Anna Hirsh is the Manager of Collections & Research at the Melbourne Holocaust Museum\, where she has worked for nearly a decade. She holds a PhD in Jewish History and Culture\, a Masters of Art Curatorship\, and a Bachelor of Education (Visual Arts). She is responsible for the collection\, documentation\, and preservation of the collection at the MHM\, which holds artefacts and testimonies mostly from the Melbourne survivor and descendant community. She provides research and content support across the museum\, and externally. Anna has worked on various museum and art projects over the years. She holds the honorary positions of Co-President of the Australian Association for Jewish Studies\, and Honorary Fellow at Deakin University. \nBibliography:\nHistory of Photography\, Winter 1999\, Photography and the Holocaust.\nPages 356-359 My Photographic Career in Shanghai\, Horst ‘Peter’ Eisfelder\nhttps://doi.org/10.1080/03087298.1999.10443344 \nJewish Holocaust Centre\, Melbourne Australia (now the Melbourne Holocaust Museum)\nIn conversation with … Horst Eisfelder\, Photos and memories of Shanghai 12-Oct-2015\nhttps://www.youtube.com/watch?v=-jGGGN5ioTY \nStammbaum\, The Journal of German-Jewish Genealogical Research\, (Leo Baeck Institute)\nIssue 20 Winter 2002 Pages 3-6. Horst Eisfelder and his Shanghai Photographs: An Interview\nhttps://archive.org/details/stammbaum_202103/Issue%2020%20%28Winter%202002%29/ \nChinese Exile: My years in Shanghai and Nanking by Horst “Peter” Eisfelder 2004\nhttps://www.avotaynu.com/books/ChineseExile.htm or https://www.avotaynubooks.com/product-page/chinese-exile \nShoah Foundation Visual History Archive – Horst Eisfelder\, 1996\nhttps://vha.usc.edu/testimony/18227 \n\n\n\n\n\nThis event is part of the monthly series “Flight or Fight. stories of artists under repression\,” which is organized by The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. Future events and the recordings of past events can be found HERE. \nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/horst-eisfelder/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20231025T120000
DTEND;TZID=America/New_York:20231025T130000
DTSTAMP:20260416T091518
CREATED:20230929T172317Z
LAST-MODIFIED:20231025T175611Z
UID:7640-1698235200-1698238800@fritzaschersociety.org
SUMMARY:Eva Zeisel\, Designer Extraordinaire Lecture by daughter Jean Richards\, New York
DESCRIPTION:Eva Zeisel (born Éva Amália Striker\, Budapest 1906 –2011 New City\, New York) was one of the most important designers of the 20th century. She believed that beautiful things make people happy. Although she was known for her ceramic tableware\, she also designed in glass\, wood\, plastic and metal. Her designs are in major museums around the world\, including the Metropolitan Museum\, the British Museum and MoMA\, where she had the first one woman show in 1946. \nLecture by Eva’s daughter Jean Richards. \nImage above: Eva Zeisel\, Red Wing Pottery pieces from “Town and Country” collection. Glazed earthenware\, ca. 1945. CC BY 4.0 \n\n\n\n\n\nPhotograph of a young Eva Zeisel. © Eva Zeisel Estate \n Eva Zeisel with Dimple Spindel rug. © Eva Zeisel Estate \n\n\n\n\n\nEva was born in 1906 in Budapest to a well-known intellectual family\, the Polanyi’s. \n\n\nShe lived a rather unconventional life\, spurred on by curiosity\, designing for various factories around the world.  Her curiosity and her work led her from Weimar Berlin to Russia\, where she eventually became artistic director of the China and Glass Trust.  Much to her surprise\, while in Russia\, she was arrested. Since she was not politically active\, she assumed it was an error and she’d be back in a few days. She was accused of conspiring to assassinate Stalin. Although she was entirely innocent\, she stayed in prison for 16 months\, many in solitary confinement. Recent research shows that Stalin was directly involved in her case\, and perhaps responsible for the decision to expel her rather than shoot her. \n\n\nEva Zeisel died in 2011 at the age of 105. Her designs are still on the market. \n\n\n\n\n\nEva Zeisel\, Museum Dinner Service\, c. 1942-45. Glazed porcelain. Manufactured by Castleton China Co.\, New Castle\, PA. Designed for the Museum of Modern Art. © Eva Zeisel Estate \nEva Zeisel\, Tsolnay Vases\, Budapest. Not dated. Glazed earthenware. Erie Art Museum\, Erie\, PA © Eva Zeisel Estate \n\nJean Richards\, a graduate of Yale Drama School\, is an actor who appeared in minor and major theatre productions. She specialized in voice-overs and has written best-selling children’s books.  Still on the market is “A Fruit is a Suitcase for Seeds”\, Lerner Publishing. \n\nEva Zeisel. A Soviet Prison Memoir was compiled by Jean Richards and Brent Brolin\, Edward P. Gazur (Foreword) \nMemoir of Eva Zeisel’s 16 months in a Soviet prison (1937-38) during the Stalinist purges. It includes poems written in prison\, many of her NKDV case documents (original Russian copies and translations)\, photos from the time\, maps of her travels in Russia\, audio clips from later reminiscences\, and video clips from her return in 2000. \nThe book can be purchased HERE. \nToday\, Eva’s grandson\, Adam Zeisel\, produces some of Eva’s most classic designs. They can be purchased at his online store. \n\n\n\n\n\nThis event is part of the monthly series “Flight or Fight. stories of artists under repression\,” which is organized by The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. Future events and the recordings of past events can be found HERE. \nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/eva-zeisel/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20230927T120000
DTEND;TZID=America/New_York:20230927T130000
DTSTAMP:20260416T091518
CREATED:20230901T230313Z
LAST-MODIFIED:20230927T182453Z
UID:7605-1695816000-1695819600@fritzaschersociety.org
SUMMARY:Art for the Millions: American Culture and Politics in the 1930s Lecture by Allison Rudnick\, New York
DESCRIPTION:The 1930s was a decade of political and social upheaval in the United States\, and the art and visual culture of the time reflected the unsettled environment. Americans searched for their cultural identity during the Great Depression\, a period marked by divisive politics\, threats to democracy\, and intensified social activism\, including a powerful labor movement. The exhibition with the same title\, on view at The Metropolitan Museum of Art New York until December 10\, 2023\, features more than 100 works from the collection and several lenders\, and explores how artists expressed political messages and ideologies through a range of media\, from paintings\, sculptures\, prints\, and photographs to film\, dance\, decorative arts\, fashion\, and ephemera. \nHighlights include paintings by Georgia O’Keeffe\, Charles Sheeler\, and Stuart Davis; prints by Elizabeth Olds\, Dox Thrash\, and Riva Helfond; photographs by Walker Evans and Dorothea Lange; footage of Martha Graham’s dance Frontier; and more\, providing an unprecedented overview of the era’s sociopolitical landscape. \nLecture by Allison Rudnick\, New York. \n\n\n\n\n\nAllison Rudnick is Associate Curator in the Department of Drawings and Prints at the Metropolitan Museum of Art\, where she oversees the visual culture and ephemera collections. Her exhibitions include Art for the Millions: American Culture and Politics in the 1930s\, at The Met. Prior to joining The Met in 2012\, she worked at the printshop and publisher Harlan & Weaver\, and she has published and presented extensively on printmaking practices and visual culture. \nIda York Abelman (American\, New York 1910–2002)\, Man and Machine\, ca. 1939. Published by WPA \nEgmont Hegel Arens (American\, Cleveland\, Ohio 1887–1966 New York)\, Theodore C. Brookhart (American Celina\, Ohio 1898–1942 Sydney\, Ohio)\, David Anderson Meeker (American\, Greenville\, Ohio 1901–1985 Troy\, Ohio)\, “Streamliner” Meat Slicer\, 1940. Hobart Manufacturing Company\, Troy\, Ohio\nMore information about the exhibition\, on view until December 10\, 2023 at The Metropolitan Museum of Art in New York\, HERE. \nYou can order the exhibition catalogue HERE. \n\n\n\n\n\nThis event is part of the monthly series “Flight or Fight. stories of artists under repression\,” which is organized by The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. Future events and the recordings of past events can be found HERE. \nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/art-for-the-millions/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2023/09/b756d137e40978ae425278e63d2bcd06f6aca82b-5120x5120.jpg-copy-2.jpeg
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DTSTART;TZID=America/New_York:20230913T120000
DTEND;TZID=America/New_York:20230913T130000
DTSTAMP:20260416T091518
CREATED:20230831T151838Z
LAST-MODIFIED:20230913T173035Z
UID:7587-1694606400-1694610000@fritzaschersociety.org
SUMMARY:From Émigré to Englishman: Fred Uhlman\, ‘Painter of Dreams’Lecture by Dr. Nicola Baird\, London
DESCRIPTION:Manfred [Fred] Uhlman was born on 19th January 1901 in Stuttgart\, Germany\, the eldest child of Ludwig Uhlman (1869–c.1943)\, a textile merchant\, and his wife\, Johanna Grombacher (1879–c.1943)\, both of whom were later to perish at Theresienstadt concentration camp. He studied law at the Universities of Freiburg\, Munich\, and Tübingen\, graduating with a doctorate in 1923. In 1927 he joined the Social Democrat Party\, becoming its official legal representative in 1932. \n\nImage above: Fred Uhlman\, Still Life with African Figures\, oil on canvas\, Hatton Gallery\, © the artist’s estate / Bridgeman Images. Photo credit: Hatton Gallery \n\n\n\n\n\n\n\n\n\n\nIn March 1933\, after a warning that his arrest was imminent because of his political affiliations\, he fled to Paris. There\, unable to work as a lawyer he began to paint\, encouraged by his cousin\, Paul Elsas\, who was himself a painter\, and German émigré art historian\, Paul Westheim\, who championed individualism and chronicled the lives of ‘Artists\, spiritual warriors\, society’s outsiders\, who have lived the adventurous life of the creative spirit’. \nIn Paris\, Uhlman was celebrated as a ‘naïve’ artist for his ‘pictorial fantasies’ and ‘poetic’\, ‘childlike vision.’ Inherent in Uhlman’s paintings is a peculiar sense of unreality which\, by evading exact periodisation\, allow them to function as mythic histories of no time. \n\n\n\n\n\n\nFred Uhlman\, Les avions\, c. 1938-39. Oil on canvas\, Royal Academy of Music © the artist’s estate / Bridgeman Images. Photo credit: Royal Academy of Music \nFred Uhlman\, Street Corner in St Servan\, 1949\, oil on canvas\, York Art Gallery\, © the artist’s estate / Bridgeman Images. Photo credit: York Museums Trust \n\n\n\n\nOn 3rd September 1936 Uhlman immigrated to Britain\, he had no money and was little able to speak English. Two years later he and his wife Diana\, née Croft\, settled at 47 Downshire Hill in Hampstead – a haven for refugee artists including John Heartfield\, pioneer of photomontage. There\, they co-founded the Artists’ Refugee Committee – assisting the flight of many artists from Czechoslovakia in the wake of the Munich Agreement – and the Free German League of Culture\, an anti-Nazi refugee organization whose members included Oskar Kokoschka and Stefan Zweig. Uhlman’s work was included in the Exhibition of Twentieth Century German Art at the New Burlington Galleries in 1938 – the first and last major exhibition in which art produced in Nazi occupied countries was displayed (until the end of the war) – under the heading ‘artists now working in this country’. \nIn June 1940\, nine months after the outbreak of the Second World War\, Uhlman\, along with thousands of other ‘enemy aliens’ was interned by the British government at Hutchinson Camp on the Isle of Man. He was released six months later and reunited with his wife and daughter\, born during his internment.  A selection of the drawings he produced in internment were published by Jonathan Cape\, under the title Captivity\, in 1946. \nAfter 1945 he became internationally known\, exhibiting\, for example\, at the Graphisches Kabinett\, Bremen (1954). A large-scale exhibition of his work was last held at the Leighton House Museum in London in 1968 and he has since been largely forgotten. Uhlman is the author of The Making of an Englishman\, 1960 and the enduringly popular novella\, Reunion\, 1971 (adapted for film by Harold Pinter in 1989 and for stage by Ronan Wilmot in 2010). \n\n\n\n\nFred Uhlman\, Parliament Square\, Coronation\, 1953\, oil on board\, Government Art Collection\, © the artist’s estate / Bridgeman Images. Photo credit: Government Art Collection \nFred Uhlman\, Brab\, c. 1971\, oil on canvas\, London Borough of Camden\, Town Hall Extension © the artist’s estate / Bridgeman Images. Photo credit- London Borough of Camden \n\nDr Nicola Baird is an independent researcher\, writer and curator affiliated with the Centre for the Study of the Networked Image\, London South Bank University. In 2018 she curated the retrospective ‘The Making of an Englishman’: Fred Uhlman\, a Retrospective at Burgh House\, London and the Hatton Gallery\, Newcastle and edited the accompanying publication. She also curated the exhibitions Czech Routes to Britain: Selected Czechoslovak Artists in Britain from the Ben Uri and Private Collections (Ben Uri Gallery\, 2019)\, an exhibition of the early work of Gustav Metzger\, a German Jewish artist and activist born to Polish parents (Ben Uri Gallery\, 2021)\, and Knots: Jonny Briggs x Burgh House: Contemporary Interventions into an Historic House (Burgh House\, 2021-22). She is a contributor to the International Yearbook of Futurism Studies\, the Journal of Avant-Garde Studies and the Journal of Modern Periodical Studies and has spoken at conferences in the UK\, Belgium\, Czech Republic\, Portugal and New Zealand. \n\nFred Uhlman with the pipe he was well known for smoking\, c. 1970s © Estate of Fred Uhlman \n\n\n\n\n\nThis event is part of the monthly series “Flight or Fight. stories of artists under repression\,” which is organized by The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. Future events and the recordings of past events can be found HERE. \nWE ARE HALFWAY THERE! Please help us achieve our goal of raising – before the end of the Jewish year – $8\,000.00 to support our virtual lecture program. Your donation helps us organize programs that discover and commemorate artists persecuted by the German Nazi regime. In learning about their lives and art and discussing the historical and cultural context they lived in\, we aim to understand history better to help create a better future for us all. \nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/fred-uhlman/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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