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DTSTART;TZID=America/New_York:20221121T190000
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SUMMARY:RECKONINGS - The First ReparationsFilm Screening at Marlene Meyerson JCC Manhattan Followed by Q+A with Gideon Taylor and Karen Heilig
DESCRIPTION:In the aftermath of the Holocaust\, the unprecedented destruction and plight of survivors prompts the unthinkable – German and Jewish leaders meet in secret to grapple with the first reparations in history\, resulting in the groundbreaking Luxembourg Agreements of 1952. \n\nScreening followed by Q+A with Gideon Taylor and Karen Heilig\, from the Conference on Jewish Material Claims Against Germany. \n\n\n\n\n\n\n\n\n\n\n\n \nWatch the Trailer: \n\n\n\n\n\n\nSCREENINGS\n\n\n\n\n\nIn the aftermath of the Holocaust\, German and Jewish leaders met in secret to negotiate the unthinkable – compensation for the survivors of the largest mass genocide in history. Survivors were in urgent need of help\, but how could reparations be determined for the unprecedented destruction and suffering of a people? Directed by award-winning filmmaker Roberta Grossman\, RECKONINGS is the first documentary feature to chronicle the harrowing process of negotiating German reparations for the Jewish people\, which resulted in the groundbreaking Luxembourg Agreements of 1952. \n\n\nFilmed in six countries\, this engrossing film brings these moments to life with dramatized scenes and interviews with historians as well as Ben Ferencz\, the one surviving participant from these historic talks\, who had previously served as prosecutor at the Nuremberg War Crimes Trials. By confronting the past\, the German and Jewish leaders charted a better future for a desperate and traumatized people. Their actions led to the first time in history that individual victims of persecution received material compensation from the perpetrators. \nLearn more about the film at https://reckoningsfilm.org/. \nScreening at\nMarlene Meyerson JCC Manhattan\n334 Amsterdam Ave\nNew York\, NY 10023 \nTickets must be purchased before your arrival at the JCC. \n\n\n\n\n\n\nOrganized by the Marlene Meyerson JCC Manhattan. \nIn partnership with 3GNY\, The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, and American Society for Yad Vashem. \nYOUR SUPPORT MAKES OUR PROGRAMS POSSIBLE. THANK YOU. \nPLEASE DONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/reckonings/
LOCATION:Marlene Meyerson JCC Manhattan\, 334 Amsterdam Ave\, New York\, NY\, 10023\, United States
CATEGORIES:Events,Past Events
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20221114
DTEND;VALUE=DATE:20221115
DTSTAMP:20260407T101420
CREATED:20200424T095932Z
LAST-MODIFIED:20230604T190206Z
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SUMMARY:IN-PERSON CONFERENCE: Welcoming the Stranger. Abrahamic Hospitality and Contemporary ImplicationsFordham University\, New York
DESCRIPTION:One of the signal moments in the narrative of Abraham is his insistent and enthusiastic reception of three strangers. That moment is a beginning point of inspiration for all three Abrahamic traditions as they evolve and develop the details of their respective teachings. On the one hand\, welcoming the stranger by remembering “that you were strangers in the land of Egypt” is enjoined upon the ancient Israelites\, and on the other\, oppressing the stranger is condemned by their prophets. These sentiments will be repeated in the New Testament and the Qur’an and elaborated in the interpretive literatures of Judaism\, Christianity\, and Islam. \nSuch notions have been seriously challenged on many occasions throughout history—at no time more profoundly than in the 20th and 21st centuries. The Holocaust began by the decision of the German government in the mid-1930s to turn specific groups of German citizens into strangers\, a process that expanded over the following decade to overrun much of Europe.  \nDeliberate marginalization leading to genocide expressed itself in the next half century from Bosnia and Cambodia to Rwanda. In the aftermath of September 11\, 2001\, the United States—which has wrestled with the question of welcoming the stranger since the middle of the 19th century—began an emphatic twist toward closing the door on those seeking refuge on these shores. We have arrived at an unprecedented slamming of that door within the last few years. The repercussions may be felt across the globe. \nThe purpose of this conference is to explore these issues\, from both a theoretical and theological perspective\, and a perspective that examines concrete historical and contemporary instances within the past 120 years in which aspects of these issues have played out\, most recently during the ongoing Ukrainian refugee crisis. \nThe conference was co-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\, New York and took place at Fordham University\, 113 West 60th St\, New York\, NY 10023. \nThe conference was generously sponsored by the Allianz of America Corporation. \nConference Recording\nEndy Moraes\, LLM \nOri Z Soltes\, PhD \nThomas Massaro\, S.J.\nZeki Saritoprak\, PhD\nMorning Session \nWelcome Remarks\nEndy Moraes\, LLM\, Fordham University School of Law\nRachel Stern\, Fritz Ascher Society \nIntroductions\nOri Z Soltes\, PhD\, Georgetown University\, Washington DC \nPanel\n“Welcoming the Stranger in Judaism\, Christianity & Islam”\nOri Z Soltes\, PhD\, Georgetown University\, Washington DC\nThomas Massaro\, S.J.\, PhD\, Fordham University\nZeki Saritoprak\, PhD\, Nursi Chair in Islamic Studies\, John Carroll University \nRachel Stern \nCarol Prendergast \nMohsin Mohi Ud Din \nHon. Mimi E. Tsankov \nAfternoon Session \nIntroductions\nOri Z Soltes\, PhD\, Georgetown University\, Washington DC \nPanel\n“Fritz Ascher. A Jewish Artist in Germany”\nRachel Stern\, Fritz Ascher Society\, New York\n“Welcoming Beyond Offering Safe Heaven: Aspiring to Partner with Refugees”\nCarol Prendergast\, Senior Advisor\, Alfanar Venture Philanthropy\n“Reframing Narratives to Remodel the World”\nMohsin Mohi-Ud-Din\, Founder and CEO of #MeWe International \nHon. Mimi E. Tsankov\, President\, National Association of Immigration Judges  \nEndy Moraes\, LLM\, Director\, Institute on Religion\, Law\, and Lawyer’s Work at Fordham Law School\, is a Brazilian lawyer with extensive experience in interreligious and intercultural dialogue. Endy has an LLM\, cum laude\, from Fordham Law School\, and is admitted to practice in New York. She is a member of the Focolare Movement of the Catholic Church\, living in community. \nRachel Stern is the founding and executive director of the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art in New York. Born and educated in Germany\, she immigrated to the United States in 1994. She wrote for the AUFBAU and worked for ten years in the Department of Drawings and Prints at the Metropolitan Museum of Art in New York. Stern curates exhibitions\, publishes books and organizes events and conferences about the fate of artists who were persecuted under German National Socialism. In 2017\, she received the Hans and Lea Grundig Prize for this work. Stern serves on the board of the Fritz Ascher Stiftung at Stadtmuseum Berlin and is a member of Aktives Museum Berlin. Stern completed MAs in Art History and Economics at Georg August University in Göttingen. \nOri Z Soltes\, PhD\, teaches at Georgetown University across a range of disciplines\, from art history and theology to philosophy and political history. He is the former Director of the B’nai B’rith Klutznick National Jewish Museum\, and has curated more than 90 exhibitions across the country and overseas. He has authored or edited 25 books and several hundred articles and essays. Recent volumes include Our Sacred Signs: How Jewish\, Christian and Muslim Art Draw from the Same Source; The Ashen Rainbow: Essays on the Arts and the Holocaust; and Tradition and Transformation: Three Millennia of Jewish Art & Architecture; and Growing Up Jewish in India: Synagogues\, Ceremonies\, and Customs from the Bene Israel to the art of Siona Benjamin \nThomas Massaro\, S.J.\, is Professor of Moral Theology at Fordham University. A Jesuit priest of the United States East Province\, he has taught as professor of moral theology at Weston Jesuit School of Theology in Cambridge\, Massachusetts\, at Boston College\, and at Jesuit School of Theology of Santa Clara University\, where he also served as Dean. Father Massaro holds a doctorate in Christian social ethics from Emory University. His nine books and over one hundred published articles treat Catholic social teaching and its recommendations for public policies oriented to social justice\, peace\, worker rights and poverty alleviation. A former columnist for America magazine\, he writes and lectures frequently on such topics as the ethics of globalization\, peacemaking\, environmental concern\, the role of conscience in religious participation in public life\, and developing a spirituality of justice. His most recent book is Mercy in Action: The Social Teachings of Pope Francis (Rowman & Littlefield Publishers\, 2018). \nZeki Saritoprak\, PhD\, is the 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. He holds a Ph.D. in Islamic Theology from the University of Marmara in Turkey. His most recent books are Islam’s Jesus was published by the University Press of Florida in 2014 and Islamic Spirituality: Theology and Practice for the Modern World published by Bloomsbury in 2017. He is currently working on a book on Islamic Eschatology. \nCarol Prendergast has been a Senior Advisor to Alfanar Venture Philanthropy since 2017. Alfanar provides seed funding and technical support for social entrepreneurs in the MENA region\, focusing on organizations that economically empower women\, youth and refugees. Ms. Prendergast has developed and directed advocacy\, policy and direct service programs for NGOs serving refugees and asylum seekers in the U.S. Since her appointment as Visiting Senior Fellow in Human Rights at the London School of Economics\, she has served as a consultant to international NGOs and EU agencies addressing the needs of victims of forced migration. Ms. Prendergast is a graduate of Georgetown University Law Center and has pursued postgraduate study at NYU and the Centre for Refugee Studies at Oxford University. \nMohsin Mohi Ud Din is an artist\, activist\, and founder of the global nonprofit #MeWe International Inc. (#MeWeIntl). #MeWeIntl is a global network of artists\, scientists\, and community-builders who design methodologies and tools for creative expression and communication skills-building to advance the health\, human rights\, and representation of everyone. For over 15 years\, Mohsin has scaled his methodology across more than 15 countries\, from the valley of Kashmir to the Syrian refugee camps in the Middle East\, to the mountains of Morocco\, Honduras\, and Mexico. His movement has supported more than 8\,000 vulnerable youth and caregivers and dozens of community building organizations fighting violence\, forced displacement\, incarceration\, and poverty. Mohsin previously worked for human rights organizations such as Human Rights First\, and worked in the Strategic Communications Division for the MDGs and SDGs for the United Nations in New York. His work has received honors from SOLVE MIT at the UN\, the United Nations Alliance of Civilizations\, Open Ideo and others. In 2009\, Mohsin received a Fulbright Scholarship to pilot his methodologies in Morocco. His words and visual pieces have been featured in VICE News\, Al Jazeera\, Huffington Post\, and The Nation. \nHon. Mimi E. Tsankov is an Immigration Judge at the New York Federal Plaza Immigration Court. She is speaking in her capacity as President of the National Association of Immigration Judges. In the past 15 years presiding at Immigration Courts in New York\, Colorado\, and California\, she has held a variety of national leadership roles including Pro Bono Liaison Judge\, contributing editor to the Immigration Judge Benchbook\, Chair\, Immigration Court – Board of Immigration Appeals Precedent Committee\, Mentor Judge\, and Juvenile Docket Best Practices Committee Chair.  She is currently the elected President of the National Association of Immigration Judges (NAIJ) (2021 – 2023).\nJudge Tsankov completed her J.D. at the University of Virginia School of Law and was awarded an M.A. in International Relations at the University of Virginia Graduate School of Politics.  She completed her undergraduate degree at James Madison University. \nA book publication of the conference papers is planned for 2023. \nThe conference is organized by The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art and Fordham University’s Institute on Religion\, Law & Lawyer’s Work\, in collaboration with Fordham University’s Center for Jewish Studies. \nIMAGE ABOVE: Rembrandt\, Abraham Serving the Three Angels\, 1646. Private collection. Image Public domain\, via Wikimedia Commons
URL:https://fritzaschersociety.org/exhibition-event/fordham-conference/
LOCATION:Fordham University School of Law\, 150 West 62nd Street\, New York\, NY\, 10023\, United States
CATEGORIES:Events,Past Events
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ORGANIZER;CN="Fordham University School of Law":MAILTO:lawreligion@law.fordham.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20221102T120000
DTEND;TZID=America/New_York:20221102T130000
DTSTAMP:20260407T101420
CREATED:20220809T220153Z
LAST-MODIFIED:20221102T184241Z
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SUMMARY:Out of Exile. The Photography of Fred Stein (1909-1967) With Son Peter Stein and Curator Ulrike Kuschel\, Berlin (Germany)
DESCRIPTION:Fred Stein lived through some of the greatest upheavals of the 20th century. He escaped Nazi Germany; he mingled with Chagall and Brecht in Paris; and he debated with Einstein in New York. He was a scholar\, a refugee\, and an idealist. But above all\, he was a photographer. An early innovator of hand-held street photography in 1930s France and 1940s New York\, his images are sophisticated\, beautiful\, and touching; his portraits include some of the most important people of the mid-20th century\, like Albert Einstein. \n\n\n\n\n\n\n\n\n\nImage above: Fred Stein\, Americans All\, New York 1943 © Fred Stein Archive\n\n\n\n\nFred Stein\, Paris Evening\,\nParis 1934 © Fred Stein Archive \nFred Stein\, Berthold Brecht\, Paris 1935 © Fred Stein Archive \n\n\n\n\n\nFred Stein was born on July 3\, 1909 in Dresden\, Germany. His father was a rabbi and his mother taught religion. As a teenager he was deeply interested in politics and became an early anti-Nazi activist. He was a brilliant student\, and went to Leipzig University\, full of humanist ideals\, to study law. He obtained a law degree in an impressively short time\, but was denied admission to the German bar by the Nazi government for “racial and political reasons.” After the Gestapo began making inquiries about him\, Stein fled to Paris in 1933 with his new wife\, Liselotte Salzburg\, under the pretext of going on a honeymoon. \nIn Paris they were in the center of a circle of expatriates\, intellectuals and artists. There he took up photography\, and found his life’s passion. He was a pioneer of the small\, hand-held camera\, and with the Leica which he and his wife had purchased as a joint wedding present\, he went into the streets to photograph scenes of life in Paris. He took remarkable portraits of the people around him – people who were to become major intellectual figures\, such as Willy Brandt\, Arthur Koestler\, and Andre Malraux\, but also a flower vendor\, a stylish couple\, a refugee child…a host of poignant images that accuse the inequities of the social order\, and at the same time\, reveal the beauty and dignity of each individual. \nWhen Germany declared war on France in 1939\, Stein was put in an internment camp for enemy aliens near Paris. He managed to escape\, and after a hazardous clandestine journey through the countryside\, met his wife and baby girl in Marseilles\, where they obtained visas through the efforts of the International Rescue Committee. On May 7\, 1941\, the three boarded the S.S. Winnipeg\, one of the last boats to leave France. They carried only the Leica and some negatives. \n\n\n\n\n\nFred Stein\, Albert Einstein\, Princeton\, New Jersey 1946  © Fred Stein Archive \nFred Stein\, Dobbs Fifth Avenue\,\nNew York 1946 © Fred Stein Archive \n\n\n\n\n\n\nNew York was a vibrant center of culture\, and Stein seized the opportunity. He met and photographed writers\, artists\, scientists\, politicians\, and philosophers whose work he knew through his extensive reading and study. This enabled him to engage them in conversation during portrait sessions. He continued his fascination with humanity\, walking through the streets of New York\, documenting life from Fifth Avenue to Harlem. He worked unobtrusively and quickly\, valuing the freedom to capture the telling moment that reveals the subject in its own light\, not as incidental material for photographic interpretation. He preferred natural or minimal lighting\, and avoided elaborate setups as well as dramatic effects. He did not retouch or manipulate the negative. Stein was a member of the Photo League until he became disenchanted with their pro-Communist sympathies. Though portraits were his main income-generating work and he photographed many people on commission\, he generally worked without assignment\, shooting people and scenes that interested him. He would then offer his work to publishers and photo editors of magazines\, newspapers\, and books. \nStein died in 1967 at the age of 58. Though not a self-promoter\, his portraits and reportage had appeared in newspapers\, magazines\, and books throughout the world. His portrait of Albert Einstein is his most famous picture: an iconic image of a great soul. He also lectured and held a number of one-man exhibitions and had several books published. \nFred Stein’s work was exhibited widely in Europe and the US\, and is included in public collections like the Museum of Modern Art\, New York\, the Los Angeles County Museum of Art\, the National Portrait Gallery\, London and the Jewish Museum Berlin. \n\n\n\n\n\n\nFred Stein with Leica\, ca. 1935. Unknown Photographer © Fred Stein Archive \nFred Stein with Rolleiflex\, ca. 1945. Unknown Photographer © Fred Stein Archive \n\n\n\n\n\n\nThis program features curator Ulrike Kuschel and son Peter Stein in conversation\, moderated by Rachel Stern\, director of the Fritz Ascher Society. \nUlrike Kuschel studied Fine Arts at the Berlin University of the Arts (Hochschule der Künste) in Berlin and has realized numerous artistic projects in Germany and abroad. In 2010 she was a fellow at the Villa Massimo in Rome. At the same time\, she worked for a picture agency for many years and taught photography and the history of photography at various universities. From 2017 to 2020 she was a member of the jury of the Kunstfonds Foundation (Stiftung Kunstfonds) for the publication and education program. Since 2019\, she has been working on various projects at the German Historical Museum (Deutsches Historisches Museum) in Berlin: in 2019/2020 she assisted in the exhibition “Hannah Arendt and the 20th Century”\, and in 2021 she curated the exhibition “Report from Exile – Photographs by Fred Stein” (December 11\, 2020 to June 20\, 2021). She is currently working on a digital history project. \nPeter Stein\, ASC has been the Director of Photography on over 50 feature films\, TV movies\, and documentaries\, covering the last 35 years and was invited to join the prestigious American Society of Cinematographers in 1999. He grew up learning photography from his father\, noted street photographer and portraitist Fred Stein. After deciding on a career in film he became a camera operator on the feature film “Between the Lines” directed by Joan Micklin Silver. He has lensed major studio and independent releases\, including drama\, comedy\, suspense\, horror and various cult films – and has been nominated for two Emmy Awards.\nPeter has taught at SUNY Purchase and The School of Visual Arts\, has lectured on cinematography at the New School\, Hofstra\, Fairleigh Dickenson\, CCNY\, Marist and UMass\, and was a professor in the Graduate Film Program at New York University for 13 years\, where he also served as Head of Production.  He manages the photo archive of his father Fred Stein\, and produced and directed the film about him “Out of Exile – The Photography of Fred Stein.” \n\n\n\n\n\n\nWATCH THE FEATURE DOCUMENTARY HEREPassword: Exile \n\n\n\n\n\n\nThis event is part of our monthly series\nFlight or Fight. stories of artists under repression. \nFuture events and the recordings of past events can be found HERE. \nWe offer all our virtual programs free of charge. Please help us keep it that way. YOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/fred-stein/
LOCATION:Marlene Meyerson JCC Manhattan\, 334 Amsterdam Ave\, New York\, NY\, 10023\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2022/08/Americans-All-New-York-1943.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20221023T170000
DTEND;TZID=America/New_York:20221023T190000
DTSTAMP:20260407T101420
CREATED:20220828T153615Z
LAST-MODIFIED:20221102T050936Z
UID:6825-1666544400-1666551600@fritzaschersociety.org
SUMMARY:Flucht ins Überleben [Escape to Survival]. Four Berlin Biographies from the Time of National Socialism Märkisches Museum\, Berlin (Germany)
DESCRIPTION:Four selected life stories tell of survival strategies in war\, flight and persecution – and of the consequences of the traumatic experiences for those affected. \nEVENT RECORDING FORTHCOMINGToday we believe that flight\, expulsion\, oppression and murder which dominated Europe 70 years ago have been overcome. Recent events in Ukraine show us that this is not the case. And again there are countless individuals whose lives are uprooted and who have to reorient themselves.\nBut what does that do to those affected\, what does it do to artists and how do they reflect on this experience? With four selected biographies of Berliners\, we recall the survival strategies they had to develop during the National Socialist regime and the consequences this traumatic experience had for their biographies: \n– The lawyer Hans Richter (1876-1955)\, grandson of the composer Giacomo Meyerbeer\n– The printmaker Rudi Lesser (1902-1988)\n– The textile artist and Bauhaus member Anni Albers (1899-1994)\n– The painter\, graphic artist and poet Fritz Ascher (1893-1970) \nLectures by Rachel Stern from the Fritz Ascher Society New York and Dr. Martina Weinland\, Commissioner for Cultural Heritage at the Stadtmuseum Berlin. The actor\, writer\, stage director and moderator Ilja Richter reads poems by Fritz Ascher\, letters by Hans Richter and excerpts from his latest book Nehmen Sie’s persönlich. Porträts von Menschen\, die mich prägten. \nImage above (from left): Hans Richter\, Anni Albers\, Fritz Ascher\, Rudi Lesser \nRachel Stern \nIlja Richter \nMartina Weinland\, PhD \nRachel Stern is the founding and executive director of the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art in New York. Born and raised in Germany\, she immigrated to the United States in 1994. Stern curates exhibitions\, publishes books and organizes events and conferences about the fate of artists who were persecuted under German National Socialism. In 2017\, Stern received the Hans and Lea Grundig Prize for this work. \nIlja Richter was one of the best-known TV stars in Germany in the 1970s\, mainly through the ZDF show disco and many movies. After his television career\, he devoted himself almost exclusively to the theater – and alongside his stage career he was always writing. Ilja Richter began his stage career at the age of nine. His multifaceted talent shows in his wide range of activities as a speaker for radio\, dubbing and audio books\, as an author\, director\, in TV films\, series and occasionally in film roles. In recent years he can be seen mainly in his solo programs on stage. \nDr. Martina Weinland studied art history\, German and theater studies at the Freie Universität Berlin and completed these courses in 1989 with a doctorate. From 1992 she was a research associate at the Stadtmuseum Berlin and since January 2018 she is the Representative for Cultural Heritage\, who is responsible for the dependent foundations. \nIlja Richter\, Nehmen Sie’s persönlich. Porträts von Menschen\, die mich prägten. Elsinor Verlag 2022. ISBN 978-3-942788-70-0 \nFritz Ascher. Poesiealbum 357\, Wilhelmshorst: Märkischer Verlag 2020. GTIN 978 3 943 708 57 8 \nFuture events and the recordings of past events can be found HERE. \nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \nSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/escape-to-survival/
LOCATION:Märkisches Museum\, Am Köllnischen Park 5\, Berlin\, 10179\, Germany
CATEGORIES:Events,Lectures,Past Events
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ORGANIZER;CN="Stadtmuseum Berlin":MAILTO:info@stadtmuseum.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20221003T120000
DTEND;TZID=America/New_York:20221003T130000
DTSTAMP:20260407T101420
CREATED:20220624T133950Z
LAST-MODIFIED:20221003T175427Z
UID:6677-1664798400-1664802000@fritzaschersociety.org
SUMMARY:From Generation to Generation: The Upbringing and Art ofMimi Gross (born 1940\, New York)
DESCRIPTION:Mimi Gross is the daughter of well-known sculptor Chaim Gross (1902–1991). She grew up to become an artist and one obvious question one might ask is how her work was influenced by and/or diverged from her father’s work. But both Chaim and his wife Renee were immigrants–so New York City-born Mimi grew up as an American in an immigrant household\, which might raise the question: were there issues derived from the particulars of her growing up that affected her and her art–and might one imagine the curve of her life as different in a non-immigrant context\, or a context experienced at a different time in American and world history? \nThese and other questions are discussed in a dialogue between Mimi Gross and Georgetown University Professor Ori Z Soltes. Rachel Stern\, Founder and CEO of the Fritz Ascher Society\, introduces the program. \n\n\n\n\n\n\n\n\n\nImage above: Mimi Gross\, Songs of the Senses\, 1991. Installation at Inax Gallery\, Japan © Mimi Gross\n\n\n\n\nMimi Gross\, After Manet’s “the Bar at the Folies Bergere”\, 1978. Pastel drawing for O’Neal’s restaurant mirror\, 55 x 75 inches © Mimi Gross \n\nMimi Gross\, Dark Air\, After Delacroix’s “Women of Algiers”\, 1980-1981. Oil paint on mixed media\, 109” x 115” x 20” © Mimi Gross \n\n\n\n\n\n\nMimi Gross is a painter\, as well as a set-and-costume designer\, and maker of interior and exterior installations.  She has lived and worked in TriBeCa for the last 40 years\, and is known especially for her portraiture\, and for working with oil crayon and chalk pastel\, in addition to oil paint. Gross considers portraiture a form of mutual collaboration. Her paintings have a poignant expressiveness and connection to the subject. Hers is a world of bold\, unapologetic color.  The directness of Gross’s portraiture\, and her propensity to paint all aspects of her community can be linked in particular to the work of Alice Neel\, who was a close friend.\nGross’s work can be found in the collections of the Jewish Museum\, New York; the New York Public Library; and the Metropolitan Museum of Art\, New York. She is the recipient of awards and grants including from the New York State Council on the Arts\, the National Endowment for Visual Arts\, the American Academy and Institute of Arts and Letters\, and a “Bessie” for sets and costumes. Gross grew up in South Harlem in Manhattan. Her father was Chaim Gross\, the sculptor known for woodcarving\, and her parents were consummate art collectors. \n\n\n\n\n\n\nMimi Gross\, Portrait of Success Garden\, 1993. Installation at the Port Authority Bus Terminal\, New York\, NY © Mimi Gross \n\nMimi Gross\, Cassations\, 2012. Set and costumes for Douglas Dunn and Dancers\, 92nd Street Y © Mimi Gross \nMimi Gross\, The Arrival\, 1620\, installation view October 2 – January 31\, 2021 at the Provincetown Art Association and Museum © Mimi Gross \n\n\n\n\n\n\nOri Z Soltes\, PhD teaches at Georgetown University across the disciplines of theology\, art history\, philosophy and politics. Since 1997 he is a Founding Director of the Holocaust Art Restitution Project (HARP). A former Director of the B’nai B’rit Klutznick National Jewish Museum Museum in Washington\, D.C.\, he has extensive experience in developing and executing exhibition concepts. He is 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. He recently edited Immortality\, Memory\, Creativity\, and Survival: The Arts of Alice Lok Cahana\, Ronnie Cahana and Kitra Cahana (New York: The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art 2020). \n\n\n\n\n\n\nMimi Gross in her Studio\, July 2022. Photo Rachel Stern © Mimi Gross \nMimi Gross Studio\, July 2022. Photo Rachel Stern © Mimi Gross \nMimi Gross Website\n\n\n\n\n\nThis event is part of our monthly series “Flight or Fight. stories of artists under repression.” \nFuture events and the recordings of past events can be found HERE. \nWe offer all our virtual programs free of charge. Please help us keep it that way.  \nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/mimi-gross/
LOCATION:Marlene Meyerson JCC Manhattan\, 334 Amsterdam Ave\, New York\, NY\, 10023\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20220928T120000
DTEND;TZID=America/New_York:20220928T130000
DTSTAMP:20260407T101420
CREATED:20220624T133227Z
LAST-MODIFIED:20220928T183506Z
UID:6672-1664366400-1664370000@fritzaschersociety.org
SUMMARY:The Enduring Legacy of Chaim Gross (1902-1991) With Daughter Mimi Gross and Sasha Davis
DESCRIPTION:Chaim Gross (1902-1991) fled Europe as a teenager after experiencing the violence of World War I and the disruption of his artistic training due to anti-Semitic policies. He arrived in New York City in 1921 and quickly found a welcoming environment among fellow artists\, many of whom were also immigrants\, at the Educational Alliance Art School. Despite difficult beginnings\, Gross rose to become one of America’s leading twentieth-century sculptors and a key proponent of the direct carving movement. Although a small number of his works referenced his horrific early experiences and the later murder of family members in the Holocaust\, his themes were largely joyful\, showing mothers at play or acrobats and dancers. \n\n\n\n\n\n\n\n\n\nImage above: Chaim Gross in the studio at Grand Street\, 1975. Unknown Photographer © The Renee and Chaim Gross Foundation\n\n\n\n\n\nChaim Gross\, Jewish Cemetery in Kolomyia\, 1920. Photo by Jacob Burckhardt © The Renee and Chaim Gross Foundation \n\n\nChaim Gross\, Acrobats Balancing\, 1938. Unknown photographer © The Renee and Chaim Gross Foundation \n\n\n\n\n\n\n\nGross was born to a Jewish family in Austrian Galicia\, in the village of Wolowa in the Carpathian Mountains. In 1911\, his family moved to Kolomyia. During World War I\, Russian forces invaded Austria-Hungary; amidst the turmoil\, the Grosses fled Kolomyia. They returned when Austria retook the town in 1915\, refugees of the war. When World War I ended\, Gross and brother Abraham (Avrom-Leib) went to Budapest\, where Gross attended the city’s art academy and studied with painter Béla Uitz\, though within a year a new regime under Miklos Horthy took over and attempted to expel all Jews and foreigners from the country. After being deported from Hungary\, Gross began art studies at the Kunstgewerbeschule in Vienna shortly before emigrating from Europe. \nIn New York City\, Gross’s studies continued at the Educational Alliance Art School on the Lower East Side. Gross first began to exhibit his work as a student at the Alliance in 1922\, joining the faculty in 1927. Gross also attended the Beaux-Arts Institute of Design from 1922-25\, where he studied sculpture with Elie Nadelman\, and at the Art Students League in 1926 with sculptor Robert Laurent.\nIn 1933\, Gross joined the government’s PWAP (Public Works of Art Project)\, which transitioned into the WPA (Works Progress Administration). Under these programs Gross taught and demonstrated art\, made sculptures for schools and public colleges\, and created works including for the Federal Trade Commission Building\, and for the France Overseas and Finnish Buildings at the 1939 New York World’s Fair. Gross was recognized during these years with a silver medal at the 1937 Exposition universelle in Paris. \n\n\n\n\n\n\n\nChaim Gross\, The Family at Bleecker St. Park\, 1979. Unknown photographer © The Renee and Chaim Gross Foundation \n\nRene and Chaim Gross\, c 1980. Photo Susan Weiley. © The Renee and Chaim Gross Foundation \n\n\n\n\n\n\n\nIn the 1950s Gross began to make more bronze sculptures alongside his wood and stone pieces\, and in 1957 and 1959 he traveled to Rome to work with several well-known bronze foundries. In 1959\, a survey of Gross’s sculpture in wood\, stone\, and bronze was featured in the exhibit Four American Expressionists curated by Lloyd Goodrich at the Whitney Museum of American Art. In 1963\, Gross and his family moved from their longtime residence at 30 West 105th Street to Greenwich Village\, following the purchase of a four-story historic townhouse at 526 LaGuardia Place\, which is now the Renee & Chaim Gross Foundation. \n\nHere\, Gross’s studio and much of the family’s private living spaces have been preserved. In addition\, the Foundation rotates temporary exhibitions. The current exhibition Artists and Immigrants celebrates the 2021 centennial of their immigration to the United States. The exhibition explores the many artists in the Foundation’s collection that were also immigrants to the U.S. and the various policy changes and world events that affected immigration throughout the first half of the twentieth century. The exhibition includes nearly 100 works by over 50 artists. The larger Artists and Immigrants project also includes an exhibition catalogue and ongoing virtual programming. \n\n\n\n\n\n\nThe Renee and Chaim Gross Foundation\, Chaim Gross’ Studio\, undated. Photo Elizabeth Felicella © The Renee and Chaim Gross Foundation \nThe Renee and Chaim Gross Foundation\, Dining Room\, undated. Photo Elizabeth Felicella © The Renee and Chaim Gross Foundation \n\n\n\n\n\n\nThis program delves into Gross’s biography\, work\, and the legacy that the Renee & Chaim Gross Foundation continues to preserve for the public benefit. Featuring Mimi Gross\, President of the Foundation and daughter of Renee and Chaim Gross\, and Sasha Davis\, Executive Director of the Renee & Chaim Gross Foundation. \nMimi Gross is a painter\, as well as a set-and-costume designer\, and maker of interior and exterior installations.  She has lived and worked in TriBeCa for the last 40 years\, and is known especially for her portraiture\, and for working with oil crayon and chalk pastel\, in addition to oil paint. Gross considers portraiture a form of mutual collaboration. Her paintings have a poignant expressiveness and connection to the subject. Hers is a world of bold\, unapologetic color.  The directness of Gross’s portraiture\, and her propensity to paint all aspects of her community can be linked in particular to the work of Alice Neel\, who was a close friend.\nGross’s work can be found in the collections of the Jewish Museum\, New York; the New York Public Library; and the Metropolitan Museum of Art\, New York. She is the recipient of awards and grants including from the New York State Council on the Arts\, the National Endowment for Visual Arts\, the American Academy and Institute of Arts and Letters\, and a “Bessie” for sets and costumes.\nGross grew up in South Harlem in Manhattan. Her father was Chaim Gross\, the sculptor known for woodcarving\, and her parents were consummate art collectors. \nSasha Davis is Executive Director of the Renee & Chaim Gross Foundation\, the historic home and studio of American sculptor Chaim Gross (1902-91) in New York City. She is responsible for the Foundation’s operations\, strategy\, curatorial vision\, and programming. Davis was appointed Executive Director in 2017 after serving as Curator of Collections. Prior to her work at the Foundation\, Davis held internships at The Museum of Modern Art\, MoMA PS1\, and the Newark Museum. Davis holds a BA from New York University in Art History with a minor in Studio Art and a certificate in Arts Administration and Collections Management\, also from New York University. Davis regularly presents on the Foundation’s collection and the work of Gross\, notably at the College Art Association\, Southeastern College Arts Conference\, and Provincetown Art Association and Museum. She has contributed to the Aspen Institute’s Artist-Endowed Foundation Initiative and completed the Seminar on Strategy for Artist-Endowed Foundation Leaders in 2018 with the Aspen Institute and University of Miami School of Law. She is also an alumna of the distinguished 2016 Attingham Summer School. \n\n\n\n\n\n\n\n\n\n\n\nThe Renee & Chaim Gross Foundation’s collection numbers over 12\,000 objects\, with significant holdings in African\, American\, European\, Oceanic\, Pre-Columbian\, and decorative arts in addition to an extensive library and archive. \n\n\n\n\n\nThe Renee & Chaim Gross Foundation\n\n\n\n\n\nThis event is part of our monthly series\nFlight or Fight. stories of artists under repression. \nFuture events and the recordings of past events can be found HERE. \nWe offer all our virtual programs free of charge. Please help us keep it that way. YOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/chaim-gross/
LOCATION:Marlene Meyerson JCC Manhattan\, 334 Amsterdam Ave\, New York\, NY\, 10023\, United States
CATEGORIES:Events,Lectures,Past Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220907T120000
DTEND;TZID=America/New_York:20220907T130000
DTSTAMP:20260407T101420
CREATED:20220328T100057Z
LAST-MODIFIED:20220907T195251Z
UID:6447-1662552000-1662555600@fritzaschersociety.org
SUMMARY:Behind the Bronze.  The Sculptor Maurice Blik (born 1939 Amsterdam) Featuring Maurice Blik and Julian Freeman (both London\, UK)
DESCRIPTION:Maurice Blik has lived in England since being liberated from Bergen Belsen concentration camp\, where he was taken as a small child from his birthplace\, Amsterdam. The ability to come to terms with this experience and to confront the face of humanity that he has witnessed\, stayed silent in his life for some 40 years. It finally found a voice in the passionate sculptures which began to emerge in the late 1970s when he created a series of horses’ heads. These noble and benevolent creatures posses an energy and a life force that seem just barely harnessed long enough to take their shape in the clay itself. Later he progressed to more figurative work in which the irrepressible joy of life and the destructive\, inpenetrable shadow of existence\, are held together in a struggling unity. \n\n\n\n\n\n\n\n\n\nImage above: Studio of Maurice Blik\, London (UK)\n\n\n\n\nMaurice Blik\, Second Breath\, 2011. Bronze\, Height 70.9 inches (1.8m). Chandler Hospital\, Kentucky (US) \n\n\n\n\n\nThis program features Maurice Blik\, who will read from his recently published autobiographical book\, ‘The Art of Survival’\, followed by a conversation with the British art historian\, curator\, author and innovative educator Julian Freeman. Their conversation will offer an insightful exploration of Blik’s sculptures and the influence his life experiences have on his artwork.  The event is moderated by FAS Director Rachel Stern. \n\n\n\n\n\nMaurice Blik\, Summers Return. Bronze \n\n\n\n\n\nMaurice Blik was born to Jewish parents in Amsterdam in 1939. In 1943\, Blik’s father was sent to Auschwitz\, while Blik\, his sister\, his pregnant mother and grandmother were sent to the Bergen Belsen concentration camp. Liberated by the Russian army in 1945\, he moved with his mother and oldest sister to England.\nBlik had an extensive career in Art Education\, teaching at all levels from Primary to Postgraduate. He studied sculpture at Hornsey College of Art in London (1960) and has a post-graduate Art Teacher’s Certificate with distinction from the University of London (1969).\nIn the 1980s he began to develop his own artwork and in 1991 gave up teaching to work full time as a sculptor. He was awarded resident status by the US Government in 1992 as ‘person of extraordinary artistic ability’ and was elected President of the Royal British Society of Sculptors (1996-1997)\, and a Fellow of the Royal Society of Arts (1997). Blik is exhibiting widely both in the UK and the US. His sculptures can be found in private and public collections\, including ‘Renaissance’ at East India Docks in London (1995); ‘Behold’ at Middlesex University in London (2000); ’Splishsplash’ at Vanderbilt University Medical Center in Nashville\, US (2005); ‘Second Breath’ at Chandler Hospital of University of Kentucky\, US (2011)\, or ‘Every Which Way’ at the National Memorial Arboretum in Staffordshire\, UK (2017).\nBlik has been the subject of films and documentaries: ‘The Art of Remembering’ BBC\, directed by Tim Robinson (1998); performance film ‘Second Breath’ directed by Gillian Lacey (2007)\, ‘Hollow Dog’ directed by by Clive Martin Ya Media (2017)\, ‘The Last Survivors’ BBC\, directed by Arthur Cary (2019)\, and ‘Belsen Our Story’ BBC\, directed by Tom Stubberfield (2020). \n\n\n\n\n\nMaurice Blik\, Thinking. Bronze. \nMaurice Blik\, Renaissance\, 1993. Bronze\, Height 177 inches (4.5m). Docklands\, London \nJulian Freeman\, PhD\, (b 1950) is an art historian\, curator\, author and innovative educator who has worked almost exclusively in and with galleries\, universities and colleges in London and the South of England. He is presently a Gallery Educator for The Courtauld Gallery\, London.\nJulian’s research preferences lie within modern British art and its contexts\, and he has drawn on this for contributions to a range of day-schools and conferences\, from Brighton to New York to Reykjavik. He has reviewed for art journals past and present\, including The Burlington Magazine\, Apollo\, The Art Book\, and The British Art Journal. There have also been two books\, each intended to demystify its subject: the very irreverent Art: a crash course (Simon & Schuster 1998)\, and British Art: a walk round the rusty pier (Southbank 2006). An important re-evaluation of the later work of the English painter-printmaker (and war artist) Anthony Gross was published in October 2021 by the Goldmark Gallery in Rutland. \nORDER THE BOOK “THE ART OF SURVIVAL” HEREThis event is part of our monthly series\nFlight or Fight. stories of artists under repression. \nFuture events and the recordings of past events can be found HERE. \n\nThank you for being part of our community. Your support makes our work possible. \n\nSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/maurice-blik/
LOCATION:Marlene Meyerson JCC Manhattan\, 334 Amsterdam Ave\, New York\, NY\, 10023\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20220818T190000
DTEND;TZID=America/New_York:20220818T210000
DTSTAMP:20260407T101420
CREATED:20220714T184052Z
LAST-MODIFIED:20220826T094955Z
UID:6696-1660849200-1660856400@fritzaschersociety.org
SUMMARY:Sneak Preview of Theatrical Release "Three Minutes - A Lengthening"Post-Screening Q&A with Director Bianca Stigter and Author Glenn Kurtz\, moderated by Dr. Ori Z SoltesQuad Cinema\, New York
DESCRIPTION:“‘Three Minutes’ is more than a documentary about the Holocaust — it is an investigative drama\, a meditation on the ethics of moving images and a ghost story about people who might be forgotten should we take those images for granted.” Beatrice Loayza\, The New York Times (Critic’s Pick) [FULL ARTICLE HERE] \n\n\n\n\n\n\n\n\n\n\nThank you to everyone who made the sneak screening such a huge success! Catch a screening of the film: \n\n\n\n\n\nNOW SCREENING NATIONWIDE – FIND YOUR CITY HERE\n\n\n\n\nThree minutes of footage of a 16mm home movie found in an attic in South Florida\, shot by David Kurtz in 1938\, are the only moving images remaining of the Jewish inhabitants of Nasielsk\, Poland before the Holocaust. \nThose precious minutes are examined in intricate detail to unravel the human stories hidden in the celluloid. Tracing the story of those three minutes begins with the journey of Glenn Kurtz to discover more about his grandfather’s film\, ultimately leading to identifying people and places otherwise erased from history\, and helping to connect a Holocaust Survivor with his lost childhood. Produced by acclaimed Director Bianca Stigter. Co-Produced by Steve McQueen (Director\, ’12 Years a Slave’). Narrated by Helena Bonham Carter. \nThe Fritz Ascher Society for Persecuted\, Ostracized and Banned Art hosted a sneak-preview of the theatrical release of Three Minutes: A Lengthening at the Quad Cinema\, followed by a Q&A with Director Bianca Stigter and Author Glenn Kurtz\, moderated by Dr. Ori Z Soltes. This special screening is being co-sponsored by the Consulate General of the Federal Republic of Germany New York and the World Jewish Congress North America\, in cooperation with the Abraham Berger Foundation\, Descendants of Holocaust Survivors\, German Film Office (a joint initiative of German Films and Goethe-Institut)\, Jewish Joint Distribution Committee (JDC)\, Leo Baeck Institute\, March of the Living\, Marlene Meyerson JCC Manhattan\, YIVO Institute for Jewish Research\, 3GNY\, 3GNJ & 3G Philly\, and Mean Streets Management\, Overton VC and Cayle White Advisory Group. \n\n\n\n\n\nReception for New York Theatrical Release Sneak Preview: (from left) Jeremy Robert\, Consul General of France\, author Glenn Kurtz\, film director Bianca Stigter\, WJC Executive director Betty Ehrenberg\, Fritz Ascher Society director Rachel Stern\, Anton Klix\, Consul of Federal Republic of Germany in NY; Rachel Stern at Olami Manhattan\nReception for August 18 New York Theatrical Release Sneak Preview at Olami Manhattan \n\n\n\n\n\nOn August 18\, the post-screening Q&A with book author Glenn Kurtz and filmmaker Bianca Stigter was moderated by Ori Z Soltes\, PhD\, who 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 (second edition forthcoming). \n\n\n\n\n\nAugust 18 Sneak Screening of THREE MINUTES – A LENGTHENING with post-screening Q&A with director Bianca Stigter and author Glenn Kurtz\, moderated by Dr. Ori Z Soltes\, Georgetown University.\nAugust 18 Sneak Screening of THREE MINUTES – A LENGTHENING with post-screening Q&A with director Bianca Stigter and author Glenn Kurtz\, moderated by Dr. Ori Z Soltes\, Georgetown University.\n\n\n\n\n\nAs a child\, David Kurtz emigrated from Poland to the United States. In 1938 he returned to Europe for a sightseeing trip and whilst there he visited Nasielsk\, the town of his birth. Specifically for this trip\, he bought a 16mm camera\, then still a novelty rarely seen in a small town never visited by tourists. Eighty years later his ordinary pictures\, most of them in color\, have become something extraordinary. They are the only moving images that remain of Nasielsk prior to the Second World War. Almost all the people we see were murdered in the Holocaust. \nFor this film essay\, director Bianca Stigter examined the footage in the fullest detail\, to see what the celluloid would yield to viewers almost a century later. The footage is treated as an archaeological artifact to gain entrance to the past. \nThree Minutes – A Lengthening is an experiment that turns scarcity into a quality. Living in a time marked by an abundance of images that are never viewed twice\, we do the opposite here: circle the same moments again and again\, convinced that they will give us a different meaning each time. The film starts and ends with the same unedited found footage\, but the second time you will look at it quite differently. \nThree Minutes – A Lengthening investigates the nature of film and the perception of time. Through the act of watching\, the viewers partake in the creation of a memorial. \n\n\n\n\n\nJewish townspeople of the predominantly Jewish village of Nasielsk\, Poland in 1938 as seen in Bianca Stigter’s Three Minutes – A Lengthening. Image courtesy of Family Affair Films\, © US Holocaust Memorial Museum. \nChildren living in the predominantly Jewish village of Nasielsk\, Poland in 1938 as seen in Bianca Stigter’s Three Minutes – A Lengthening. Image courtesy of Family Affair Films\, © US Holocaust Memorial Museum\nIn Three Minutes – A Lengthening Glenn Kurtz shares his extensive knowledge of his grandfather’s footage from Nasielsk\, which had 3000 Jewish inhabitants in 1938. By the end of the Second World War fewer than 100 were still alive. Glenn Kurtz’ book Three Minutes in Poland: Discovering a Lost World in a 1938 Family Film\, traces his four-year journey to identify the people in his grandfather’s images. \n\nBianca’s feature film directorial debut\, Three Minutes: A Lengthening\, World-Premiered at the 2021 Venice Film Festival\, followed by Telluride\, Toronto International Film Festival (TIFF)\, and DOC NY. The film was accepted to the 2022 Palm Springs International Film Festival and screened at the Sundance Film Festival. The film had its Southeast Premiere at the 2022 Miami Jewish Film Festival\, won the Documentary Jury Prize at the 2022 Atlanta Jewish Film Festival\, the Best Documentary Award at the 2022 Virgin Dublin International Film Festival\, the European Young Jury Award and a Special Mention at the 2022 Brussels International Film Festival\, and the 2022 DocAviv and Yad Vashem’s Prize for Cinematic Excellence in a Documentary on the Holocaust.\n\n\n\n\nBianca Stigter\, director of Three Minutes - A Lengthening. Photo credit: Annaleen Louwes\n\n\n\n\n\n\nBianca Stigter is a writer\, director\, historian and cultural critic. She made the short film essays Three Minutes -Thirteen Minutes – Thirty Minutes (2014) and I Kiss This Letter - Farewell Letters from Amsterdammers (2018). She is associate producer of Steve McQueen’s feature films 12 Years a Slave and Widows. In 2019 she published the book Atlas of an Occupied City: Amsterdam 1940-1945.\n\nSteve McQueen is an artist and filmmaker. He directed four critically acclaimed feature films\, Hunger\, Shame\, Widows and 12 Years A Slave\, which won the Academy Award for Best Picture. McQueen’s most recent project\, Small Axe\, is an anthology of five films which brings to life the experiences of London’s West Indian community. Two of the films were selected for the 2020 Cannes Film Festival. McQueen’s artwork is exhibited and held in major museums around the world. In 2019/2020 Tate Modern showed a retrospective of his work and Tate Britain was home to his Year Three exhibit. \nHelena Bonham Carter is a two-time Academy Award nominee for her roles in The Wings of the Dove and The King’s Speech (BAFTA winner for Best Actress). Other film credits include Alice in Wonderland: Through the Looking Glass; A Room with a View; Howard’s End; Harry Potter; Corpse Bride; Ocean’s 8 and more recently Enola Holmes. Helena recently played Princess Margaret in the highly successful The Crown for Netflix (SAG Award winner). Other credits include Enid; Live from Baghdad; Merlin; Fatal Deception: Mrs Lee Harvey Oswald. Helena has voiced many audio books\, documentaries\, animations and short films. \n\n\n\n\n\n\n\n\n\n\nFuture events and the recordings of past events can be found HERE. \nPlease become part of our SUMMER CAMPAIGN. YOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/three-minutes/
LOCATION:Quad Cinema\, 34 West 13th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20220803T120000
DTEND;TZID=America/New_York:20220803T130000
DTSTAMP:20260407T101421
CREATED:20220519T170135Z
LAST-MODIFIED:20220803T185223Z
UID:6554-1659528000-1659531600@fritzaschersociety.org
SUMMARY:Ludwig and Else Meidner. An Artist Couple Exiled in LondonLecture by Erik Riedel\, Frankfurt/Main (Germany)
DESCRIPTION:When Ludwig and Else Meidner met in 1925\, he was already an established artist well-known for his so-called Apocalyptic Landscapes. Although Else started as Ludwig’s student\, she developed a distinct independent style and he always praised her art as more refined than his own “coarse” works. As Else Meidner slowly gained recognition in Berlin art circles\, her career was abruptly cut short by the Nazi-regime in 1933. She moved to Cologne with her husband in 1935; and they emigrated to England in 1939 only a few weeks before the war started. In London both lived largely unnoticed by the English art scene. But while Ludwig frustratedly returned to Germany\, she decided to stay in England. \nTheir complicated relationship developed from intial passion and humorous banter to artistic rivalry and finally estrangement while each of them followed their separate artistic path. \n\n\n\n\n\n\n\n\n\n\nImage above: Else Meidner\, Masks\, ca. 1960-62\, oil on canvas. © Ludwig Meidner-Archiv\, Jewish Museum Frankfurt\n\n\n\n\nLudwig Meidner\, Street at Kreuzberg in Berlin\, 1918\, heliogravure after a drawing from 1913. © Ludwig Meidner-Archiv\, Jewish Museum Frankfurt \nLudwig Meidner\, I\, Battered Lump of Clay\, 1917\, ink. © Ludwig Meidner-Archiv\, Jewish Museum Frankfurt \nLudwig Meidner (1884–1966) became famous for his expressionist paintings and drawings centering on big city dynamics\, as well as catastrophes and the end of the world. At the outbreak of World War I\, as the imagined catastrophes of what are referred to as his Apocalyptic Landscapes seemed to have become a horrible reality\, Meidner increasingly turned to religious themes. His expressive figures hover between ecstasy and despair. In the mid-1920s\, he returned to his religious roots and became a devout Jew. Subsequently\, religious topics became an important focus of his artistic work.\nIn order to escape antisemitic repressions\, he moved to Cologne where he became an art teacher at Yawneh Jewish School in 1935. In 1939 he fled with his family to England\, where he was interned as an enemy alien on the Isle of Man. While in exile\, Meidner produced primarily drawings and watercolor paintings\, but very few oil paintings. Despite the disheartening impoverishment and lack of acknowledgement as an artist that characterized Meidner’s life in London\, in an artistic sense\, these years are regarded as highly productive.\nMeidner returned to Germany in 1953\, where he was moderately successful as portraitist. \nElse Meidner\, Self-portrait with Red Tablecloth\, 1926/27\, oil on canvas. © Ludwig Meidner-Archiv\, Jewish Museum Frankfurt \nElse Meidner\, Interior\, ca. 1956-60\, oil on canvas. © Ludwig Meidner-Archiv\, Jewish Museum Frankfurt \nElse Meidner (1901–1987) grew up the daughter of the well-to-do Berlin physician Dr. Heinrich Meyer and his wife\, Margarete\, née Fürst. She was encouraged by Käthe Kollwitz and Max Slevogt to pursue her dream of becoming an artist and studied at the Applied Arts School and the Art Academy in Berlin. She later attended Ludwig Meidner’s drawing class at the Berlin Studienatelier für Malerei und Plastik.\nShe was predominantly a portraitist but also created landscapes and symbolic scenes. In the late 1920s\, Else Meidner slowly gained recognition in the Berlin art circles. In May 1932\, she held a solo exhibition at Juryfreie in Berlin that was well received by critics. Her career was abruptly cut short by the Nazi-regime in 1933. She moved to Cologne with her husband in 1935; and they emigrated to England in 1939 only a few weeks before the war started.\nIn her memoirs\, she writes\, “Here in London I walk about as in a dream and am surprised I’m here. Some plants thrive wherever you transplant them\, but I could never put down new roots. My roots are in Berlin.” However\, when Ludwig Meidner moved back to Germany in 1953\, Else Meidner remained in London. \nLudwig and Else Meidner at the opening of their joint exhibition at Ben Uri Gallery in London\, 1949 (detail). © Ludwig Meidner-Archiv\, Jewish Museum Frankfurt \nIn this lecture\, Erik Riedel\, head of exhibitions at the Jewish Museum Frankfurt and curator of the museum’s Ludwig Meidner Archives in Frankfurt/Main (Germany)\, speaks about Ludwig and Else Meidner’s art\, their complicated relationship\, and finally estrangement. \nErik Riedel studied art history\, history\, and philosophy in Heidelberg and Frankfurt. He is head of exhibitions at the Jewish Museum Frankfurt and curator of the museum’s Ludwig Meidner Archive. The archive consists of the artistic estates of Ludwig and Else Meidner and several other artists who were forced into exile. Erik Riedel has curated numerous exhibitions on 19th- and 20th-century art\, for instance on Moritz Daniel Oppenheim\, Ludwig and Else Meidner\, Charlotte Salomon\, and Arie Goral. Apart from several exhibitions catalogues he has published the catalogue raisonné of Ludwig Meidner’s sketchbooks and the conference proceedings “Ludwig Meidner. Expressionism\, Ecstasy\, Exile” (2018). \nThe event is moderated by FAS Director Rachel Stern. \nThis event is part of our monthly series\nFlight or Fight. stories of artists under repression. \nFuture events and the recordings of past events can be found HERE. \n\nAll our virtual programs are free of charge. Please help us keep it that way and join our SUMMER CAMPAIGN. YOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\nSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/meidner/
LOCATION:Marlene Meyerson JCC Manhattan\, 334 Amsterdam Ave\, New York\, NY\, 10023\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20220726T120000
DTEND;TZID=America/New_York:20220726T130000
DTSTAMP:20260407T101421
CREATED:20220608T004759Z
LAST-MODIFIED:20220825T170120Z
UID:6610-1658836800-1658840400@fritzaschersociety.org
SUMMARY:Death and Immortality:The Gentle Power of Hans von Trotha's "Pollak's Arm" Hans von Trotha and Ori Z Soltes in conversation
DESCRIPTION:Ludwig Pollak (Prague 1868-1943 Auschwitz) was an extraordinary connoisseur of antiquities–an Austro-Hungarian Jew whose path into academia was impeded by his religion\, but who settled in Rome\, where he carved out a unique place for himself as an expert in recognizing\, understanding\, and organizing great works of art. It was he who shaped and articulated the magnificent collections of JP Morgan. Of perhaps even greater consequence\, his astute eye saw a sculpted fragment of an arm in a flea market that\, he deduced\, was the limb missing from the spectacular Hellenistic-Roman sculptural group known as Laocoon. He gifted that arm fragment to the Vatican so that it might complete the work that occupied an important place within its museum collections. \nHans Von Trotha’s spellbinding and sensitive novel\, Pollak’s Arm\, derives from a treble consequence of these data: that Pollak was\, as a Jew\, on the list of those to be deported to Auschwitz when the Nazis took control of Rome; that a key figure in the Church hierarchy–the semi-anonymous Monsignor F–aware of this\, dispatched an emissary to Pollak’s apartment to bring his family and him to the safe territory of the Vatican; that Pollak refused asylum–spending the waning hours of his freedom sharing many of the details of his life with that emissary\, who reported them to the Monsignor\, and thus to us\, listening eagerly over the Monsignor’s shoulder to the mesmerizing details of a narrative that leads ultimately to a failed rescue attempt: Pollak and his family disappear into the black hole of Auschwitz. \nWatch the lively presentation by Hans von Trotha\, and a penetrating conversation between him and Georgetown University Professor Ori Z Soltes\, moderated by Rachel Stern\, Director of the Fritz Ascher Society. \n\n\n\n\n\n\n\n\n\n\nImage above: Book cover\, POLLAK’S ARM by Hans von Trotha\, New York: New Vessel Press\, 2022\n\n\n\n\nLaocoön and His Sons\, attributed by Pliny the Elder to the Rhodian sculptors Agesander\, Athenodoros\, and Polydorus\, Vatican Museums\, Rome \nHans von Trotha\, PhD\, is a German historian\, novelist and journalist who spent ten years as editorial director of the Nicolai publishing house in Berlin (Germany). \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 (second edition forthcoming). \nLudwig Pollak with his family: his wife Julia Pollak\, née Süssmann\, as well as Susanna Pollak\, far right\, and Wolfgang Pollak\, middle. The eldest daughter Angelina\, far left\, died in 1942. Photo by Francesco Reale\, Roma 1921\, Museo Barracco\, Archivio Pollak 46.2.1. \nStudy in Pollak’s apartment in Palazzo Odescalchi\, illustrated postcard\, Rome\, Barracco Museum\, Pollak Archive \nPOLLAK’S ARM by Hans von Trotha was translated from the German by Elisabeth Lauffer. New York: New Vessel Press\, 2022. Paperback ISBN 978-1-954404-00-7. \nPURCHASE THE BOOKFuture events and the recordings of past events can be found HERE. \n\nAll our virtual programs are free of charge. Please help us keep it that way and join our SUMMER CAMPAIGN. YOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\nSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/pollaks-arm/
LOCATION:Marlene Meyerson JCC Manhattan\, 334 Amsterdam Ave\, New York\, NY\, 10023\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20220720T120000
DTEND;TZID=America/New_York:20220720T130000
DTSTAMP:20260407T101421
CREATED:20220610T005220Z
LAST-MODIFIED:20220720T172912Z
UID:6633-1658318400-1658322000@fritzaschersociety.org
SUMMARY:Nazi Billionaires. The Dark History of Germany's Wealthiest DynastiesAuthor David de Jong and Rachel Stern in conversation
DESCRIPTION:This event features a conversation between Rachel Stern and David de Jong\, author of the landmark work of investigative journalism\, which reveals the true story of how Germany’s wealthiest business dynasties amassed untold money and power by abetting the atrocities of the Third Reich – and how America knowingly allowed these horrors to happen. \n\n\n\n\n\n\n\n\n\n\n\nIn 1946\, Günther Quandt – patriarch of Germany’s most iconic industrial empire\, a dynasty that today controls BMW – was arrested for suspected Nazi collaboration. Quandt claimed that he had been forced to join the party by his archrival\, propaganda minister Joseph Goebbels\, and the courts acquitted him. But Quandt lied. And his heirs\, and those of other Nazi billionaires\, have only grown wealthier in the generations since\, while their reckoning with this dark past remains incomplete at best. Many of them continue to control swaths of the world economy\, owning iconic brands whose products blanket the globe. The brutal legacy of the dynasties that dominated Daimler-Benz\, cofounded Allianz\, and still control Porsche\, Volkswagen\, and BMW has remained hidden in plain sight—until now. \nUsing a wealth of untapped sources\, NAZI BILLIONAIRES shows how these tycoons seized Jewish businesses\, procured slave laborers\, and ramped up weapons production to equip Hitler’s army as Europe burned around them. Most shocking of all\, de Jong exposes how America’s political expediency enabled these billionaires to get away with their crimes\, covering up a bloodstain that defiles the German and global economies to this day. \n\n\n\n\n\n\nDavid de Jong is a journalist who previously covered European banking and finance from Amsterdam and hidden wealth and billionaire fortunes from New York for Bloomberg News. His work has also appeared in Bloomberg Businessweek\, the Wall Street Journal\, and the Dutch Financial Daily. A native of the Netherlands\, de Jong currently lives in Tel Aviv and is the Middle East correspondent for the Dutch Financial Daily. He spent four years reporting from Berlin while researching and writing this book.  \nPURCHASE THE BOOKNazi Billionaires. The Dark History of Germany’s Wealthiest Dynasties by David de Jong. New York: Mariner Books. An Imprint of HarperCollinsPublishers\, 2022.\nHardcover ISBN: 9781328497888\, Audio ISBN: 9780358690177\, E-book ISBN: 9780063078949  \nWe offer all our virtual programs free of charge. Please help us keep it that way and become part of our SUMMER CAMPAIGN. \nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \nSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/nazi-billionaires/
LOCATION:Marlene Meyerson JCC Manhattan\, 334 Amsterdam Ave\, New York\, NY\, 10023\, United States
CATEGORIES:Events,Lectures,Past Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220706T120000
DTEND;TZID=America/New_York:20220706T130000
DTSTAMP:20260407T101421
CREATED:20220610T022507Z
LAST-MODIFIED:20220706T175202Z
UID:6605-1657108800-1657112400@fritzaschersociety.org
SUMMARY:Judith and Gerson Leiber.A Life of Beauty\, Love and InspirationLecture by Ann Fristoe Stewart
DESCRIPTION:“If Romeo and Juliet had lived into their 90s\, they would have been Judy and Gerson.” That’s how Jeffrey Sussman described Judith and Gerson Leiber. \nJoin us as Ann Fristoe Stewart gives a unique insight into the astonishing story of famed handbag designer Judith Leiber\, a survivor of Hitler’s Europe who came to America and took the fashion accessory industry by storm\, and of highly accomplished and creative artist Gerson Leiber\, and speaks about the creativity\, humanity\, the love and the genius of Judith and Gerson Leiber. \n\n\n\n\n\n\n\n\n\nImage above: Judith and Gerson Leiber © The Leiber Collection\n\n\n\n\n\nJudith Leiber\, Peacock-Shaped Minaudiére with Multicolor Crystal Rhinestones and Black Onyx & Sodalite Stone Details\, 2004. Photo credit: Gary Mamay © The Leiber Collection \n\n\nJudith Leiber\, Gold Box with Multicolor Crystal Rhinestone Wave Design & Black Onyx Stones on Body & Lock\, 2004. Photo credit: Gary Mamay © The Leiber Collection \n\n\n\n\n\n\nJudith Leiber (born Judit Pető\, 1921–2018) was known for her small crystal-covered handbags called minaudiéres\, many of which took the whimsical forms of animals\, flowers or other objects. The bags were often decorated with gems or semi-precious stones and were gold or silver plated. Singers\, Hollywood celebrities\, and Divas\, as well as many US First Ladies\, have carried her bags.  Judith Leiber has won almost every award offered to fashion designers\, and her handbags are in the collections of many museums including The Museum of Modern Art in New York City\, The Victoria and Albert Museum in London and the Corcoran Museum in Washington DC\, to name a few. \nBorn in 1921\, Judith Peto Leiber was the first female apprentice and master in the Hungarian handbag guild. She survived World War II in hiding\, and met her husband Gerson\, an American soldier\, in the streets of Budapest when the city was liberated. After moving to the United States as a GI bride\, Leiber worked as a pattern maker and then foreman for several handbag companies until she formed her own company in 1963. Initially\, she and her husband were the sole employees of the company. \n\n\n\n\n\n\nGerson Leiber\, Structured Model in Blue\, 1993. Oil on linen\, 74 x 62 inches. Photo credit: Gary Mamay © The Leiber Collection \n\n\nGerson Leiber\, Model in Blue\, 1981. Oil on linen\, 60 x 50 inches. Photo credit: Gary Mamay © The Leiber Collection \n\n\n\n\n\n\nGerson Leiber\, also known as Gus (1921-2018)\, was a Modernist Artist who created paintings\, prints and sculptures inspired by his life in the Fashion world and by his beloved gardens. His work has been featured in several prominent US museums\, including the Metropolitan Museum of Art\, the National Gallery of Art in Washington DC\, and the Whitney Museum of American Art. \nBorn in Brooklyn in 1921\, Gerson showed promise in his high school art classes. Later\, while stationed in Hungary in the army\, he took classes at the Royal Academy of Art in Budapest. After the war\, he studied at the Art Students League–painting with Louis Bosa and printmaking with Will Barnet. Later\, at the Brooklyn Museum’s art school\, Gerson began engraving with Gabor Peterdi. His prints won many awards and were featured in many one-person shows\, including exhibitions at Associated American Artists and the Alex Rosenberg Gallery. \nTo support the couple during his art studies\, Gerson’s wife\, Judith Leiber\, designed handbags for major manufacturers. In the 1960s\, Gerson persuaded Judith to produce her bags independently\, and they opened their own business based on Judith’s designs. The now-famous company reflects the couple’s shared taste in art. \n\n\n\n\n\nJudith and Gerson Leiber In Gus’ Studio. Photo Lindsay Morris © The Leiber Collection \n\nThe Leiber Collection Museum. Photo credit: Wil Weiss © The Leiber Collection \n\n\n\n\n\n\nAnn Fristoe Stewart is the Director and Curator of The Leiber Museum and Sculpture Garden in East Hampton\, New York. She had the great honor of working side by side with Judith and Gerson Leiber until their deaths in 2018. She is dedicated to keeping their legacy alive through the continuation of their museum\, and through sharing their extraordinary works and the story of their fascinating lives with fans around the globe.\nAnn received a Masters of Fine Arts degree from Parsons School of Design in New York City\, where she worked at the Metropolitan Museum of Art and for artists such as Jeff Koons\, Rona Pondick and Kara Walker. \nThe Leiber Collection is housed in a magnificent Renaissance styled Palladian edifice\, which sits majestically in a sublime sculpture garden designed by Gerson Leiber. It is located in the East Hampton\, New York hamlet of Springs. \n\n\n\n\n\nTHE LEIBER COLLECTION\n\n\n\n\n\nThis event is part of our monthly series\nFlight or Fight. stories of artists under repression. \nFuture events and the recordings of past events can be found HERE. \nWe offer all our virtual programs free of charge. Please help us keep it that way and become part of our SUMMER CAMPAIGN. \nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/leiber/
LOCATION:Quad Cinema\, 34 West 13th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20220629T120000
DTEND;TZID=America/New_York:20220629T130000
DTSTAMP:20260407T101421
CREATED:20220607T104911Z
LAST-MODIFIED:20220630T114820Z
UID:6590-1656504000-1656507600@fritzaschersociety.org
SUMMARY:#LastSeen - Pictures of Nazi DeportationsLecture by Christoph Kreutzmüller\, Berlin (Germany)
DESCRIPTION:Between 1938 and 1945\, the National Socialists deported hundreds of thousands of men\, women and children from the German Reich to ghettos and camps. The deportations took place everywhere\, in broad daylight and for all to see. And yet so far only a few photos are known. Knowing these pictures tell many stories – of the deportees\, the perpetrators\, and the spectators – this initiative invites your participation in helping us to discover and analyze previously unknown photographs that survive in museums\, archives\, private attics\, basements\, or dusty photo albums. \nIn this lecture\, Berlin-based Dr. Christoph Kreutzmüller\, historian and coordinator developing the educational tool for #LastSeen\, speaks about the importance of this project\, and how you can become part of it.  \n\n\n\n\n\n\n\n\n\nImage above: Deportation photos can be hidden in photo boxes or family albums from the Nazi era (Photo: Christoph Kreutzmüller)\n\n\n\n\nPhotos of Deportations from Brandenburg an der Havel (Germany)\, Arolsen Archives \n\n\n\n\n\nThe 550 existing photographs of deportations from the German Reich are often the last known images of the victims of persecution before they were murdered. The pictures show the crimes in a local context. The deportations took place on public squares\, in front of buildings and on streets that are often still part of townscapes today. But there is still so much we don’t know\, because we have absolutely no photos of many deportations. \nPhotos of Nazi mass deportations have never before been brought together\, made available as a collection\, and analyzed collectively in any systematic way. Nor has there been a concerted effort to search for more photos. \nThis new project aims to gather\, analyze\, and digitally publish pictures of Nazi mass deportations of Jews\, Romani people and people with disabilities from the German Reich between 1938 and 1945. The project is a cooperation of the Arolsen Archives\, the City Archives of Munich\, the Center for the Research on Antisemitism at the Technical University Berlin\, the House of the Wannsee Conference memorial site\, and the USC Dornsife Center for Advanced Genocide Research. \n#LastSeen also focuses explicitly on the deportation of Sinti and Roma people and the Krankenmorde to find potential leads to more information and increase public awareness and remembrance of these groups of victims. \n\n\n\n\n\nAsperg\, May 22\, 1940: Several hundred Sinti and Roma people from all over southwest Germany were forced to assemble at the Hohenasperg near Stuttgart on May 16\, 1940. They were then deported from the Asperg train station to concentration and extermination camps. (Photo: German Federal Archives\, R 165 image 244-47\, no information available – photographer unknown) \n\n\n\n\n\n\nDr. Christoph Kreutzmüller is a Berlin based curator\, historian and educator working for the House of the Wannsee-Conference memorial and education centre and Arolsen Archives. From 2015 to 2019\, he prepared the segment “Catastrophe” for the new permanent exhibition of the Jewish Museum Berlin. His numerous publications include the award winning “Final Sale in Berlin. The destruction of Jewish commercial activity. 1930-1945” (New York/Oxford 2015) and (with Tal Bruttmann and Stefan Hördler)\, Die fotografische Inszenierung des Verbrechens. A Photo Album from Auschwitz\, Darmstadt 2019. \n\nKreutzmüller describes the importance of #LastSeen\, “These photos show that the deportations were organized by the police\, city administrators and the railway company. It was possible to watch this process in action\, and people did – including photographers. The pictures show the deportees as well as many perpetrators and spectators. You see neighbors watching the deportees as they are sent into the unknown. Today we know the deportees were mostly being sent straight to their death. That’s what gives the pictures such an impact even now.” … “This raises questions we have to grapple with: What would I have done if I had seen this happening back then? And what do we do today when we see obvious injustices taking place? Do we step in? Do we act\, or do we remain passive spectators? Is there any such thing as a passive spectator – or are spectators always an audience?” \n\n\n\n\n\n\nMORE INFORMATION ABOUT #LASTSEEN\n\n\n\n\n\n\nYou can find future events and the recordings of past events HERE. \n\nWe offer all our virtual programs free of charge. Please help us keep it that way and become part of our SUMMER CAMPAIGN. \nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\n\n\n\nSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/lastseen/
LOCATION:Quad Cinema\, 34 West 13th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20220622T120000
DTEND;TZID=America/New_York:20220622T130000
DTSTAMP:20260407T101421
CREATED:20220601T225309Z
LAST-MODIFIED:20220622T190142Z
UID:6586-1655899200-1655902800@fritzaschersociety.org
SUMMARY:Charlotte. Animated Film about German-Jewish Artist Charlotte Salomon (1917-1943)Producer Julia Rosenberg in conversation with Ori Z Soltes
DESCRIPTION:Join us as the film’s producer\, Julia Rosenberg\, speaks with Ori Z Soltes from Georgetown University in Washington DC about her motivation\, thoughts and decisions that went into the creation of her newly released animated film “Charlotte.” Moderated by Rachel Stern\, Executive Director of the Fritz Ascher Society. \n\n\n\n\n\n\n\n\n\nImage above: Film poster “Charlotte”\n\n\n\n\n\n\n\n\n\n“Charlotte” is an animated drama that tells the true story of Charlotte Salomon (1917-1943)\, a young German-Jewish painter who comes of age in Berlin on the eve of the Second World War. Fiercely imaginative and deeply gifted\, she dreams of becoming an artist. Her first love applauds her talent\, which emboldens her resolve. But the world around her is changing quickly and dangerously\, limiting her options and derailing her dream. When anti-Semitic policies inspire violent mobs\, she leaves Berlin for the safety of the South of France. There she begins to paint again\, and finds new love. But her work is interrupted\, this time by a family tragedy that reveals an even darker secret. Believing that only the extraordinary will save her\, she embarks on the monumental adventure of painting her life story.  \nDirected by Eric Warin and Tahir Rana\nWritten by Erik Rutherford and David Bezmozgis\nStarring Keira Knightley\, Brenda Bleythyn\, Jim Broadbent\, Sam Claflin\, Eddie Marsan\, Helen McCrory\, Sophie Okonedo\, Mark Strong  \n\n\n\n\n\n\n\n\n\n\nStill image from “Charlotte\,” Charlotte Salomon paints in her studio \n\n\n\n\n\n\n\n\n\n\n\nThe idea for making Charlotte dawned on a morning run. “I had this idea that Charlotte Salomon drew her life story\, so I had to produce an animated film\, a film that’s drawn\, of her life story\,” explains producer Julia Rosenberg (Natasha\, Being Julia). The inspiration\, however\, was more than just a runner’s high. Rosenberg had received Salomon’s Life? Or Theatre? at age 13\, and\, by her own admission\, almost fetishized the book. “I’ve seen that same look in the eyes of other people who know her\,” she explains. “One becomes really attached to Charlotte and her work. It’s almost fierce.” \n\nThe film “Charlotte” can be watched on each major platform: iTunes\, AppleTV\, Amazon\, Vudu\, and Google. \n\n\n\n\n\nWATCH “CHARLOTTE” ON AMAZON\n\n\n\n\n\nOver her twenty-five year career\, Julia Rosenberg has been one of Canada’s top executives and producers. After eighteen months as a feature film executive at Alliance Communications Corporation\, she was the only executive who moved with Robert Lantos to his new venture\, Serendipity Point Films. From 1998 through 2004\, Julia oversaw all development and production at Serendipity\, during which time eight features and one series were greenlit\, among them “Being Julia” starring Annette Bening. In 2005\, she launched January Films where she has produced award-winning features and documentaries\, most recently “Charlotte”\, an animated feature for adults starring Keira Knightley (and Marion Cotillard in the French version) that premiered the English version at TIFF 2021 and the French version at Annecy 2022. Drawing on her relationships at home and abroad\, Julia has produced with the best of Canadian and international talent\, executives\, and financing. \n“There absolutely was a concerted effort to pay homage to Charlotte\,” says Toronto-based co-director Tahir Rana (Angry Birds). “All throughout the process\, what was in the back of my mind was ‘I have to do good by Charlotte’. I think we all felt that\, and that was sort of a guiding principle throughout this journey. No matter how challenging it got\, we just thought of Charlotte\, and what she went through.” \n\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 (second edition forthcoming). \nFuture events and the recordings of past events can be found HERE. \nPlease support this and future programs with a donation. Thank you. Your support makes our work possible. \n\n\n\n\n\nSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/charlotte/
LOCATION:Quad Cinema\, 34 West 13th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Events,Lectures,Past Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220601T120000
DTEND;TZID=America/New_York:20220601T130000
DTSTAMP:20260407T101421
CREATED:20220213T211435Z
LAST-MODIFIED:20220607T154944Z
UID:6333-1654084800-1654088400@fritzaschersociety.org
SUMMARY:Charlotte Salomon (1917-1943): A Life Before AuschwitzLecture by Monica Bohm-Duchen\, London (UK)
DESCRIPTION:Charlotte Salomon (1917–1943)\, was a hugely talented Berlin-born artist who was murdered at Auschwitz\, four months pregnant\, at the age of twenty-six. Her main body of work\, a sequence of nearly 800 gouache images entitled Leben? oder Theater? (Life? or Theatre?)\, and created while seeking refuge in the South of France\, is an ambitious fictive autobiography which deploys both images and text\, and a wide range of musical\, literary and cinematic references. The narrative\, informed by Salomon’s experiences as a cultured\, and assimilated German Jewish woman\, depicts a life lived in the shadow of Nazi persecution and a family history of suicide\, but also reveals moments of intense happiness and hope. Challenging the artistic conventions of Salomon’s time\, it remains almost impossible to categorize.  \nThis lecture by London-based art historian Monica Bohm-Duchen explores the multiple aspects of this sophisticated\, complex and haunting work and reflects on its relevance for our own time. \n\n\n\n\n\n\n\n\n\n\nImage above: Charlotte Salomon\, Leben? oder Theater? [Life? or Theater?]\, 1940-1942. Gouache on paper\, 10 x 13 inches. Collection Jewish Museum\, Amsterdam. © Charlotte Salomon Foundation\n\n\n\n\nCharlotte Salomon\, Leben? oder Theater? [Life? or Theater?]\, 1940-1942. Gouache on paper\, 10 x 13 inches. Collection Jewish Museum\, Amsterdam. © Charlotte Salomon Foundation \nCharlotte Salomon\, Leben? oder Theater? [Life? or Theater?]\, 1940-1942. Gouache on paper\, 10 x 13 inches. Collection Jewish Museum\, Amsterdam. © Charlotte Salomon Foundation \nCharlotte Salomon\, Leben? oder Theater? [Life? or Theater?]\, 1940-1942. Gouache on paper\, 10 x 13 inches. Collection Jewish Museum\, Amsterdam. © Charlotte Salomon Foundation \nCharlotte Salomon\, Leben? oder Theater? [Life? or Theater?]\, 1940-1942. Gouache on paper\, 10 x 13 inches. Collection Jewish Museum\, Amsterdam. © Charlotte Salomon Foundation \n\n\n\n\n\n\nMonica Bohm-Duchen is a London-based writer\, lecturer and exhibition organizer. She was co-curator of Life? or Theatre? The Work of Charlotte Salomon\, shown at the Royal Academy of Arts\, London in 1998\, and co-edited an anthology of critical essays entitled Charlotte Salomon: Gender\, Trauma\, Creativity\, published by Cornell University Press in 2006. Her  book\, Art and the Second World War was published by Lund Humphries in association with Princeton University Press\, in 2013/14. She teaches a course on Art and War: 1914 to the Present at Birkbeck\, University of London and at New York University London\, and contributed an essay on “The Two World Wars” to War and Art: A Visual History of Modern Conflict (Reaktion Books\, 2017). She is the founding Director of Insiders/Outsiders [Insiders Outsiders Festival]\, an ongoing celebration of the contribution of refugees from Nazi Europe to British culture and beyond. \n\nCharlotte Salomon’s work can be viewed HERE\,\nand a digital “Life? or Theater?” can be explored HERE. \nThis event is part of our monthly series\nFlight or Fight. stories of artists under repression. \nFuture events and the recordings of past events can be found HERE. \nPlease support this and future programs with a donation. Thank you. Your support makes our work possible. \n\n\n\n\n\nSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/charlotte-salomon/
LOCATION:Quad Cinema\, 34 West 13th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20220518T120000
DTEND;TZID=America/New_York:20220518T130000
DTSTAMP:20260407T101421
CREATED:20220425T182524Z
LAST-MODIFIED:20220519T092158Z
UID:6531-1652875200-1652878800@fritzaschersociety.org
SUMMARY:ART FOR NO ONE: Artists in Germany between 1933 and 1945 Lecture by Ilka Voermann\, Frankfurt/Main (Germany)
DESCRIPTION:Between 1933 and 1945\, the National Socialist regime controlled artistic work in Germany. Particularly artists who were persecuted based on their religion\, race\, or political views fled into exile due to threats from the government. But what happened to the artists who remained in the country? Isolation\, lack of an audience\, and limited exchange impacted the creativity of the individuals who were deprived of a basis for work and life under National Socialism. Their situation is often described in a generalized way as “ostracism” or “inner emigration.” In light of the multilayered and divergent personal circumstances\, however\, these terms fall short of the mark. \n\n\nImage above: Hans Grundig\, Clash of the Bears and Wolves\, 1938\, Oil on plywood\, 90\,5 × 102\,5 cm\, Staatliche Museen zu Berlin\, Nationalgalerie\, © bpk / Nationalgalerie\, SMB\, Photo: Klaus Göken / VG Bild-Kunst\, Bonn 2022\n\n\n\nWerner Heldt\, Meeting (Parade of the Zeros)\, 1933–1935\, Charcoal on Guarro laid paper\, 47 × 63\,3 cm\, Berlinische Galerie –\nLandesmuseum für Moderne Kunst\, Fotografie und Architektur\, © Berlinische Galerie / VG Bild-Kunst\, Bonn 2022 \nOtto Dix\, Jewish Cemetery in Randegg in Winter with Hohenstoffeln\, 1935\, Oil on wood\, 60 × 80 cm\, Saarlandmuseum – Moderne Galerie\, Stiftung Saarländischer Kulturbesitz\, © bpk / Stiftung Saarländischer Kunstbesitz\, Photo: Tom Gundelwein / VG Bild-Kunst\, Bonn 2022 \n\n\n\n\n\nIn this lecture\, Ilka Voermann\, PhD\, curator of the large overview exhibition “ART FOR NO ONE. 1933–1945” at Schirn Kunsthalle Frankfurt speaks about the different strategies and scopes of action employed by artists who did not seek or find any affiliation with the National Socialist regime. \n\n\n\n\n\n\n\n\n\n\nIlka Voermann\, PhD\, studied Art History\, Classical Archaeology and Modern and Contemporary History in Münster and Mainz. In her dissertation she examined the use of copies of paintings in the princely collections of the 19th century. Between 2011 and 2013\, Ilka Voermann worked initially as a Research Assistant and subsequently as Curator at the Kunstmuseum Stuttgart. After teaching positions at Stuttgart University and the State Academy of Fine Arts in Stuttgart\, she was employed from 2014–2017 as Curatorial Fellow at the Harvard Art Museums in Cambridge\, MA. Ilka Voermann has authored numerous texts and catalogue contributions for all the exhibitions she has organized\, especially on the subjects of New Objectivity and art in Germany from 1945. She has also written monographic essays on artists including Otto Dix\, Christian Schad\, Fritz Winter\, Willi Baumeister\, Adolf Hölzel\, Sigmar Polke and Chuck Close. Ilka Voermann has been Curator at the Schirn Kunsthalle Frankfurt since July 2017. \nIntroduced by Rachel Stern\, Director and CEO of the Fritz Ascher Society. \n\n\n\n\n\nFritz Winter\, Driving Forces of the Earth\, 1944\, Oil on paper\, 27\,6 × 21\,7 cm\, LWL-Museum für Kunst und Kultur. Westfälisches Landesmuseum\, Münster. On loan from the Westfälischen Provinzial Versicherung Aktiengesellschaft\, © LWL-Museum für Kunst und Kultur\, Westfälisches Landesmuseum\, Münster\, Photo: Sabine Ahlbrand-Dornseif / VG Bild-Kunst\, Bonn 2022 \nHannah Höch\, 1945 (The End)\, 1945\, oil on canvas\, 92.8 x 81.4 cm\, Berliner Sparkasse\, © VG Bild-Kunst\, Bonn 2021 \n\n\n\n\n\nThe exhibition ART FOR NO ONE. 1933–1945 is on view March 4–June 6\, 2022 at Schirn Kunsthalle Frankfurt in Frankfurt/Main (Germany). Based on 14 selected biographies\, the exhibition shows that the artistic work of this time was determined by more than just apathy\, standstill\, and hopelessness. Focusing more intently on one’s own oeuvre\, engaging in creative work despite the scarcity of materials\, exploring existential themes\, and adapting content were just some of the reactions to National Socialist art policy. Without defining any uniform stylistic development\, the exhibition sheds light on the contradictory nature of this time\, citing individual cases and showing about 130 paintings\, sculptures\, drawings\, and photographs. The artists represented are Willi Baumeister\, Otto Dix\, Hans Grundig\, Lea Grundig\, Werner Heldt\, Hannah Höch\, Marta Hoepffner\, Karl Hofer\, Edmund Kesting\, Jeanne Mammen\, Ernst Wilhelm Nay\, Franz Radziwill\, Hans Uhlmann\, and Fritz Winter.\nMore information about the exhibition HERE. \n\n\n\n\n\nART FOR NO ONE. 1933–1945\, exhibition view\, © Schirn Kunsthalle Frankfurt 2022\, Photo: Norbert Miguletz \nFuture events and the recordings of past events can be found HERE. \nYour support makes our work possible. Thank you. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/art-for-no-one/
LOCATION:Marlene Meyerson JCC Manhattan\, 334 Amsterdam Ave\, New York\, NY\, 10023\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20220504T120000
DTEND;TZID=America/New_York:20220504T130000
DTSTAMP:20260407T101421
CREATED:20220411T181206Z
LAST-MODIFIED:20220504T192649Z
UID:6510-1651665600-1651669200@fritzaschersociety.org
SUMMARY:Prison Diaries by Hans Uhlmann\, 1933-1935: Drawing as Life Line Featuring Dorothea Schöne\, Berlin (Germany)
DESCRIPTION:On October 26\, 1933\, Hans Uhlmann was arrested by the Gestapo on the street. In the notorious Columbia-Haus\, he was interrogated for several weeks and then found guilty by the court of appeal of “preparations for a traitorous enterprise.” He spent a year and a half in prison—first in Moabit and then in Tegel Prison. The artist recorded his experiences of those years in diaries. In parallel with these diaries\, he produced four books of sketches. In his diary entries Uhlmann describes his arrest as well as scenes from daily life in confinement but above all his artistic concerns and projects: “I think often of freedom; of my first works; I occupy myself here by imagining these figures” (May 5\, 1934). \n\n\nImage above: Hans Uhlmann\, Diary and Sketchbooks\, 1933-1935. ©VG Bild-Kunst\, Bonn 2022\n\n\n\nHans Uhlmann\, Page from Sketch Book 2\, 1934\, Private Collection\, Photo: Ralf Hansen. ©VG Bild-Kunst\, Bonn 2022 \nHans Uhlmann\, Page from Sketch Book 3\, 1934/35\, Berlinische Galerie – Landesmuseum für Moderne Kunst\, Fotografie und Architektur\, Photo: Anja Elisabeth Witte. ©VG Bild-Kunst\, Bonn 2022 \n\n\n\n\n\nNot being able to realize these ideas tormented the artist: “I hope most ardently to be able to work under humane conditions. If I want to work as a sculptor and that isn’t possible\, then it is torture” (August 12\, 1934). He was therefore all the more hopeful about the period after his release. One central development in Uhlmann’s work can be seen in the idea of using wire for portrait sculptures: “I imagine my drawings\, often and entire nights long. I have to work with iron as well\, faces and figures from plates (also of copper\, for example); the various plates are welded (arc welding)\, hair from wire?” (October 6\, 1934). Almost as soon as he had been released\, Uhlmann did indeed realize several portfolios of elaborate designed graphic works as wire figures and as sculptures\, the majority of which have since been destroyed and are documented only by photographs. \nAfter the war ended\, Hans Uhlmann was finally able to present these works to a wide audience again and received great recognition. He was appointed Ausserordentlicher Professor (associate professor) at the art school in West Berlin already in 1950. In 1955\, 1959\, and 1964 he participated in documenta\, and in 1964 his works were shown at the thirty-second Venice Biennale. Numerous large sculptures by the artist appear in public spaces. Prominent examples in Berlin include Untitled (1960–61) in front of the Deutsche Oper and Untitled (1963) on the roof of the Philharmonie. \n\n\n\n\n\nHans Uhlmann\, Page from Sketch Book Tegel\, 1934\, Private Collection\, Photo: Ralf Hansen. ©VG Bild-Kunst\, Bonn 2022 \nHans Uhlmann\, ohne Titel\, 1952\, Aquarell\, Collection Rolf and Bettina Horn in the Stiftung Schleswig-Holsteinische Landesmuseen Schloss Gottorf\, Photo: Claudia Dannenberg. ©VG Bild-Kunst\, Bonn 2022 \n\n\n\n\n\nIn her lecture\, Dorothea Schöne\, co-editor (with Carmela Thiele) of the transcribed prison diaries\, reads key passages from this intimate account of those years and illustrates Uhlmanns artistic postwar oeuvre in context of his early conceptions of sculpture. \nDorothea Schöne is a Berlin-based art historian and curator\, currently heading Kunsthaus Dahlem as director and CEO. After receiving her Masters degree in Art History and Political Science at the University of Leipzig/ Germany in 2006\, she was awarded a Fulbright Grant to pursue pre-doctoral research at the University of California\, Riverside. From 2006-2009-10 she worked as a curatorial assistant at the LA County Museum of Art (LACMA). Schöne has been awarded grants by the German Academic Exchange Program\, the German Historical Institute in Washington D.C. and in 2021 she received the Hans-and Lea-Grundig award for her art historical achievements.\nIntroduced by Rachel Stern\, Director and CEO of the Fritz Ascher Society. \n\n\n\n\n\nVirginia Fontaine\, Hans Uhlmann in his Studio\, 1947\, Paul and Virginia Fontaine Archive\, Austin/Texas. ©VG Bild-Kunst\, Bonn 2022 \n\n\n\n\n\nThe exhibition Spatial Lines: Graphic Works by Hans Uhlmann\, 1933–1960 at Kunsthaus Dahlem in Berlin (Germany) is on view until June 19\, 2022. It pays tribute to one of the prominent artists in West Germany after 1945. Known above all as a sculptor\, this exhibition now concentrates on his graphic work. The occasion for this retrospective exhibition is the publication of Uhlmann’s prison diaries\, which are both an intimate document of the agonizing experience of his incarceration and a central aspect of his artistic evolution.\nMore information about the exhibition HERE. \n\n\n\n\n\n»Spatial Lines: Graphic Works by Hans Uhlmann\, 1933–1960\,« Exhibition installation view Kunsthaus Dahlem 2022. Photo: Gunter Lepkowski\, ©2022 VG Bild-Kunst\, Bonn (for Hans Uhlmann) \nThis event is part of our monthly series\nFlight or Fight. stories of artists under repression. \nFuture events and the recordings of past events can be found HERE. \nYour support makes our work possible. Thank you. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/hans-uhlmann/
LOCATION:Marlene Meyerson JCC Manhattan\, 334 Amsterdam Ave\, New York\, NY\, 10023\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20220414T180000
DTEND;TZID=America/New_York:20220414T193000
DTSTAMP:20260407T101421
CREATED:20220112T200045Z
LAST-MODIFIED:20220502T184157Z
UID:6210-1649959200-1649964600@fritzaschersociety.org
SUMMARY:Identity\, Art and Migration: Artist Refugees from Nazi Germany and Today School of Visual Arts\, New York
DESCRIPTION:Note: Attendees must provide proof of vaccination (including booster\, if eligible) and advance Eventbrite registration. \nPresented by BFA Visual & Critical Studies\, the SVA Honors Program\, and The Fritz Ascher Society for Persecuted\, Ostracized\, and Banned Art. \nIn honor of The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art’s virtual exhibition “Identity\, Art and Migration\,” this panel discussion probes historical and all-too contemporary fault lines of persecution\, migration\, intolerance\, cultural complexity and art. Historians\, curators and artists come together to discuss the life and work of artists who were persecuted by the German Nazi regime and came to the US during the first half of the 20th century\, while also hearing from living artists who are facing the challenge of relocation to the United States and its transformative effect on individual identity today. How do artists\, with their particular set of sensibilities respond in their work and life to migration and exile? \n\n\n\n\n\n\n\n\n\n\n\n\nSpeaker Bios:  \nYasi Alipour is an Iranian artist/writer based in Brooklyn. Her tactile works on paper uses folding to explore mathematics as a language\, with all the historical\, social\, political\, mortal\, and embodied ramifications any language holds. Alipour is currently working on a traveling solo exhibition at 12 Gates Gallery (Philadelphia\, PA) and Bavan gallery (Tehran\, Iran). Her work has been exhibited in the United States and internationally. Her writing and interviews have appeared in the Brooklyn Rail\, Spot Magazine\, Asia Contemporary Art Week\, Photograph Magazine\, Volume One/Triple Canopy\, and the Dear Dave. Alipour holds an MFA from Columbia University and is a faculty member at Columbia University\, Parsons\, and SVA. \nRebecca Erbelding\, PhD\, is the author of Rescue Board: The Untold Story of America’s Efforts to Save the Jews of Europe (Doubleday\, 2018)\, which won the National Jewish Book Award for excellence in writing based on archival research. She holds a PhD in American history from George Mason University and has been a historian\, curator\, and archivist at the US Holocaust Memorial Museum since 2003. She served as the lead historian on the Museum’s special exhibition\, Americans and the Holocaust. \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 (second edition forthcoming). He is the co-curator of “Identity\, Art and Migration” (online\, 2022). \nDavid Stern is a German-born American figurative painter\, whose work is rooted in the European figurative tradition and informed by American Abstract Expressionism. His artistic career spans 40 years and the main theme/motive of his work has been and continues to be the human condition. He has widely exhibited in Europe and the US and is represented in public and private collections in the United States\, Europe and Asia\, among them The Metropolitan Museum of Art and the National 9/11 Memorial and Museum\, New York; the National Museum\, Poznan (Poland); and the State Art Collections (Staatliche Kunstsammlungen\, Kupferstich-Kabinett)\, Dresden (Germany). \nModerators: \nJeremy Cohan\, PhD\, is a sociologist and director of the Honors Program at SVA\, where he teaches on politics\, sociology\, philosophy and art. He organizes the Art & Politics lecture series and is active in local politics. He has presented at the NYU Economic and Political Sociology Workshop\, the American Sociological Association\, the International Sociological Association\, the Social Theory Workshop at the University of Chicago\, the ASU and UFABC São Paulo Global Seminar\, and the Cultural Studies Association Annual Convention. Recent publications include “The Two Souls of Marcuse’s One-Dimensional Man” in Catalyst. \nRachel Stern is the Founding Director and CEO of The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art. Born and educated in Germany\, she worked for ten years in the Department of Drawings and Prints at the Metropolitan Museum of Art in New York. She has organized numerous art exhibitions and has written extensively about art. She is a 2017 recipient of the Hans and Lea Grundig Prize\, in recognition of her exhibition and book The Expressionist Fritz Ascher (Berlin\, 1893-1970) (Cologne: Wienand 2016)\, and has authored or edited numerous publications since. She has recently co-curated “Curtain Up for Emmy Rubensohn! Music Patron from Leipzig” (Gewandhaus zu Leipzig (Germany)\, 2021) and “Identity\, Art and Migration” (online\, 2022). \n\n\n\n\n\n\n\nFor guests outside of New York City or otherwise seriously indisposed\, participation online can be reserved. In-person attendance strongly encouraged. \nONLINE REGISTRATION LINK\n\n\n\n\n\nSchool of Visual Arts (SVA) has been a leader in the education of artists\, designers and creative professionals for more than seven decades. With a faculty of distinguished working professionals\, dynamic curriculum and an emphasis on critical thinking\, SVA is a catalyst for innovation and social responsibility. \n\n\n\n\n\n\n\n\n\n\n\nThis event celebrates the launch of the online exhibition “Identity\, Art and Migration” which tells a distinctly human story of how circumstance impacts selfhood. Through the lens of seven artist case studies and interdisciplinary scholarship\, we investigate US immigration of European refugees during the first half of the 20th century: Anni Albers\, Friedel Dzubas\, Eva Hesse\, Rudi Lesser\, Lily Renee\, Arthur Szyk and Fritz Ascher. The exhibition underscores the transformative effect of forced migration on individual identity.\nThe online exhibition is generously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\n\n\n\n\nLINK TO ONLINE EXHIBITION “IDENTITY\, ART AND MIGRATION”Your support makes our work possible. \nSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/sva/
LOCATION:School of Visual Arts\, 133 West 21st Street\, New York\, 10011\, United States
CATEGORIES:Events,Past Events
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DTSTART;TZID=America/New_York:20220406T120000
DTEND;TZID=America/New_York:20220406T130000
DTSTAMP:20260407T101421
CREATED:20220121T181408Z
LAST-MODIFIED:20220406T195751Z
UID:6263-1649246400-1649250000@fritzaschersociety.org
SUMMARY:Ben-Zion (1897-1987): Man of Many FacesFeaturing Tabita Shalem and Ori Z Soltes
DESCRIPTION:Born in the Russian Empire\, Ben-Zion (Benzion Weinman\, 1897-1987) immigrated to New York City between the wars\, arriving as a craftsman of words whose cultural Zionist convictions led him to write his poetry in Hebrew. By the early 1930s\, the rise of fascism and its particularized manipulations of language drove him to despair of the power of words and to turn to visual art as a medium of expression. Endlessly creative\, across the next six decades he produced a flood of drawings and oil paintings and sculptures often made by re-visioning found objects of wood\, stone\, and iron. As a founding member of the expressionist group\, “The Ten”–that included among others a young Mark Rothko–Ben-Zion addressed social\, political\, and cultural reality in a style simmering between abstract and figurative sensibilities\, but governed by intense emotive power. \n\n\n\n\n\n\n\n\n\nImage above: Detail of Ben-Zion\, Prophet and Stars\, 1950\, Oil on Wood\, 36 x 18 inches. Private collection\n\n\n\n\n\n\n\n\n\nThis program features Tabita Shalem (Curator of the Ben-Zion Collection in New York City) and Ori Z Soltes (former director and curator of the B’nai B’rith Klutznick National Jewish Museum in Washington\, DC)\, who co-curated a comprehensive Ben-Zion exhibition at the National Jewish Museum in 1997 on the centenary of the artist’s birth. Their conversation will offer an insightful exploration of the work of this remarkable\, under-represented artist\, moderated by FAS Director Rachel Stern. \n\n\n\n\n\nBen-Zion\, The Pink Orchard\, 1945. Oil on Canvas. Private collection \n\n\n\n\n\nTabita Shalem worked closely with Ben-Zion in the last decade of his life assisting with the publication of his literary works and select exhibitions. For the next 25 years Tabita continued working with Ben-Zion’s widow\, Lillian. Together\, they envisioned the preservation of his legacy by archiving\, documenting\, and maintaining his prolific body of work. The unique nature of the living and studio space containing the vast collections of ancient and ethnographic artifacts as Ben-Zion lived and worked in it\, was preserved. Since Lillian’s death in 2012\, Tabita has opened the space to historians\, curators\, collectors\, and artists from all over the world. She continues to lay the groundwork for developing exhibitions\, scholarship\, and other partnerships that honor Ben-Zion’s multi-faceted life and work. Tabita has advanced training in psychotherapy and imagery which enhances her work in the area of creativity and art. \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 (second edition forthcoming). \nTo find out more about the artist or to get in touch with Tabita Shalem\, visit the website HERE. \nThis event is part of our monthly series\nFlight or Fight. stories of artists under repression. \nFuture events and the recordings of past events can be found HERE. \n\n\n\n\n\nSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/ben-zion/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20220310T190000
DTEND;TZID=America/New_York:20220310T200000
DTSTAMP:20260407T101421
CREATED:20220120T015551Z
LAST-MODIFIED:20220311T131314Z
UID:6227-1646938800-1646942400@fritzaschersociety.org
SUMMARY:Arnold Schoenberg’s Pierrot Lunaire  and the Role of the Clown  in the Arts
DESCRIPTION:Pierrot\, the famous character from the Italian commedia dell’arte\, is set by the composer A. Schoenberg as the moonstruck and fantastical clown\, who is a symbol for putting on a mask to hide one’s true feelings or opinions. Forever lovelorn and wistfully contemplating the dying moon\, he lurches through the night\, hiding his face underneath a thick layer of white paint. The extravagance of emotions\, the aesthetic of exaggeration\, and the distortion of communication through the mask turn Pierrot into an incredibly fascinating and universal figure. \n\n\n\n\n\n\n\n\n\n\nPre-concert talk \nRachel Stern\, Director and CEO\, The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\nStephen Decatur Smith\, Stony Brook University\, Department of Music \nConcert \nWeill: ‘Lonely House’\nSchoenberg: Pierrot Lunaire op. 21\, Part I\nBerg: ‘Nacht’ from Seven Early Songs\nSchoenberg: Pierrot Lunaire op. 21\, Part II\nMarx: Pierrot Dandy\nSchoenberg: Pierrot Lunaire op. 21 \nFeatured artists \nHannah Harnest – Piano\nSophie Delphis – Mezzo Soprano\nAbi Kralik – Violin\nAdam Kramer – Viola\nSean Hawthorne – Cello\nDenis Savelyev – Flute\nBixby Kennedy – Clarinet\nTeddy Poll – Conductor \n\n\n\n\n\n\n\n\n\n\nThe Music for Thought Series is presenting this event in collaboration with 1014 – space for ideas\, and the Fritz Ascher Society. \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\n\n\n\n\nFUTURE EVENTS AND THE RECORDINGS OF PAST EVENTS\n\n\n\n\nIMAGE: Fritz Ascher\, Pagliaccio (Clown)\, 1916. White gouache over graphite\, watercolor and black ink on paper\, 17.25 x 12.3 inches. Private collection ©Bianca Stock \n\n\n\n\n\nSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/pierrot-lunaire/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Past Events
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DTSTART;TZID=America/New_York:20220302T120000
DTEND;TZID=America/New_York:20220302T130000
DTSTAMP:20260407T101421
CREATED:20211231T191351Z
LAST-MODIFIED:20220303T001946Z
UID:6147-1646222400-1646226000@fritzaschersociety.org
SUMMARY:Jussuf Prince of Thebes – Re-constructing the life and work of a forgotten talent from SafedFeaturing Dorothea Schöne\, Berlin (Germany)
DESCRIPTION:In the late nineteenth century\, the sculptor Joseph M. Abbo (1888–1953) – who later renamed himself Jussuf Abbo – was born in Safed\, in the province of Beirut of the Ottoman Empire. As a young man\, he began working as a labourer on the restoration site being led by an architect\, Hoffmann\, on behalf of the German government. Abbo was noticed and was rapidly promoted to the drawing-office and to stone-carving. He was offered a scholarship at the Berlin School of Art. Jussuf Abbo arrived in Germany in 1911 and began studying at the Royal Academy of Fine Arts in Berlin in 1913. By 1919 he had a master studio in the Prussian Academy of Fine Arts. Throughout the 1920’s he exhibited in top galleries throughout Germany and was a well known portrait sculptor and printmaker and an active member of the Berlin avant-garde artistic community. Much of his work\, being partially abstract with an emphasis on psychological state and emotion\, could be considered “Expressionist”. \n\n\n\n\n\n\n\n\n\n\n\nImage above: Jussuf Abbo\, Head of a Black Man\, ca. 1939\, plaster\, painted\, H: 28 cm.  Estate of Jussuf Abbo\, Brighton/UK\, photo: Gunter Lepkowski\n\n\n\n\nJussuf Abbo\, Mask from the Norwegian Sea\, ca. 1922\, bronze\, 40 x 20 cm. Estate of Jussuf Abbo\, Brighton/UK\, photo: Mark Heathcote \nDorothea Schöne (Ed.)\, Jussuf Abbo. Catalogue published on the occasion of the exhibition “Jussuf Abbo” at Kunsthaus Dahlem (November 8\, 2019-January 20\, 2020). Cologne: Wienand 2019 \n\n\n\n\n\n\nAs a person\, Abbo was flamboyant and charismatic. Many of his wealthy and powerful patrons\, clients and friends were Jewish. He was known for his bohemian and eccentric lifestyle\, an exotic artist from the Orient\, apparently living for sometime in a Bedouin tent in his large Berlin studio. He was part of the group of friends of the Expressionist poet and playwright\, Else Lasker-Schüler\, whom he portrayed on several occasions and who in turn wrote a poem about him. \n\n\nWith the Nazi takeover\, Abbo was repeatedly branded-he was stateless after the collapse of the Ottoman Empire\, exposed by his Jewish ancestry to Nazi racial fanaticism and his girlfriend Ruth Schulz was illegitimately pregnant by him. In a dramatic way\, the pair fled to England in 1935\, where Abbo could not continue his career. \n\n\nJussuf Abbo died in his London exile in 1953. \n\n\nIn her presentation\, Dorothea Schöne introduces this multi-faceted\, unjustly forgotten artist and his traumatic experience of flight and exile from Nazi-Germany. \n\n\n\n\n\n\nJussuf Abbo\, Untitled (Ursula Nordmann\, sleeping)\, undated\, coloured chalk drawing\, 37 x 44 cm. Estate of Jussuf Abbo\, Brighton/UK\, photo: Mark Heathcote \n\n\n\n\n\nDorothea Schöne is a Berlin-based art historian and curator\, currently heading Kunsthaus Dahlem as director and CEO. After receiving her Masters degree in Art History and Political Science at the University of Leipzig/ Germany in 2006\, she was awarded a Fulbright Grant to pursue pre-doctoral research at the University of California\, Riverside. From 2006-2009-10 she worked as a curatorial assistant at the LA County Museum of Art (LACMA). Schöne has been awarded grants by the German Academic Exchange Program\, the German Historical Institute in Washington D.C. and in 2021 she received the Hans-and Lea-Grundig award for her art historical achievements.\nIntroduced by Rachel Stern\, Director and CEO of the Fritz Ascher Society. \n\nThis event is part of our monthly series\nFlight or Fight. stories of artists under repression. \nFuture events and the recordings of past events can be found HERE. \n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/abbo/
LOCATION:Marlene Meyerson JCC Manhattan\, 334 Amsterdam Ave\, New York\, NY\, 10023\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20220227T150000
DTEND;TZID=America/New_York:20220227T163000
DTSTAMP:20260407T101421
CREATED:20220105T232956Z
LAST-MODIFIED:20220328T232345Z
UID:6164-1645974000-1645979400@fritzaschersociety.org
SUMMARY:Identity and Migration: Artists and Composers who Fled Persecution Sheen Center for Thought & Culture\, New York
DESCRIPTION:Opening remarks by\nConsul Yasemin Pamuk\, Consulate General of the Federal Republic of Germany in New York \nDistinguished Panelists\nOri Z Soltes PhD\, Georgetown University in Washington DC\nArtist Refugees from Nazi Germany in the United States\nRebecca Erbelding PhD\, Historian and Author in Washington DC\nUS Immigration Policy during the 1930s Refugee Crisis\nStephen M Rasche JD\, Catholic University in Erbil\, Kurdistan Region\, Iraq\nIdentity in a Time of Forced Displacement: Religious Art and the Iraqi Christian Experience\nDavid Stern\, German born American Artist in New York NY\nImmigration and Culture Shock in Times of Globalization \nMusical Performance (Piano)\nCarolyn Enger\, Steinway Recording Artist:\nArnold Schoenberg – Sechs kleine Klavierstücke Op. 19\nEmahoy Tsegué-Maryam Guèbrou: Homesickness Pt. 1\nPaul Ben-Haim – Canzonetta from Five Pieces for Piano\, Op 34 \nModeration\nRachel Stern\, The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art in New York NY \n\n\n\n\n\n\n\n\n\n\n\n\nWhat is it that defines human identity? DNA? Language? Culture? Landscape? Polity? Or is it a combination of all of these factors? How do the sources of identity make it easy or difficult for individuals who migrate from one location to another—by choice or under duress—not merely to adapt but to become fully comfortable within their new home? How do artists\, with their particular set of sensibilities respond to their own migration? \n\n\n\nThere are many times in the course of history when these questions have offered particularly strong reference points\, including our own\, with its unprecedented patterns of migration\, and vast numbers of refugees removing themselves under duress from one region to other parts of the planet. Within the Western World in particular the most significant era in which such issues might be raised occurred just prior to the mid-twentieth century\, with the rise of Nazism and other fascist movements across most of Europe. \n\n\n\n\n\n\nCarolyn Enger \nRebecca Erbelding\, PhD \nOri Z Soltes\, PhD \nStephen M Rasche JD \nDavid Stern \n\n\n\n\n\n\nParticipants: \nCarolyn Enger is an internationally acclaimed pianist and filmmaker\, well known for her deeply felt interpretation of music ranging from the 18th century to contemporary works. Being a Steinway Artist\, she has performed in venues like the Museum of Jewish Heritage in New York\, Weill Recital Hall at Carnegie Hall\, the National Gallery of Art in D.C.\, the Cathedral Church of St. John the Divine\, the Bach Festival in Germany\, the National Gallery in Norway\, and the White Stork Synagogue in Wrocław\, Poland. Ms. Enger is a 1st generation German-American and daughter of a Holocaust survivor. \nRebecca Erbelding PhD is the author of Rescue Board: The Untold Story of America’s Efforts to Save the Jews of Europe (Doubleday\, 2018)\, which won the National Jewish Book Award for excellence in writing based on archival research. She holds a PhD in American history from George Mason University and has been a historian\, curator\, and archivist at the US Holocaust Memorial Museum since 2003. She served as the lead historian on the Museum’s special exhibition\, Americans and the Holocaust. \nStephen M Rasche JD is a recognized international expert in the field of persecution of religious minorities.  During the ISIS war in Iraq and its aftermath he served with the Chaldean Catholic Archdiocese of Erbil\, Iraq\, where he managed humanitarian and resettlement programs for displaced Christians and Yazidis forced from their homes by the ISIS genocide. He regularly works on projects involving the preservation and restoration of cultural heritage and has served as official representative to the Vatican Dicastery on Refugees and Migrants.   He is the author of the critically acclaimed book “The Disappearing People: the Tragic Fate of Christians in the Middle East.” \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 (second edition forthcoming). \n\nDavid Stern is a German-born American figurative painter\, whose work is rooted in the European figurative tradition and informed by American Abstract Expressionism. The main theme/motive of his work has been and continues to be the human condition. He has widely exhibited in Europe and the US and is represented in public and private collections in the United States\, Europe and Asia\, among them The Metropolitan Museum of Art and the National 9/11 Memorial and Museum\, New York\, the National Museum\, Poznan (Poland)\, and the State Art Collections (Staatliche Kunstsammlungen\, Kupferstich-Kabinett)\, Dresden (Germany). \n\n\n\n\n\nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\n\n\n\n\nThis event celebrates the launch of the online exhibition\, “Identity\, Art and Migration” which tells a distinctly human story of how circumstance impacts selfhood. Through the lens of seven artist case studies and interdisciplinary scholarship\, we investigate US immigration of European refugees during the first half of the 20th century: Anni Albers\, Friedel Dzubas\, Eva Hesse\, Rudi Lesser\, Lily Renee\, Arthur Szyk and Fritz Ascher. The exhibition underscores the transformative effect of forced migration on individual identity. \n\n\n\n\n\nRECORDINGS OF PAST EVENTSAbout the Sheen Center for Thought & Culture\nThe Archbishop Fulton J. Sheen Center for Thought & Culture is a forum to highlight the true\, the good\, and the beautiful as they have been expressed throughout the ages. Cognizant of our creation in the image and likeness of God\, the Sheen Center aspires to present the heights and depths of human expression in thought and culture\, featuring humankind as fully alive. At the Sheen Center\, we proclaim that life is worth living\, especially when we seek to deepen\, explore and challenge ourselves\, Catholic and non-Catholic alike\, intellectually\, artistically\, and spiritually.
URL:https://fritzaschersociety.org/exhibition-event/sheen-center/
LOCATION:Sheen Center for Thought & Culture\, 18 Bleecker Street\, New York\, 10012
CATEGORIES:Events,Past Events
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220227
DTEND;VALUE=DATE:20260228
DTSTAMP:20260407T101421
CREATED:20220120T004840Z
LAST-MODIFIED:20251107T122200Z
UID:6217-1645920000-1772236799@fritzaschersociety.org
SUMMARY:"Identity\, Art and Migration"Online Exhibition
DESCRIPTION:“Identity\, Art and Migration” investigates the experience of eight Jewish European artists who were forced to abandon their country of origin\, or remain in hiding for years\, in response to Nazi policies in effect from 1933 to 1945. These six artists: Anni Albers\, Friedel Dzubas\, Eva Hesse\, Rudi Lesser\, Lily Renée and Arthur Szyk emigrated to the United States\, while one\, Fritz Ascher\, stayed behind in Germany\, hiding in a basement for three years. \nThese artists’ lives and work address the multi-layered concept of identity and the particulars of its expression from slightly different angles. We invite you to explore with us how these wrenching experiences affected their sense of who they were\, and the art they made. \nENTER ONLINE EXHIBITION HEREAs you explore\, please consider these questions: What defines human identity? DNA? Language? Culture? Landscape? Polity? Or is it a combination of them all? How do these factors affect refugees and immigrants\, who must try —not merely to adapt— but to become fully comfortable within their new home? \nHow do artists\, with their particular set of sensibilities —and who are purveyors of\, respondents to\, and shapers of culture— transfer the diverse identity norms of the worlds they leave behind to the new worlds into which they arrive? Can they translate from one language of images to another? \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York and an Anonymous Family Foundation.
URL:https://fritzaschersociety.org/exhibition-event/migration/
LOCATION:Marlene Meyerson JCC Manhattan\, 334 Amsterdam Ave\, New York\, NY\, 10023\, United States
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DTSTART;TZID=America/New_York:20220201T140000
DTEND;TZID=America/New_York:20220201T150000
DTSTAMP:20260407T101421
CREATED:20210914T201235Z
LAST-MODIFIED:20220206T121815Z
UID:5810-1643724000-1643727600@fritzaschersociety.org
SUMMARY:Boris Lurie:  Searching for Truth in Holocaust Images Featuring Eckhart Gillen\, PhD\, Berlin (Germany)
DESCRIPTION:In Claude Lanzmann’s seminal nine-and-a-half-hour film SHOAH\, he chose not to use any images of the Holocaust\, telling the story instead solely through the words of witnesses. By contrast\, art historian Georges Didi-Huberman and contemporary artist Gerhard Richter have both emphasized the power of images to reflect and educate—the former in his book Images in Spite of All: Four Photographs from Auschwitz\, and the latter in a series of paintings titled “Birkenau.” \nJoin the Museum of Jewish Heritage and the Fritz Ascher Society for a lecture exploring the tension between these different perspectives on images\, words\, and the Holocaust with German art historian and curator Eckhart Gillen. Gillen grounds the discussion in the example of Boris Lurie\, the subject of the Museum’s special exhibition Boris Lurie: Nothing To Do But To Try\, who used art to access his buried memories before he was able to address them with words. \n\n\n\n\n\nEckhart Gillen\, PhD is an independent Curator based in Berlin. 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 „Amerika – Traum und Depression 1920/40“\, Akademie der Künste\, Berlin 1980;\n„German Art from Beckmann to Richter: Images of a Divided Country“; Yale University Press 1997; in collaboration with Stephanie Barron he curated „Art of Two Germanys/Cold War Cultures 1945-1989“\, Los Angeles County Museum of Art\, Germanisches Nationalmuseum Nuremberg\, Deutsches Historisches Museum Berlin 2009; „Feindliche Brüder? Der Kalte Krieg und die deutsche Kunst 1945-1989“\, Berlin 2009; R.B.Kitaj – The Retrospective\, Jewish Museum Berlin\, Jewish Museum London and Hamburger Kunsthalle\, 2012; “Art in Europe 1945-1968: Facing the Future”\, BOZAR\, Brussels\, ZKM\, Karlsruhe\, Pushkin Museum\, Moscow\, 2016/17; „FLASHES OF THE FUTURE. The Art of the 68ers“\, Ludwig Forum\, Aachen\, 2018; „Constructing the World. Art and Economy 1919 to 1939 in USA\, Soviet Union and Germany“ at Kunsthalle Mannheim\, 2018/19.\nSince 2013\, Eckhart is adjunct professor for art history at the Film University in Potsdam-Babelsberg.\n \nHis exhibition Boris Lurie & Wolf Vostell: Art After Auschwitz just opened at The Kunstmuseum Den Haag in the Netherlands\, where it will be on view until May 29th [LINK TO The Kunstmuseum Den Haag]   \nBoris Lurie\, Liberation of Magdeburg\, 1946. Pastel and gouache paint on paper\, 19 x 25 in.\nCourtesy of the Boris Lurie Art Foundation\nBORIS LURIE EXHIBITION AT THE MUSEUM OF JEWISH HERITAGEFUTURE EVENTS AND EVENT RECORDINGSDONATE NOW
URL:https://fritzaschersociety.org/exhibition-event/boris-lurie/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220126T120000
DTEND;TZID=America/New_York:20220126T130000
DTSTAMP:20260407T101421
CREATED:20220120T192312Z
LAST-MODIFIED:20220218T113848Z
UID:6235-1643198400-1643202000@fritzaschersociety.org
SUMMARY:International Holocaust Remembrance Day#EVERYNAMECOUNTS ChallengePartnership with Arolsen Archives and Yad Vashem
DESCRIPTION:Become part of an international community that actively helps build the largest digital memorial to the victims of National Socialism. During this 48 hour challenge\, we help the Arolsen Archives index documents from the Central Location Index (CLI) at Yad Vashem\, which have never been indexed before. \nEvery number\, every place\, and every name you type in on the crowdsourcing platform will help preserve the memory of the persecutees – and make sure we never forget what happened to them. \nThis event features Elizabeth Berkowitz\, our former Digital Interpretation Manager\, who speaks about #everynamecounts at the Fritz Ascher Society\, and Katharina Menschick from the Arolsen Archives\, who introduces the Arolsen Archives and the current project.  A welcome by Floriane Azoulay (Director) and a tour of the archives by Giora Zwilling (Deputy Head of Archives) are followed by a look at the documents of this specific challenge. We’ll learn how to enter data and will get to ask questions. It’s very easy to join in. You don’t need any special knowledge to take part. \nIntroduced by Rachel Stern\, Director and CEO of the Fritz Ascher Society in New York. \nElizabeth Berkowitz is an art historian specializing in modern art historiography\, pre-World War II European painting\, and digital humanities strategies. Her writings have appeared in both popular and academic publications\, and she has extensive experience as an educator and program developer for universities and cultural organizations. Elizabeth was previously the Fritz Ascher Society’s Digital Interpretation Manager for grant-based projects and is currently the Executive Director of the American Trust for the British Library. \nKatharina Menschick studied International Development and Political Science in Vienna/Austria and received an MA in Liberal Studies from the City University of New York Graduate Center as a Fulbright Scholar in 2019. After working in the archives of the Leo Baeck Institute New York she now is a research associate in the Research and Education Department at the Arolsen Archives – International Center on Nazi Persecution. \n\n\n\nThe entire Central Location Index (CLI) collection contains 1\,200\,000 index cards and 250\,000 documents\, and it has never been indexed before. The data generated during the challenge will be made available in the online archive of the Arolsen Archives as well as in the database of Yad Vashem. \nThe Central Location Index (CLI) was an umbrella organization based in New York that coordinated the search for missing relatives – Jewish and non-Jewish – between 1944 and 1949. Most of the organizations who joined together under this banner to concentrate their efforts were American\, but some came from other parts of the world. Before very long\, the new organization had become one of the leading tracing agencies for missing relatives. \nFor this indexing challenge\, we are collecting basic information about the missing persons recorded on the cards: e.g. their name\, date of birth\, place of birth\, or profession. The cards also show the last known whereabouts of the person concerned\, the details of the person who filed the tracing request at the time\, and information on where surviving relatives might be found. \nHelp us index 20\,000 documents in 48 hours\, between 12:00pm on Jan. 26 and 12:00pm on Jan. 28! \n\n\n\nSTART PARTICIPATING HEREFACT SHEET WITH DATA ENTRY TIPS FOR 1/26/2022 CHALLENGE \n\n\n\n\n\n\nThe International Tracing Service (ITS)\, now called the Arolsen Archives\, was established by the Allied powers in 1948 as a central search and information center. Today based in Germany and governed as a collaboration among eleven member countries\, the international Arolsen Archives has since become the world’s most comprehensive repository of materials connected to National Socialist victims and survivors—currently documenting the persecution of over 17.5 million people. The Archives’ vast holdings include concentration camp\, ghetto\, and penal institution prisoner rolls; documents about forced laborers; personal effects taken from concentration camp inmates; and Displaced Persons records from the early post-war period\, among many other testaments to lives lost and lived under Nazi persecution. \n\n\n\n\n\n\nPROJECT PAGE #EVERYNAMECOUNTS\n\n\n\n\n\n\n\nThe Central Database of Shoah Victims’ Names at the World Holocaust Remembrance Center Yad Vashem currently commemorates over 4\,800\,000 name. Each International Holocaust Remembrance Day Yad Vashem offers the public the opportunity to remember individual victims one at a time. Join the IRemember Wall from any computer or hand held device anywhere on the globe and help us remember each and every victim.\n\n\n\n\n\n\n\n\nSUPPORT US
URL:https://fritzaschersociety.org/exhibition-event/everynamecounts-2022/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220105T120000
DTEND;TZID=America/New_York:20220105T130000
DTSTAMP:20260407T101421
CREATED:20211006T212609Z
LAST-MODIFIED:20220826T085817Z
UID:5847-1641384000-1641387600@fritzaschersociety.org
SUMMARY:The Pencil and the Sword. How Lily Renée (1921–2022)Put her Art to Work Against the NazisFeaturing Sabine Apostolo and Michael FreundJewish Museum Vienna\, Austria
DESCRIPTION:Born 1921 in Vienna\, Lily Renée Willheim led a sheltered and cultured life until the age of 17 when she had to flee from the Nazi powers\, first to England\, then to New York. By accident and because of her artistic talent\, she became one of the leading cartoonists during World War Two\, creating artwork in which anti-fascist messages were as important as aesthetic considerations. For many decades after the end of the war\, she continued to work creatively in various art forms.\n\n\n\n\n\n\n\n\n\nImage above: Detail of Lily Renée\, Title Page\, Femforce Good Girl art quarterly\, reprint\, summer 1991 © Lily Renée\n\n\n\n\n\n\n\n\n\nIn their presentations\, Sabine Apostolo and Michael Freund discuss her art and her biography\, which are interrelated\, but can be assessed independently. They will raise the question how to present works of art produced by persecuted artists. Introduced by Rachel Stern\, Director and CEO of the Fritz Ascher Society. \n\n\n\n\n\n\n\n\n\n\nSabine Apostolo is the curator and collection manager at the Jewish Museum Vienna\, Austria. She studied Comparative Literature and Art History.\nMichael Freund is media communications professor emeritus and lecturer at Webster University Vienna\, and writer and guest curator at the Jewish Museum Vienna\, Austria. \n\n\n\n\n\nPassport for Lily Wilheim\, Vienna\, October 7\, 1938. Lily Renée collection © Lily Renée \n\n\n\n\n\nThis an event of our online project “Identity\, Art and Migration” in which we investigate US immigration of European refugees during the first half of the 20th century through the lens of seven artist case studies: Anni Albers\, Friedel Dzubas\, Eva Hesse\, Rudi Lesser\, Lily Renee\, Arthur Szyk and Fritz Ascher. \nWhat is it that defines human identity? DNA? Language? Culture? Landscape? Polity? Or is it a combination of all of these factors? How do the sources of identity make it easy or difficult for individuals who migrate from one location to another—by choice or under duress—not merely to adapt but to become fully comfortable within their new home? How do artists\, with their particular set of sensibilities—and who are purveyors of\, respondents to\, and shapers of culture—respond to their own migration? How do they transfer the diverse identity norms of the worlds they leave behind to the new worlds into which they arrive? Can they translate from one language of images to another?  \nEach one of the seven artists featured in this project was affected in different ways by Nazi policies and came as a refugee to the United States\, to remain or not to remain here—or hiding within Germany throughout the war. The life and work of each of these artists addresses the issue of identity and the particulars of its expression from slightly different angles. As a compendium\, they all serve as an intensified and emphatic articulation of the broader issues of relocation\, transformation and the psychological and cultural self as a centerpiece of human being. \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\n\n\n\n\n“IDENTITY\, ART AND MIGRATION” ONLINE EXHIBITIONLily Renée\, Venetian Lady\, Gouache\, India ink\, and pencil on paper\, Vienna 1938. Lily Renée collection © Lily Renée \nLily Renée\, Senorita Rio\, Cover\, Fight Comics Nr. 47\, Fiction House\, New York\, December 1946. Lily Renée collection © Lily Renée \nPlease also listen to our Zoom event “Lily Renée (1921–2022): From Refugee to Renown\,” featuring Trina Robbins\, Adrienne Gruben and David Armstrong (LINK). \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/lily-renee-vienna/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211215T120000
DTEND;TZID=America/New_York:20211215T133000
DTSTAMP:20260407T101421
CREATED:20211007T223829Z
LAST-MODIFIED:20220826T090757Z
UID:5957-1639569600-1639575000@fritzaschersociety.org
SUMMARY:CONFERENCE Artists Migrating to the United States\, In and Beyond the Nazi Period FEATURING Rebecca Erbelding\, PhD\,  Katya Grokhovsky\, and Ori Z Soltes\, PhD
DESCRIPTION:Shaped in accordance with the theme of the current Fritz Ascher Society online project\, “Identity\, Art and Migration\,” this brief conference focusses on psychological\, historical and art historical aspects of migration—broadly and in particular within the context of artists seeking refuge in the United States during the Holocaust. \n\n\n\n\n\n\n\n\n\n\nExpert Panel:\nRebecca Erbelding\, PhD\, USHMM historian in Washington DC\nKatya Grokhovsky\, artist and founder of The Immigrant Artist Biennal in New York NY and\nOri Z Soltes\, PhD\, Teaching Professor at Georgetown University in Washington DC \nThese diverse experts will address the specifics of American immigration policies in the first half of the twentieth century and how they particularly affected those seeking refuge from the ravages of the Nazi Holocaust across Europe; the consequences of forced migration in the work of the seven artists whose work is the focus of the Identity\, Art and Migration project; the continuation and reshaping of issues affecting immigrant artists and their art in the recent history of the United States and the current reality of Europe. \nThe presentations will be followed by questions to the speakers posed by the moderator as well as by audience Q & A. \nModerated by\nRachel Stern\, Director and CEO of the Fritz Ascher Society in New York NY \n\n\n\n\n\nRebecca Erbelding\, PhD \nKatya Grokhovsky \nOri Z Soltes\, PhD \nRachel Stern \n\n\n\n\n\nRebecca Erbelding\, PhD is the author of Rescue Board: The Untold Story of America’s Efforts to Save the Jews of Europe (Doubleday\, 2018)\, which won the National Jewish Book Award for excellence in writing based on archival research. She holds a PhD in American history from George Mason University and has been a historian\, curator\, and archivist at the US Holocaust Memorial Museum since 2003. She served as the lead historian on the Museum’s special exhibition\, Americans and the Holocaust. \nBorn in Ukraine and raised in Australia\, Katya Grokhovsky is a New York-based artist\, curator\, and Founding Director of The Immigrant Artist Biennial. Her work has been exhibited nationally and internationally. Grokhovsky has received support through numerous residencies including The Elizabeth Foundation for the Arts (EFA) Studio Program\, School of Visual Arts MFA Art Practice Artist in Residence\, Kickstarter Creator in Residence\, Pratt Fine Arts Department Artist in Residence\, Art and Law Fellowship\, MAD-The Museum of Arts and Design Studio Program\, BRICworkspace Residency\, Ox-BOW School of Art Residency\, Wassaic Artist Residency\, Atlantic Center for the Arts\, Studios at MASS MoCA\, NARS Residency\, Santa Fe Art Institute Residency\, Watermill Center\, and more. She has been awarded the Brooklyn Arts Council Grants\, NYFA Fiscal Sponsorship\, ArtSlant 2017 Prize\, Asylum Arts Grant\, Australian Council for the Arts Grant\, and Freedman Traveling Scholarship for Emerging Artists\, among others. \nOri Z Soltes\, PhD\,  teaches at Georgetown University across the disciplines of theology\, art history\, philosophy and politics. He is the former Director and Curator of the B’nai B’rith Klutznick National Jewish Museum where he curated some 80 exhibitions. He is the author of several hundred articles and catalogue essays\, and the author or editor of 25 books\, including The Ashen Rainbow: The Holocaust and the Arts; Symbols of Faith: How Jewish\, Christian\, and Muslim Art Draw from the Same Source; and Tradition and Transformation: Three Millennia of Jewish Art and Architecture and Immortality\, Memory\, Creativity\, and Survival: The Arts of Alice Lok Cahana\, Ronnie Cahana and Kitra Cahana (FAS 2020). \nRachel Stern is the Founding Director and CEO of The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art. Born and educated in Germany\, she worked for ten years in the Department of Drawings and Prints at the Metropolitan Museum of Art in New York. She is a 2018 recipient of the Hans and Lea Grundig Prize\, in recognition of her research about the artist Fritz Ascher (Berlin\, 1893-1970)\, the international traveling exhibition and the book To Live is to Blaze with Passion: The Expressionist Fritz Ascher/ Leben ist Glühn: Der Expressionist Fritz Ascher (Cologne: Wienand 2016). In 2020\, she published a selection of poems by Fritz Ascher\, Fritz Ascher. Poesiealbum 357 (Wilhelmshorst: Märkischer Verlag) and edited\, with Julia Diekmann\, the exhibition catalogue The Lonely Man. Clowns in the Art of Fritz Ascher (1893-1970) / Der Vereinsamte. Clowns in der Kunst Fritz Aschers (1893-1970) (Holzminden: Verlag Jörg Mitzkat). \n\n\n\n\n\n“IDENTITY\, ART AND MIGRATION” ONLINE EXHIBITION\n\n\n\n\nThis is an event of our online project “Identity\, Art and Migration” in which we investigate US immigration of European refugees during the first half of the 20th century through the lens of seven artist case studies: Anni Albers\, Friedel Dzubas\, Eva Hesse\, Rudi Lesser\, Lily Renee\, Arthur Szyk and Fritz Ascher. \nWhat is it that defines human identity? DNA? Language? Culture? Landscape? Polity? Or is it a combination of all of these factors? How do the sources of identity make it easy or difficult for individuals who migrate from one location to another—by choice or under duress—not merely to adapt but to become fully comfortable within their new home? How do artists\, with their particular set of sensibilities—and who are purveyors of\, respondents to\, and shapers of culture—respond to their own migration? How do they transfer the diverse identity norms of the worlds they leave behind to the new worlds into which they arrive? Can they translate from one language of images to another?  \nEach one of the seven artists featured in this project was affected in different ways by Nazi policies and came as a refugee to the United States\, to remain or not to remain here—or hiding within Germany throughout the war. The life and work of each of these artists addresses the issue of identity and the particulars of its expression from slightly different angles. As a compendium\, they all serve as an intensified and emphatic articulation of the broader issues of relocation\, transformation and the psychological and cultural self as a centerpiece of human being. \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/artists-migration/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2021/10/2021_12_15-copy.jpg
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DTSTART;TZID=America/New_York:20211208T120000
DTEND;TZID=America/New_York:20211208T130000
DTSTAMP:20260407T101421
CREATED:20211007T032957Z
LAST-MODIFIED:20220826T091027Z
UID:5902-1638964800-1638968400@fritzaschersociety.org
SUMMARY:Fritz Ascher (1893-1970):  Coming back to LifeFeaturing Karen Wilkin and Elizabeth Berkowitz\, PhD
DESCRIPTION:Fritz Ascher (Berlin 1893 – 1970 Berlin) almost made it out of Germany as the persecution of the Jews was developing. SINCE HE HAD been arrested and released from concentration camp and prison after several months\, friends managed to book passage on a ship to Shanghai\, but the German Nazi bureaucracy refused to let him leave the country. Ascher found refuge in the basement of his deceased mother’s friend\, Martha Grassmann–in a house located in the Grunewald\, the heart of the Nazi brass residential neighborhood in Berlin. In hiding–an interior migration–he shifted from vibrantly expressionist paintings and drawings to dense poetry. AFTER the war he emerged to a Germany very different from the one he had known before and began painting again\, still with a dynamic\, expressionistic style\, but with a profound change in subject matter. The changes in his art may in part reflect his sensitivity to the altered realities of the world in which he lived–and we STILL live.\n\n\n\n\n\n\n\n\nImage above: Fritz Ascher\, Wooded Landscape\, c. 1959. Oil on canvas\, 100 x 95 cm. Private collection © Bianca Stock\n\n\n\n\n\n\n\n\n\nFeaturing\nKaren Wilkin\, Independent Curator and Writer\, New York and\nElizabeth Berkowitz\, PhD\, Art Historian currently serving as the Executive Director of the American Trust for the British Library\, New York\nModerated by\nRachel Stern\, Director and CEO of the Fritz Ascher Society\, New York NY \n\n\n\n\n\nFritz Ascher\, Tree\, c. 1960. Black ink and watercolour on paper\, 15.7 x 11.6 in. (40 x 29.5 cm) Private collection © Bianca Stock \nFritz Ascher\, Bajazzo (Clown)\, 1963. White gouache over black ink on paper\, 24.5 x 17.38 in. (62.2 x 44.2 cm). Private collection. © Bianca Stock \nKaren Wilkin is a New York-based curator and critic. Educated at Barnard College and Columbia University\, she is the author of monographs on Stuart Davis\, David Smith\, Anthony Caro\, Isaac Witkin\, Kenneth Noland\, Helen Frankenthaler\, Giorgio Morandi\, Georges Braque\, and Hans Hofmann\, and has organized exhibitions of their work internationally. She was a juror for the American Pavilion of the 2009 Venice Biennale and a contributing editor of the Stuart Davis and Hans Hofmann Paintings Catalogues Raisonné. The Contributing Editor for Art for the Hudson Review and a regular contributor to The New Criterion and the Wall Street Journal\, Ms. Wilkin teaches in the New York Studio School’s MFA program. \nElizabeth Berkowitz\, PhD\, is an art historian currently serving as the Executive Director of the American Trust for the British Library. She holds a doctorate in art history from the Graduate Center\, CUNY\, as well as an MA in Modern Art from Columbia University and a Graduate Certificate in Museum Studies from Tufts University. Elizabeth most recently served as the Digital Interpretation Manager for the Fritz Ascher Society and previously was the Mellon/ACLS Public Fellow and Outreach Program Manager at the Rockefeller Archive Center. As an art historian\, Elizabeth emphasizes interdisciplinarity\, and her academic areas of specialization are modern art and museum historiography as well as European\, British\, and American twentieth-century painting. Elizabeth has been an educator in both university and museum settings\, and her writings have appeared in both popular and print publications. \nRachel Stern is the Founding Director and CEO of The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art in New York. Born and educated in Germany\, she worked for ten years in the Department of Drawings and Prints at the Metropolitan Museum of Art in New York. Stern is a 2018 recipient of the Hans and Lea Grundig Prize\, in recognition of the exhibition and book The Expressionist Fritz Ascher (Cologne: Wienand 2016). In 2020\, she published a selection of poems by Fritz Ascher\, Fritz Ascher. Poesiealbum 357 (Wilhelmshorst: Märkischer Verlag) and edited\, with Julia Diekmann\, the exhibition catalogue The Lonely Man. Clowns in the Art of Fritz Ascher (1893-1970) / Der Vereinsamte. Clowns in der Kunst Fritz Aschers (1893-1970) (Holzminden: Verlag Jörg Mitzkat). \nFritz Ascher’s reservation for a boat ticket to Shanghai\, July 22\, 1939. LABO Berlin\, BEG-Akte Reg.-Nr. 002 060 \nLetter from tax office to Fritz Ascher refusing him to leave the country \, June 22\, 1939 . LABO Berlin\, BEG-Akte Reg.-Nr. 002 060 \n\n\n\n\n\nThis is an event of our online project “Identity\, Art and Migration” in which we investigate US immigration of European refugees during the first half of the 20th century through the lens of seven artist case studies: Anni Albers\, Friedel Dzubas\, Eva Hesse\, Rudi Lesser\, Lily Renee\, Arthur Szyk and Fritz Ascher. \nWhat is it that defines human identity? DNA? Language? Culture? Landscape? Polity? Or is it a combination of all of these factors? How do the sources of identity make it easy or difficult for individuals who migrate from one location to another—by choice or under duress—not merely to adapt but to become fully comfortable within their new home? How do artists\, with their particular set of sensibilities—and who are purveyors of\, respondents to\, and shapers of culture—respond to their own migration? How do they transfer the diverse identity norms of the worlds they leave behind to the new worlds into which they arrive? Can they translate from one language of images to another?  \nEach one of the seven artists featured in this project was affected in different ways by Nazi policies and came as a refugee to the United States\, to remain or not to remain here—or hiding within Germany throughout the war. The life and work of each of these artists addresses the issue of identity and the particulars of its expression from slightly different angles. As a compendium\, they all serve as an intensified and emphatic articulation of the broader issues of relocation\, transformation and the psychological and cultural self as a centerpiece of human being. \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\n\n\n\n\n“IDENTITY\, ART AND MIGRATION” ONLINE EXHIBITIONDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/fritz-ascher/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2020/03/236-Fritz-Ascher-Wooded-Landscape-oil-on-canvas_100-x-95-cm-verso-inscribed-22F.-Ascher_Privatecollection.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211201T120000
DTEND;TZID=America/New_York:20211201T133000
DTSTAMP:20260407T101421
CREATED:20211014T140025Z
LAST-MODIFIED:20220826T091216Z
UID:5950-1638360000-1638365400@fritzaschersociety.org
SUMMARY:CONFERENCE: Identity and the Arts FEATURING Libby Copeland\, Ori Z SoltesDeborah Tannen and Oksana Yakushko
DESCRIPTION:What is it that defines human identity? DNA? Language? Culture? Landscape? Polity? Or is it a combination of all of these factors? How do the sources of identity make it easy or difficult for individuals who migrate from one location to another—by choice or under duress—not merely to adapt but to become fully comfortable within their new home? \nIn this brief Zoom Conference\, an interdisciplinary panel of experts considers how identity is shaped by our genomic make-up; how it is affected by the migration from home to new and different dwelling places; and how\, in particular\, migrational shifts can affect artists and their creative process. \nExpert Panel:\nLibby Copeland\, Award-winning journalist and author\nOri Z Soltes\, Teaching Professor at Georgetown University in Washington DC\nDeborah Tannen\, University Professor and Professor of Linguistics at Georgetown University in Washington DC\nOksana Yakushko\, Practicing Psychoanalytic Psychologist and Professor of Clinical psychology at Pacifica Graduate Institute in Carpinteria\, CA \nThe presentations will be followed by questions to the speakers posed by the moderator as well as by audience Q & A. \nModerated by\nRachel Stern\, Founding Director of the Fritz Ascher Society \n\n\n\n\n\nLibby Copeland \nOri Z Soltes \nDeborah Tannen \nOksana Yakushko \n\n\n\n\n\nLibby Copeland is an award-winning journalist and author\, who writes about culture\, science\, and human behavior. As a freelance journalist\, she writes for such media outlets as The Atlantic\, Slate\, New York\, Smithsonian\, The New York Times\, The New Republic\, Esquire.com\, and The Wall Street Journal. Her book\, The Lost Family: How DNA Testing is Upending Who We Are\, was published by Abrams Press in 2020. The Lost Family explores the rapidly evolving phenomenon of home DNA testing\, its implications for how we think about family and ourselves\, and its ramifications for American culture broadly. The Wall Street Journal says it’s “a fascinating account of lives dramatically affected by genetic sleuthing.” The New York Times writes\, “Before You Spit in That Vial\, Read This Book.” The Washington Post says The Lost Family “reads like an Agatha Christie mystery” and “wrestles with some of the biggest questions in life: Who are we? What is family? Are we defined by nature\, nurture or both?” \n\nDeborah Tannen is University Professor and Professor of Linguistics at Georgetown University. Her 26 books (13 authored\, 13 edited or co-edited) apply linguistic analysis to everyday conversation. Outside the Academy\, she is best known as the author of You Just Don’t Understand: Women and Men in Conversation\, which was on the New York Times best seller list for nearly four years\, and has been translated into 31 languages. Her books You’re Wearing That?\, about mothers and grown daughters\, and You Were Always Mom’s Favorite!\, about sisters\, were also New York Times best sellers. She has published poems\, short stories\, and personal essays. Her play “An Act of Devotion” is included in The Best American Short Plays 1993-1994. Her most recent book\, Finding My Father: His Century-Long Journey from World War I Warsaw and My Quest to Follow\, was published last year. \n\n\n\n\n\n\n\n\n\n\n\n\nOksana Yakushko is a professor of clinical psychology at Pacifica Graduate Institute (Carpinteria\, CA) and a practicing psychoanalytic psychologist in Santa Barbara\, CA. Her research has focused on immigration\, specifically xenophobia\, human trafficking and immigrant experiences. In addition\, she studies past and present day eugenic sciences in relation to varied forms of racism\, sexism\, xenophobia and other forms of prejudice. She is a Board member of the psychoanalytic division of the American Psychoanalytic Association\, a Fellow of the APA\, and a recipient of many awards\, including the 2021 top leadership award for women in psychology. \nOri Z Soltes teaches at Georgetown University across the disciplines of theology\, art history\, philosophy and politics. He is the former Director and Curator of the B’nai B’rith Klutznick National Jewish Museum where he curated some 80 exhibitions. He is the author of several hundred articles and catalogue essays\, and the author or editor of 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: A Comprehensive Exploration of Three Millennia of Jewish Art and Architecture\, which will be published early 2022\, richly illustrated in color. \n\nRachel Stern is the Founding Director and CEO of The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art. Born and educated in Germany\, she worked for ten years in the Department of Drawings and Prints at the Metropolitan Museum of Art in New York. She is a 2018 recipient of the Hans and Lea Grundig Prize\, in recognition of her research about the artist Fritz Ascher (Berlin\, 1893-1970)\, the international traveling exhibition and the book The Expressionist Fritz Ascher/ Leben ist Glühn: Der Expressionist Fritz Ascher (Cologne: Wienand 2016). Last year\, she published a selection of poems\, Fritz Ascher. Poesiealbum 357  and edited\, with Julia Diekmann\, the exhibition catalogue The Lonely Man. Clowns in the Art of Fritz Ascher / Der Vereinsamte. Clowns in der Kunst Fritz Aschers (1893-1970). \n\n\n\n\n\n\n\n\n\n\nIn the online project “Identity\, Art and Migration” we investigate US immigration of European refugees during the first half of the 20th century through the lens of seven artist case studies: Anni Albers\, Friedel Dzubas\, Eva Hesse\, Rudi Lesser\, Lily Renee\, Arthur Szyk and Fritz Ascher. \nEach one of the seven artists featured in this project was affected in different ways by Nazi policies and came as a refugee to the United States\, to remain or not to remain here—or hiding within Germany throughout the war. The life and work of each of these artists addresses the issue of identity and the particulars of its expression from slightly different angles. As a compendium\, they all serve as an intensified and emphatic articulation of the broader issues of relocation\, transformation and the psychological and cultural self as a centerpiece of human being. \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\n\n\n\n\n“IDENTITY\, ART AND MIGRATION” ONLINE EXHIBITIONDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/identity-arts/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211117T120000
DTEND;TZID=America/New_York:20211117T130000
DTSTAMP:20260407T101421
CREATED:20211010T234008Z
LAST-MODIFIED:20220901T111459Z
UID:5911-1637150400-1637154000@fritzaschersociety.org
SUMMARY:Lily Renée (1921-2022):From Refugee to RenownFeaturing Trina Robbins\, Adrienne Gruben and David Armstrong
DESCRIPTION:Lily Renee arrived during the Holocaust in New York City as a teenager\, and somehow found work in the male-dominated comic book world. By the time of her retirement\, she had become a legend and her heroic female characters–like Lily herself\, smashing through the glass ceiling of gender expectation–and shaping figures that would inspire several generations of young readers\, both girls and boys\, to rethink the norms that so often otherwise surrounded them. \n\n\n\n\n\n\n\n\n\nImage above: Lily Renée\, Senorita Rio\, Fight Comics\, Fiction House\, not dated. Trina Robbins collection.\n\n\n\n\nLily Renée\, Lily Renée\, The Werewolf Hunter\, Fiction House\, not dated (probably 1948). Trina Robbins collection © Lily Renée \nLily Renée\, The Werewolf Hunter\, Fiction House\, not dated. Trina Robbins collection © Lily Renée \n\n\n\n\n\nFeaturing\nTrina Robbins\, Comic Herstorian and Artist\, San Francisco CA\nAdrienne Gruben\, Mexican-American director of the film “Lily”\nDavid Armstrong\, Executive Producer of the film “Lily”\nModerated by\nRachel Stern\, Director and CEO of the Fritz Ascher Society. \n\n\n\n\n\n\n\n\n\n\nDIRECTOR: Adrienne Gruben\nPRODUCERS: Adrienne Gruben\, Benjamin Shearn\, David Armstrong\n2019 \n\n\n\n\n\n\n\n\n\nAward-winning herstorian and writer Trina Robbins has been writing books\, comics\, and graphic novels for over fifty years. She has written and drawn comics from Wonder Woman to Barbie. Her 2009 book\, The Brinkley Girls: the Best of Nell Brinkley’s Cartoons from 1913-1940 (Fantagraphics)\, and her 2011 book\, “Tarpe Mills and Miss Fury\,” were nominated for Eisner awards and Harvey awards. Her all-ages graphic novel\, Chicagoland Detective Agency: The Drained Brains Caper\, first in a 6-book series\, was a Junior Library Guild Selection. Her graphic novel\, “Lily Renee: Escape Artist\,” was awarded a gold medal from Moonbeam Children’s Books and a silver medal from Sydney Taylor Jewish Library Awards. Trina’s most recent book is The Flapper Queens\, her history of women cartoonists of the jazz age. In 2013\, Trina was voted into the Will Eisner Comic Book Hall of Fame. \nMexican-American director Adrienne Gruben spent five years bringing Lily Renée Phillips’ story to light for her film “Lily.” Formerly a producer\, Ms. Gruben’s credits include “Treasure Island” (Sundance Special Jury Prize Winner\, 1999)\, “Running With The Bulls” (IFC comedy special\, 2003) and “You’re Gonna Miss Me” (Independent Spirit Award Nominee\, 2007)\, a documentary exploring the life of legendary musician Roky Erickson. In 2017 she directed a drag queen variety Christmas special for OutTV Canada\, and went on to direct “The Queens\,” which followed the lives of four famous drag queens\, as well as comedy specials for internationally acclaimed drag performers\, Katya\, Trixie\, Alaska and Bob the Drag Queen. Outside of film\, Ms. Gruben has worked on the international marketing campaigns for films like “Captain America: The First Avenger\,” the “Mission: Impossible” sequels “Fallout\,” and “Ghost Protocol\,” “A Quiet Place I & II” and the upcoming “Top Gun Maverick.” \nDavid Armstrong has been involved with the Feature Film and Television production and distribution businesses for over fifty years. Starting at the American Film Institute’s Center for Advanced Film Studies\, he worked for John Casavettes’ production company\, Faces International Films as a film editor on “A Woman Under the Influence.” Armstrong has held executive positions at Vestron Television\, All American Television\, USA Networks International and MGM Worldwide Television Group. As a comic book historian\, he was the Contributing Editor of the definitive three volume IDW book series on Alex Toth and curator of the comic archive stories in “DC Comics Before Superman: Major Malcolm Wheeler-Nicholson’s Pulp Comics.” Armstrong is the Co-Producer of an animated pilot for Frank Cho’s “Liberty Meadows\,” and the Executive Producer of “Lily\,” about the pioneering comic book artist\, Lily Renée. \nRachel Stern is the Founding Director and CEO of The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art. Born and educated in Germany\, she worked for ten years in the Department of Drawings and Prints at the Metropolitan Museum of Art in New York. She is a 2018 recipient of the Hans and Lea Grundig Prize\, in recognition of her research about the artist Fritz Ascher (Berlin\, 1893-1970)\, the international traveling exhibition and the book To Live is to Blaze with Passion: The Expressionist Fritz Ascher/ Leben ist Glühn: Der Expressionist Fritz Ascher (Cologne: Wienand 2016). In 2020\, she published a selection of poems by Fritz Ascher\, Fritz Ascher. Poesiealbum 357 (Wilhelmshorst: Märkischer Verlag) and edited\, with Julia Diekmann\, the exhibition catalogue The Lonely Man. Clowns in the Art of Fritz Ascher (1893-1970) / Der Vereinsamte. Clowns in der Kunst Fritz Aschers (1893-1970) (Holzminden: Verlag Jörg Mitzkat). \n\n\n\n\n\nPhoto Lily Renée at work at Fiction House\, not dated. Lily Renée collection © Lily Renée \n\n\n\n\n\nThis an event of our online project “Identity\, Art and Migration” in which we investigate US immigration of European refugees during the first half of the 20th century through the lens of seven artist case studies: Anni Albers\, Friedel Dzubas\, Eva Hesse\, Rudi Lesser\, Lily Renee\, Arthur Szyk and Fritz Ascher. \nWhat is it that defines human identity? DNA? Language? Culture? Landscape? Polity? Or is it a combination of all of these factors? How do the sources of identity make it easy or difficult for individuals who migrate from one location to another—by choice or under duress—not merely to adapt but to become fully comfortable within their new home? How do artists\, with their particular set of sensibilities—and who are purveyors of\, respondents to\, and shapers of culture—respond to their own migration? How do they transfer the diverse identity norms of the worlds they leave behind to the new worlds into which they arrive? Can they translate from one language of images to another?  \nEach one of the seven artists featured in this project was affected in different ways by Nazi policies and came as a refugee to the United States\, to remain or not to remain here—or hiding within Germany throughout the war. The life and work of each of these artists addresses the issue of identity and the particulars of its expression from slightly different angles. As a compendium\, they all serve as an intensified and emphatic articulation of the broader issues of relocation\, transformation and the psychological and cultural self as a centerpiece of human being. \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\n\n\n\n\n“IDENTITY\, ART AND MIGRATION” ONLINE EXHIBITION\n\n\n\n\nPlease also listen to our ZOOM RECORDING of “The Pencil and the Sword. How Lily Renée (1921–2022) Put her Art to Work Against the Nazis”\, featuring Sabine Apostolo and Michael Freund from the Jewish Museum Vienna\, Austria (LINK) \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/lily-renee/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2021/10/11-Senorita-Rio-6_Trina-Robbins-collection-scaled.jpg
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END:VCALENDAR