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DTSTART;TZID=America/New_York:20220720T120000
DTEND;TZID=America/New_York:20220720T130000
DTSTAMP:20260407T113955
CREATED:20220610T005220Z
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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
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2022/06/Nazi-Billionaires-Cover.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220706T120000
DTEND;TZID=America/New_York:20220706T130000
DTSTAMP:20260407T113955
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
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2022/06/GudJudy_AtHome-copy-2.jpeg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220629T120000
DTEND;TZID=America/New_York:20220629T130000
DTSTAMP:20260407T113955
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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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220622T120000
DTEND;TZID=America/New_York:20220622T130000
DTSTAMP:20260407T113955
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
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2022/06/EP_Charlotte_Cineplex_1080x1600.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220601T120000
DTEND;TZID=America/New_York:20220601T130000
DTSTAMP:20260407T113955
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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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220518T120000
DTEND;TZID=America/New_York:20220518T130000
DTSTAMP:20260407T113955
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
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2022/04/Schirn_Presse_KUNST-FUR-KEINEN_Hans_Grundig_Kampf_Baren_Wolfe-copy.jpeg
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DTSTART;TZID=America/New_York:20220504T120000
DTEND;TZID=America/New_York:20220504T130000
DTSTAMP:20260407T113955
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:20260407T113955
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:20260407T113955
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:20260407T113955
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:20260407T113955
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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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220227T150000
DTEND;TZID=America/New_York:20220227T163000
DTSTAMP:20260407T113955
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:20260407T113955
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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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220201T140000
DTEND;TZID=America/New_York:20220201T150000
DTSTAMP:20260407T113955
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:20260407T113955
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:20260407T113955
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:20260407T113955
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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211208T120000
DTEND;TZID=America/New_York:20211208T130000
DTSTAMP:20260407T113955
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:20260407T113955
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:20260407T113955
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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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211110T120000
DTEND;TZID=America/New_York:20211110T130000
DTSTAMP:20260407T113955
CREATED:20211007T022336Z
LAST-MODIFIED:20220826T091446Z
UID:5894-1636545600-1636549200@fritzaschersociety.org
SUMMARY:The Cartoon Crusader Comes to America: Arthur Szyk’s Battle against the Nazis in the New World Featuring Steven Luckert and Irvin Ungar
DESCRIPTION:Prior to World War II\, Polish-born Arthur Szyk (Lodz 1894 – 1951 New Canaan\, CT) was best known for his ornately detailed renderings of historical subjects and Jewish themes. But after the German invasion of Poland in September 1939\, he gained the accolades of international audiences for his biting caricatures of Nazi leaders and his efforts to garner support for the Allied cause and Europe’s persecuted Jews. In 1940\, Szyk took his mighty pen to the United States\, where he quickly became a popular artistic sensation. His images graced the covers and inside pages of leading magazines\, like Time\, Colliers\, Esquire\, Look\, The American Mercury\, Coronet\, and Liberty. Szyk’s cartoons regularly appeared in The New York Post\, The Chicago Sun\, and PM. Millions of Americans knew his work\, even if they could not pronounce his name.\n\n\n\n\n\n\n\n\nImage above: Arthur Szyk\, Thumbs Up\, Ottawa\, 1940. Graphite\, watercolor\, colored pencil\, ink on paper\, 6.7 x 12.4 in. (17 x 31.5 cm).United States Holocaust Memorial Museum Collection\, Gift of Joseph and Alexandra Braciejowski\n\n\n\n\n\n\n\n\n\nFeaturing\nSteven Luckert\, PhD\, Senior Program Curator\, Levine Institute for Holocaust Education 
at the United States Holocaust Memorial Museum\, Washington DC and\nIrvin Ungar\, Arthur Szyk scholar\nModerated by\nOri Z Soltes\, PhD\, Teaching Professor at Georgetown University\, Washington DC \n\n\n\n\n\nArthur Szyk\, cover illustration for his book\, Ink and Blood\, New York\, 1944\,  paper\, ink\, paint\, graphite\, and colored pencil\, United States Holocaust Memorial Museum Collection\, Gift of Joseph and Alexandra Braciejowski. Completed before the end of the Second World War\, the image shows Szyk finishing off Hitler while the others wait their turn. To the side\, Szyk shows the French Vichy leaders\, Pierre Laval and Marshal Philippe Petain\, and Italian Fascist leader\, Benito Mussolini\, already in the waste bin of history. \n\n\n\n\n\nSteven Luckert PhD is Senior Program Curator in the Levine Institute for Holocaust Education at the United States Holocaust Memorial Museum in Washington\, DC. He served for 20 years as the Curator of the Museum’s acclaimed permanent exhibition\, The Holocaust. In addition\, he curated eight special exhibitions\, including The Art and Politics of Arthur Szyk and State of Deception: The Power of Nazi Propaganda. He has appeared in: CSPAN\, CNN\, NBC Nightly News\, Associated Press\, Reuters International\, History Detectives\, The History Channel\, Huffington Post\, ZDF\, PBS\, Fox\, The Washington Post\, The New York Times\, The Wall Street Journal\, National Geographic Channel\, National Public Radio\, Telemundo\, Iranwire\, Al-Hura\, The Atlantic\, The Forward\, Boston Globe\, Cox News Service\, USA Today\, Jewish Telegraphic Agency\, and Tass. Steven Luckert received his Ph.D. in Modern European History from the State University of New York Binghamton and published on German history\, Holocaust\, and Nazi propaganda. \nIrvin Ungar\, a former pulpit rabbi and antiquarian bookseller\, has devoted the past quarter-century to scholarship on Arthur Szyk. He has curated and consulted for numerous Szyk exhibitions\, including the Fine Arts Museums of San Francisco\, the Deutsches Historisches Museum (Berlin)\, the United States Holocaust Memorial Museum\, the Library of Congress\, and the New-York Historical Society. Ungar is the author of Arthur Szyk: Soldier in Art (winner of the 2017 National Jewish Book Award)\, co-producer of the documentary film\, “Soldier in Art: Arthur Szyk\,” and the creator and publisher of the luxury limited edition of The Szyk Haggadah. He has also served as the curator of The Arthur Szyk Society in Burlingame\, California. \nOri Z Soltes PhD teaches at Georgetown University across the disciplines of theology\, art history\, philosophy and politics. He is the former Director and Curator of the B’nai B’rith Klutznick National Jewish Museum where he curated some 80 exhibitions. He is the author of several hundred articles and catalogue essays\, and the author or editor of 25 books\, including The Ashen Rainbow: The Holocaust and the Arts; Symbols of Faith: How Jewish\, Christian\, and Muslim Art Draw from the Same Source; and Tradition and Transformation: Three Millennia of Jewish Art and Architecture and Immortality\, Memory\, Creativity\, and Survival: The Arts of Alice Lok Cahana\, Ronnie Cahana and Kitra Cahana (FAS 2020) \n\n\n\n\n\nArthur Szyk signing the first sheet of British-American Ambulance Corps poster stamps for Eleanor Roosevelt\, New York\, February 19\, 1941\, United States Holocaust Memorial Museum\, courtesy of Eileen Shneiderman \n\n\n\n\n\nThis is an event of our online project “Identity\, Art and Migration” in which we investigate US immigration of European refugees during the first half of the 20th century through the lens of seven artist case studies: Anni Albers\, Friedel Dzubas\, Eva Hesse\, Rudi Lesser\, Lily Renee\, Arthur Szyk and Fritz Ascher. \nWhat is it that defines human identity? DNA? Language? Culture? Landscape? Polity? Or is it a combination of all of these factors? How do the sources of identity make it easy or difficult for individuals who migrate from one location to another—by choice or under duress—not merely to adapt but to become fully comfortable within their new home? How do artists\, with their particular set of sensibilities—and who are purveyors of\, respondents to\, and shapers of culture—respond to their own migration? How do they transfer the diverse identity norms of the worlds they leave behind to the new worlds into which they arrive? Can they translate from one language of images to another?  \nEach one of the seven artists featured in this project was affected in different ways by Nazi policies and came as a refugee to the United States\, to remain or not to remain here—or hiding within Germany throughout the war. The life and work of each of these artists addresses the issue of identity and the particulars of its expression from slightly different angles. As a compendium\, they all serve as an intensified and emphatic articulation of the broader issues of relocation\, transformation and the psychological and cultural self as a centerpiece of human being. \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\n\n\n\n\n“IDENTITY\, ART AND MIGRATION” ONLINE EXHIBITIONDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/arthur-szyk-2/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2021/10/Szyk_Fig_1940.-Ottawa.-Greeting-the-Luftwaffe-copy.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20211110
DTEND;VALUE=DATE:20211220
DTSTAMP:20260407T113955
CREATED:20211118T002348Z
LAST-MODIFIED:20211222T115804Z
UID:6068-1636502400-1639958399@fritzaschersociety.org
SUMMARY:"Vorhang auf für Emmy Rubensohn! Musikmäzenin aus Leipzig"Gewandhaus zu Leipzig\, Mendelssohn Foyer\, Leipzig\, Germany
DESCRIPTION:“Curtain Up for Emmy Rubensohn! Music Patron from Leipzig” \nMusic patron\, concert manager\, salonière and letter writer – this is roughly how you could describe Emmy Rubensohn’s profile. An exhibition that can be seen between November 10 and December 19\, 2021 in the Mendelssohn Foyer of the Gewandhaus Leipzig – at a location that Emmy Rubensohn is connected with in a special way. On the one hand\, she was born in Leipzig in 1884 as the daughter of the Jewish entrepreneurial family Frank\, who owned a textile factory there. On the other hand\, even as a young girl she was a passionate concert-goer who was particularly attracted to the Gewandhaus concerts. In any case\, she was busy collecting autographs from admired artists\, whether their names were Carl Reinecke\, Arthur Nikisch\, Felix Weingartner\, Nellie Melba or Lilli Lehmann. \nIn 1907 she married Ernst Rubensohn\, the wealthy director of a jute mill\, and moved to Kassel with him. In the north Hessian royal seat\, the couple understood through their cosmopolitan and hospitable manner how to turn their house into a cultural meeting place. This was where Wilhelm Furtwängler came\, as did the composer Walter Braunfels and the painters Oskar Kokoschka and Erich Heckel. A stroke of luck for everyone involved: In 1925 the Rubensohns invited the Austrian composer Ernst Krenek\, who had accepted a job at the Kassel Theater\, to live with them free of charge. He thanked them with a special gift\, the opera Jonny Strikes Up [Jonny Spielt Auf]\, which he completed while living under the umbrella of his hosts. The opera brought Emmy Rubensohn back to Leipzig. Because the work of her protégé was premiered here in 1927 (with the Gewandhausorchester under Gustav Brecher) – a worldwide success\, as it turned out overnight\, which is not least due to the Rubensohns’ patronage. \nThe year of horror came: 1933. As a result\, the Rubensohns were exposed to the worst harassment. When a de facto professional ban was imposed on Jewish artists\, Emmy stepped into the breach and founded the Jüdischer Kulturbund Kassel\, for which she organized dozens of concerts with important musicians\, for example with the conductor Joseph Rosenstock and the pianist Grete Sultan\, whom she later should meet again in New York. But it was only after the pogroms of 1938 that the couple decided to emigrate. They moved to Berlin\, and around 1940\, almost at the last moment\, were able to flee to Shanghai. Emmy and Ernst Rubensohn faced seven years there\, a time full of privation\, which\, however\, did not obscure their view of Chinese culture\, as can be seen from their numerous letters. It was not until 1947 that the two reached their dream destination\, the USA and New York. After Ernst’s death (1951)\, Emmy succeeded in building a new circle of friends here\, to which the violinist Roman Totenberg belonged as well as the conductor Dimitri Mitropoulos and Alma Mahler-Werfel\, with whom she maintained an intimate friendship. \nThe central theme of the exhibition is Emmy Rubensohn’s memory and guest book\, which accompanied her through all the ups and downs and all stages of life. The supplementary events include a conference dedicated to the topic of “Ernst Krenek and Leipzig” (November 10 and 11\, 2021\, Gewandhaus\, Mendelssohn Hall). \nThe project is an important part of the festival year “1700 Years of Jewish Life in Germany” and is led by Prof. Dr. Matthias Henke (University of Siegen)  – funded by # 2021JLID – Jüdisches Leben in Deutschland eV with funds from the Federal Ministry of the Interior\, for Building and Home Affairs (BMI)\, by the Ernst Krenek Institute Krems\, Reinwald GmbH Leipzig and the University of Siegen . \nThe exhibition is accompanied by a richly illustrated\, bi-lingual book. \nThe exhibition is on view November 10 – December 19\, 2021 at Mendelssohn Foyer of the Gewandhaus Leipzig\, Augustusplatz 8\, 04109 Leipzig\, T +49 341 1270280\, Monday – Friday 10:00 am – 6:00 pm\, Saturday 10:00am-2:00pm (on days with concerts open until 8:00pm).\nDUE TO COVID-19: 2G and NEW HOURS: Monday to Friday 10:00am-2:00pm (as of 2/12/21) \nDEUTSCH \n“Vorhang auf für Emmy Rubensohn! Musikmäzenin aus Leipzig” \nMusikmäzenin\, Konzertmanagerin\, Salonière und Briefautorin – so in etwa könnte man das Profil Emmy Rubensohns beschreiben. Von ihrem Leben\, das sie nach Berlin\, Shanghai und New York führte\, erzählt eine Ausstellung\, die zwischen dem 10. November und dem 16. Dezember 2021 im Mendelssohn-Foyer des Gewandhaus  zu sehen ist – an einem Ort\, der sich Emmy Rubensohn in besonderer Weise verbindet. Einerseits kam sie 1884 in Leipzig zur Welt\, als Tochter der jüdischen Unternehmerfamilie Frank\, die ebendort eine Textilfabrik besaß. Andererseits war sie schon als junges Mädchen eine passionierte Konzertgängerin\, die sich besonders von den Gewandhauskonzerten angezogen fühlte. Jedenfalls sammelte sie hier eifrig Autogramme von bewunderten Künstlern und Künstlerinnen\, ob sie Carl Reinecke\, Arthur Nikisch\, Felix Weingartner\, Nellie Melba oder Lilli Lehmann hießen. \n1907 heiratete sie Ernst Rubensohn\, den wohlhabenden Direktor einer Jutespinnerei\, und zog zu ihm nach Kassel. In der nordhessischen Residenzstadt verstand das Paar durch seine weltoffene und gastfreundschaftliche Art\, aus ihrem Haus eine kulturelle Begegnungsstätte zu machen. Hier stellte sich Wilhelm Furtwängler ebenso ein wie der Komponist Walter Braunfels oder die Maler Oskar Kokoschka und Erich Heckel. Ein Glücksfall für alle Beteiligten: 1925 luden die Rubensohns den österreichischen Komponisten Ernst Krenek ein\, der eine Stelle am Kasseler Theater angenommen hatte\, bei sich unentgeltlich zu wohnen. Der bedankte sich mit einem besonderen Geschenk\, der Oper Jonny spielt auf\, die er noch unter dem Dach seiner Gastgeber vollendete. Sie brachte Emmy Rubensohn wieder nach Leipzig zurück. Denn das Werk ihres Schützlings gelangte hier 1927 zur Uraufführung (mit dem Gewandhausorchester unter Gustav Brecher) – ein Welterfolg\, wie sich über Nacht herausstellte\, der sich nicht zuletzt dem Mäzenatentum der Rubensohns verdankt. \nDas Jahr des Schreckens kam: 1933. In der Folge waren auch die Rubensohns übelsten Schikanen ausgesetzt. Als über jüdische Künstler und Künstlerinnen de facto ein Berufsverbot verhängt wurde\, sprang Emmy in die Bresche und gründete den Jüdischen Kulturbund Kassel\, für den sie Dutzende Konzerte mit bedeutenden Musikern organisierte\, etwa mit dem Dirigenten Joseph Rosenstock und der Pianistin Grete Sultan\, denen sie später in New York wiederbegegnen sollte. Doch erst nach den Pogromen des Jahres 1938 entschloss sich das Paar auszuwandern. Es übersiedelte nach Berlin\, um 1940\, quasi im letzten Moment\, die Flucht nach Shanghai zu wagen. Sieben Jahre standen Emmy und Ernst Rubensohn dort bevor\, eine entbehrungsreiche Zeit\, die ihnen aber nicht den Blick für die chinesische Kultur verstellte\, wie ihren zahlreichen Briefen zu entnehmen ist. Erst 1947 erreichten die beiden ihr Wunschziel\, die USA und New York. Nach dem Tod von Ernst (1951) gelang es Emmy hier\, sich einen neuen Freundeskreis aufzubauen\, dem der Geiger Roman Totenberg ebenso angehörte wie der Dirigent Dimitri Mitropoulos oder Alma Mahler-Werfel\, mit der sie eine innige Freundschaft pflegte. \nDen roten Faden der Ausstellung bildet das Erinnerungs- und Gästebuch von Emmy Rubensohn\, das sie durch alle Hochs wie Tiefs und sämtliche Lebensstationen begleitete. Zu den ergänzenden Veranstaltungen zählt u.a. eine Tagung\, die sich dem Thema „Ernst Krenek und Leipzig“ widmet (10. und 11. November 2021\, Gewandhaus\, Mendelssohn-Saal). \nDas Projekt ist wichtiger Teil des Festjahres „1700 Jahre jüdisches Leben in Deutschland“ und wird von Prof. Dr. Matthias Henke (Universität Siegen) geleitet – gefördert durch #2021JLID – Jüdisches Leben in Deutschland e.V. aus Mitteln des Bundesministeriums des Innern\, für Bau und Heimat (BMI)\, durch das Ernst Krenek Institut Krems\, die Reinwald GmbH Leipzig und die Universität Siegen. \nDie Ausstellung ist zu sehen vom 10. November bis 19. Dezember 2021 im Mendelssohn-Foyer des Gewandhauses Leipzig\, Augustusplatz 8\, 04109 Leipzig\, T +49 341 1270280\nMontag – Freitag 10:00 – 18:00 Uhr\, Samstag 10:00 – 14:00 Uhr (an Konzerttagen bis 20:00 Uhr).\nCOVID-19: 2G und NEUE OEFFNUNGSZEITEN: Montag bis Freitag 10:00-14:00 Uhr (Stand: 2. 12. 2021)
URL:https://fritzaschersociety.org/exhibition-event/emmy-rubensohn/
LOCATION:NY
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2021/11/IMG_1820-scaled.jpg
ORGANIZER;CN="Gewandhaus Leipzig":MAILTO:ticket@gewandhaus.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211103T120000
DTEND;TZID=America/New_York:20211103T130000
DTSTAMP:20260407T113955
CREATED:20211015T021307Z
LAST-MODIFIED:20220826T091758Z
UID:5941-1635940800-1635944400@fritzaschersociety.org
SUMMARY:From Sea to Shining Sea: Anni Albers in America (1899–1994)Featuring Laura Muir and Ori Z. Soltes\, PhD
DESCRIPTION:Anni Albers (Berlin 1899 – 1994 Orange\, CT) found her artistic identity at the renowned Bauhaus–but not where she expected to. The gender-restrictive conditions at the school pushed her to textile work. As the Nazis forced the Bauhaus closure\, Anni and her already well-known husband\, Joseph Albers\, immigrated to the United States\, where Joseph and later Anni were invited to teach at Black Mountain College in North Carolina. From there to New York and Yale University\, while her husband gained renown as a teacher and practitioner of painting\, Anni expanded her presence as an innovator in diverse textile media and styles\, shaping a far-flung\, influential career that resonates to this day. \n\n\n\n\n\n\n\n\n\n\n\nThe United States presented Albers with new opportunities to develop as a designer of both functional and purely artistic textiles. She inspired a new generation of students through her teaching and produced an important body of writing on weaving that was informed by her extensive travels to Central and Latin America. Her efforts in all these areas elevated the status of weaving as an art form and her reputation as a major artist within that field. In addition to opening professional doors\, Albers migration allowed her to play a key role in promoting the Bauhaus and its ideas in the United States through her participation in exhibitions and generous donations to American museum collections. \n\n\n\n\n\n\n\n\n\nImage above: Anni Albers\, Black-White-Gold I\, 1950.  Cotton\, lurex\, and jute; 25 1/8 x 19 in. (63.8 x 48.3 cm) The Josef and Anni Albers Foundation\, Bethany 1996.12.1 © 2021 The Josef and Anni Albers Foundation/Artists Rights Society (ARS)\, New York. Photo: Tim Nighswander/Imaging4Art\n\n\n\n\n\n\n\n\n\nFeaturing Laura Muir\, Associate Director of Academic and Public Programs and the Louis Miller Thayer Research Curator at the Harvard Art Museums in Cambridge MA and Ori Z Soltes\, PhD\, Teaching Professor at Georgetown University\, Washington DC. Moderated by Rachel Stern\, Director and CEO of the Fritz Ascher Society\, New York NY \n\n\n\n\n\nAnni Albers\, Study for Temple Emanu-El Ark Panels\, 1957. Foil and metallic thread on card\, 17 x 14 1/2 in. (43.2 x 36.8 cm). The Josef and Anni Albers Foundation\, Bethany 1994.10.95 © 2021 The Josef and Anni Albers Foundation/Artists Rights Society (ARS)\, New York Photo: Tim Nighswander/Imaging4Art\nInterior of the Temple Emanu-El\, Dallas\, Texas\, showing ark covering designed by Anni Albers\, 1957 \n\n\n\n\n\nLaura Muir is Associate Director of Academic and Public Programs and the Louis Miller Thayer Research Curator at the Harvard Art Museums. She specializes in European modern art and the history of photography. Her exhibition and publication Lyonel Feininger: Photographs\, 1928–1939 was the first devoted to the artist’s photographic work. Her recent exhibition The Bauhaus and Harvard explored the Harvard Art Museums’ extensive Bauhaus collections. She is the editor of the related publication Object Lessons: The Bauhaus and Harvard. \nOri Z Soltes PhD teaches at Georgetown University across the disciplines of theology\, art history\, philosophy and politics. He is the former Director and Curator of the B’nai B’rith Klutznick National Jewish Museum where he curated some 80 exhibitions. He is the author of several hundred articles and catalogue essays\, and the author or editor of 25 books\, including The Ashen Rainbow: The Holocaust and the Arts; Symbols of Faith: How Jewish\, Christian\, and Muslim Art Draw from the Same Source; and Tradition and Transformation: Three Millennia of Jewish Art and Architecture and Immortality\, Memory\, Creativity\, and Survival: The Arts of Alice Lok Cahana\, Ronnie Cahana and Kitra Cahana (FAS 2020) \nRachel Stern is the Founding Director and CEO of The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art in New York. Born and educated in Germany\, she worked for ten years in the Department of Drawings and Prints at the Metropolitan Museum of Art in New York (2000-2010). Stern is a 2018 recipient of the Hans and Lea Grundig Prize\, in recognition of the exhibition and book The Expressionist Fritz Ascher (Cologne: Wienand 2016). In 2020\, she published a selection of poems by Fritz Ascher\, Fritz Ascher. Poesiealbum 357 (Wilhelmshorst: Märkischer Verlag) and edited\, with Julia Diekmann\, the exhibition catalogue The Lonely Man. Clowns in the Art of Fritz Ascher (1893-1970) / Der Vereinsamte. Clowns in der Kunst Fritz Aschers (1893-1970) (Holzminden: Verlag Jörg Mitzkat). \n\n\n\n\n\n\n\n\n\n\nThis is an event of our online project “Identity\, Art and Migration” in which we investigate US immigration of European refugees during the first half of the 20th century through the lens of seven artist case studies: Anni Albers\, Friedel Dzubas\, Eva Hesse\, Rudi Lesser\, Lily Renee\, Arthur Szyk and Fritz Ascher. \nWhat is it that defines human identity? DNA? Language? Culture? Landscape? Polity? Or is it a combination of all of these factors? How do the sources of identity make it easy or difficult for individuals who migrate from one location to another—by choice or under duress—not merely to adapt but to become fully comfortable within their new home? How do artists\, with their particular set of sensibilities—and who are purveyors of\, respondents to\, and shapers of culture—respond to their own migration? How do they transfer the diverse identity norms of the worlds they leave behind to the new worlds into which they arrive? Can they translate from one language of images to another?  \nEach one of the seven artists featured in this project was affected in different ways by Nazi policies and came as a refugee to the United States\, to remain or not to remain here—or hiding within Germany throughout the war. The life and work of each of these artists addresses the issue of identity and the particulars of its expression from slightly different angles. As a compendium\, they all serve as an intensified and emphatic articulation of the broader issues of relocation\, transformation and the psychological and cultural self as a centerpiece of human being. \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\n\n\n\n\n"IDENTITY\, ART AND MIGRATION" ONLINE EXHIBITIONDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/anni-albers/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2021/10/Albers_Fig8_1996-12-1_silo-copy.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211027T120000
DTEND;TZID=America/New_York:20211027T130000
DTSTAMP:20260407T113955
CREATED:20211008T191906Z
LAST-MODIFIED:20220826T092000Z
UID:5940-1635336000-1635339600@fritzaschersociety.org
SUMMARY:Remembering Friedel:  An Intimate View of Friedel Dzubas (1915-1994) Featuring Karen Wilkin and Sandi Slone
DESCRIPTION:In a prolific career that spanned nearly five decades\, Friedel Dzubas (b. Berlin\, 1915–d. 1994\, Newton\, Mass.) articulated his mature style by the 1970s\, creating a striking visual language from counterpoised abstract shapes of brushed color that he juxtaposed\, overlapped\, and opened to reveal his gessoed grounds. Yet\, in prior years\, Dzubas’s early work in Berlin were influenced by Expressionist artist of the two primary groups known as Die Brücke and Die Blaue Reiter. As Dzubas told curator Charles Millard in 1982\, “Their unheard-of brashness of color; that was really brave. That was very exciting. Color’s an emotional thing. These people not only spoke directly; they felt deeply. There was passion.” His early pen and ink watercolors embed the bold coloration of these artists\, and once in America (1939)\, their influence carried over into the striking colors of his works of gestural abstraction in the 1950s. Considered a Second-Generation Abstract Expressionist by the time he visited his family in Berlin in 1959\, twenty years after his initial immigration\, he underwent a transformative change during his ten-month sojourn in Germany. His conflicted feelings about his mixed Jewish-Catholic background could be felt in the paintings devoid of coloration that he began there. A series of twenty-one black and grey oil “drawings” of allover linearity with titles such as Other Side\, Monk\, Temptation\, Cavalry\, Last Station\, and Vesper\, some in tondo format and others in large-scale vertical rectangles\, speak to the effect on him of a spiritual crisis even as he justified these works as responses to his abiding love of the Baroque churches he revisited while there. This split in identity was never resolved: his Jewishness\, though never far from his mind\, was never spoken of during his lifetime in America. \nImage: Friedel Dzubas\, Self-Portrait\, 1961. Oil on canvas\, 43 ¾ x 54 in. (111.12 x 137.1 cm). Friedel Dzubas Estate\, Inventory no. 055 Photography by Jason Mandella. ©Estate of Friedel Dzubas \n\n\n\n\n\n\n\n\n\n\nThe painter Sandi Slone and the curator/critic Karen Wilkin both knew the German-born abstract painter Friedel Dzubas (1915-1994)\, professionally and personally\, and frequented his studio during his years in Boston\, where he taught and made some of his most characteristic work. They share their recollections of the artist and his work. Moderated by Rachel Stern\, Director and CEO of the Fritz Ascher Society in New York \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nFriedel Dzubas\, Early Grave\, 1957. Oil on canvas\, 94 7⁄8 x 47 in. (241 x 120 cm). Collection of the Middlebury College Museum of Art\, Middlebury\, Vermont  © Estate of Friedel Dzubas \nFriedel Dzubas\, Cleavage\, 1990. Magna (acrylic) on canvas\, 1013⁄16 x 4311⁄16 in. (257 x 110.9 cm). Private Collection © Estate of Friedel Dzubas \n\n\n\n\n\nKaren Wilkin is a New York-based curator and critic. Educated at Barnard College and Columbia University\, she is the author of monographs on Stuart Davis\, David Smith\, Anthony Caro\, Isaac Witkin\, Kenneth Noland\, Helen Frankenthaler\, Giorgio Morandi\, Georges Braque\, and Hans Hofmann\, and has organized exhibitions of their work internationally. She was a juror for the American Pavilion of the 2009 Venice Biennale and a contributing editor of the Stuart Davis and Hans Hofmann Paintings Catalogues Raisonné. The Contributing Editor for Art for the Hudson Review and a regular contributor to The New Criterion and the Wall Street Journal\, Ms. Wilkin teaches in the New York Studio School’s MFA program. \nSandi Slone is a New York-based painter\, educated at The Boston Museum School/Tufts University and Wellesley College. Her paintings have been exhibited extensively with 42 solo and 130 group shows internationally; many of her works are held in distinguished Museum and private collections including the Museum of Modern Art\, NY. She has taught at Harvard University\, Brandeis University and the School Of visual Arts\, NY\, among other institutions. Sandi Slone is a co founder of Art Omi International and founding board member of The Fields Sculpture Park in Ghent \, NY. Among other honors she has received a Ford Foundation fellowship. \n\n\n\n\n\n\nFriedel Dzubas harrowing a field with a team of horses\, a privilege reserved for the Praktikanten (training assistants) at Gross Breesen\, Silesia\, Germany\, ca. 1937-38. Image courtesy of Heidi Landecker. Photo restoration by Morgan Dzubas. ©Estate of Friedel Dzubas \n\nThis is an event of our online project “Identity\, Art and Migration” in which we investigate US immigration of European refugees during the first half of the 20th century through the lens of seven artist case studies: Anni Albers\, Friedel Dzubas\, Eva Hesse\, Rudi Lesser\, Lily Renee\, Arthur Szyk and Fritz Ascher. \nWhat is it that defines human identity? DNA? Language? Culture? Landscape? Polity? Or is it a combination of all of these factors? How do the sources of identity make it easy or difficult for individuals who migrate from one location to another—by choice or under duress—not merely to adapt but to become fully comfortable within their new home? How do artists\, with their particular set of sensibilities—and who are purveyors of\, respondents to\, and shapers of culture—respond to their own migration? How do they transfer the diverse identity norms of the worlds they leave behind to the new worlds into which they arrive? Can they translate from one language of images to another?  \nEach one of the seven artists featured in this project was affected in different ways by Nazi policies and came as a refugee to the United States\, to remain or not to remain here—or hiding within Germany throughout the war. The life and work of each of these artists addresses the issue of identity and the particulars of its expression from slightly different angles. As a compendium\, they all serve as an intensified and emphatic articulation of the broader issues of relocation\, transformation and the psychological and cultural self as a centerpiece of human being. \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n“IDENTITY\, ART AND MIGRATION” ONLINE EXHIBITIONDONATE NOW
URL:https://fritzaschersociety.org/exhibition-event/friedel-dzubas/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2021/10/Self-Portrait-1961_Photographer-Jason-Mandella-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211020T120000
DTEND;TZID=America/New_York:20211020T130000
DTSTAMP:20260407T113955
CREATED:20211007T004726Z
LAST-MODIFIED:20220826T092817Z
UID:5875-1634731200-1634734800@fritzaschersociety.org
SUMMARY:Rudi Lesser (1902–1988):The Forgotten and Rediscovered ArtistFeaturing Lillie Johnson Edwards\, PhD and Ori Z. Soltes\, PhD
DESCRIPTION:Rudi Lesser\, a graphic artist already gaining significant recognition in his twenties in Germany\, survived the Holocaust in Scandinavia. Interestingly\, he immigrated to the US just after the war\, in 1946\, and although achieving success in New York–and as the founder of the graphic arts department at Howard University in Washington\, DC–never felt at home here. He returned to a different Germany\, in 1957\, where he lived in relative poverty and obscurity–but apparent contentment–for the remaining thirty years of his long life.\n\n\n\n\n\n\n\n\n\n\nLesser was one of over 10 Jewish refugee professors at Howard University and among the more than 60 at Black colleges\, primarily in the South. Like other Jewish and white progressives and liberals of his era\, he was a member of the NAACP (National Association for the Advancement of Colored People). \n\n\n\n\n\n\n\n\n\nImage above: Detail of Rudi Lesser\, Self-Portrait\, 1987. Drypoint etching; 5¾  x 4½ in. Private Collection\, Berlin © Volkmar Reichmann\n\n\n\n\n\n\n\n\n\nFeaturing Lillie Johnson Edwards\, PhD\, Professor Emerita of History and African American studies at Drew University in Madison\, NJ in conversation with Ori Z Soltes\, PhD\, Teaching Professor at Georgetown University\, Washington DC. Moderated by Rachel Stern\, Director and CEO of the Fritz Ascher Society\, New York NY \n\n\n\n\n\nRudi Lesser\, Pogrom in the Middle Ages\, 1930. Drypoint etching\, 6 x 7 in. (15 x 17.4 cm). Leo Baeck Institute New York 78.381 © Volkmar Reichmann \nRudi Lesser\, Portinho\, 1986. Drypoint etching; 11½ x 19 ½ in. (29.7 x 49.6 cm). Private Collection Berlin © Volkmar Reichmann \n\n\n\n\n\nDr. Lillie Johnson Edwards is Professor Emerita of History and African American studies at Drew University in Madison\, NJ where she served as the Director of Pan-African Studies and American Studies and received awards for distinguished teaching. She is a Phi Beta Kappa graduate of Oberlin College and received her doctorate from the University of Chicago. Dr. Edwards lectures and consults for K-12 schools\, libraries\, historical societies\, museums\, and faith-based organizations. She has been a guest lecturer for the National Jewish Museum\, Apple\, the League of Women Voters\, and the Montclair Adult School. She currently serves on the Oberlin College Board of Trustees; chairs the church council of St. Mark’s United Methodist Church\, Montclair\, NJ; and serves on the Board of Ordained Ministries of the New Jersey Conference of the United Methodist Church. Dr. Edwards is a native of Columbus\, Georgia. She and her husband\, Paul B. Edwards\, reside in FL and NJ and have two adult children. \nDr. Ori Z Soltes teaches at Georgetown University across the disciplines of theology\, art history\, philosophy and politics. He is the former Director and Curator of the B’nai B’rith Klutznick National Jewish Museum where he curated some 80 exhibitions. He is the author of several hundred articles and catalogue essays\, and the author or editor of 25 books\, including The Ashen Rainbow: The Holocaust and the Arts; Symbols of Faith: How Jewish\, Christian\, and Muslim Art Draw from the Same Source; and Tradition and Transformation: Three Millennia of Jewish Art and Architecture and Immortality\, Memory\, Creativity\, and Survival: The Arts of Alice Lok Cahana\, Ronnie Cahana and Kitra Cahana (FAS 2020) \n\n\n\n\n\nRudi Lesser\, Photograph c. 1986. Photographer Alf Trenk. Private Collection. \n\n\n\n\n\nThis is an event of our online project “Identity\, Art and Migration” in which we investigate US immigration of European refugees during the first half of the 20th century through the lens of seven artist case studies: Anni Albers\, Friedel Dzubas\, Eva Hesse\, Rudi Lesser\, Lily Renee\, Arthur Szyk and Fritz Ascher. \nWhat is it that defines human identity? DNA? Language? Culture? Landscape? Polity? Or is it a combination of all of these factors? How do the sources of identity make it easy or difficult for individuals who migrate from one location to another—by choice or under duress—not merely to adapt but to become fully comfortable within their new home? How do artists\, with their particular set of sensibilities—and who are purveyors of\, respondents to\, and shapers of culture—respond to their own migration? How do they transfer the diverse identity norms of the worlds they leave behind to the new worlds into which they arrive? Can they translate from one language of images to another?  \nEach one of the seven artists featured in this project was affected in different ways by Nazi policies and came as a refugee to the United States\, to remain or not to remain here—or hiding within Germany throughout the war. The life and work of each of these artists addresses the issue of identity and the particulars of its expression from slightly different angles. As a compendium\, they all serve as an intensified and emphatic articulation of the broader issues of relocation\, transformation and the psychological and cultural self as a centerpiece of human being. \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\n\n\n\n\n“IDENTITY\, ART AND MIGRATION” ONLINE EXHIBITIONDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/rudi-lesser/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2021/10/Lesser_Fig6_Self-Portrait.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20211013T120000
DTEND;TZID=America/New_York:20211013T130000
DTSTAMP:20260407T113955
CREATED:20211006T192005Z
LAST-MODIFIED:20220826T093027Z
UID:5826-1634126400-1634130000@fritzaschersociety.org
SUMMARY:Eva Hesse (1936–1970): Returning to the Source?Featuring Eva's sister Helen Charash and Ori Z. Soltes\, PhD
DESCRIPTION:Eva Hesse arrived to the United States as a 3-year-old\, was raised in a community largely of Holocaust survivors\, and by her Twenties was a rising star on the New York art scene\, contributing a unique voice to the shaping of post-Abstract Expressionist art. A key turning point in her innovative art was a return visit to Germany on an artist fellowship. How do we understand the work of this brilliant figure whose life suddenly ended\, from brain cancer\, at the age of 34?\n\n\n\n\n\n\n\n\n\n\nShe was born into an observant Jewish family in Hamburg\, in a Germany being devoured by the Nazis. She and her older sister Helen were sent to the Netherlands in 1938—when she was not even three years old—through the Kindertransport program\, but they were able to rejoin their parents not quite six months later. The family moved on to England and was able to immigrate to the United States by 1939\, settling in Manhattan’s Washington Heights. This was an area of the city to which many Jewish refugees from Germany arrived during the years that followed.\n\n\n\n\n\n\n\n\n\n\nImage above: Detail of Eva Hesse\, Repetition 19\, III\, 1968. Fiberglass and polyester resin\, nineteen units\, each 19 to 20 1/4″ (48 to 51 cm) x 11 to 12 3/4″ (27.8 to 32.2 cm) in diameter. Museum of Modern Art 1004.1969.a-s. Gift of Charles and Anita Blatt © 2021 Estate of Eva Hesse. Galerie Hauser & Wirth\, Zurich\n\n\n\n\n\nJoin us for a conversation about Eva Hesse’s art and familial background\, featuring Eva Hesse’s sister Helen Charash and Dr. Ori Z Soltes\, Teaching Professor at Georgetown University in Washington DC\, moderated by Rachel Stern\, Director and CEO of the Fritz Ascher Society in New York. \nEva Hesse\, Schema\, 1967. Latex\, 42 x 42 inches (106.7 x 106.7 cm) Each (144 individual pieces): 1 3/8 x 2 1/2 inches (3.5 x 6.4 cm). Philadelphia Museum of Art 1979-185-1. Gift of Helen Hesse Charash\, 19. © The Estate of Eva Hesse. Courtesy Hauser & Wirth \n\n\n\n\n\nBorn in Hamburg\, Helen and her younger sister Eva were put on a Kindertransport to Holland as soon as possible after Kristallnacht.  In 1939 the Hesse family\, now reunited \, were able to immigrate to America and settled in Washington Heights.  Helen went on to graduate with honors\, from Hunter College\, marry\, and have 2 children before going back to earn a Masters’ degree in Library Science.\nAfter her sister’s untimely death in 1970\, while still working full time in the school system\, Helen took on managing her sister’s estate and immersed herself in navigating the art world. She was mentored and guided by Donald Droll and later Barry Rosen. Together\, with Barry\, they guided the representation of the artist to important galleries\, initially Fourcade Droll\, then Droll Kolbert and later Robert Miller. Hesse is currently a part of the Hauser Wirth family.\nIn addition to giving press and television interviews about her sister’s work\, Helen was also a part of the Eva Hesse documentary movie.  Her passionate commitment to protect the legacy of her sister remains ongoing. \nDr. Ori Z Soltes teaches at Georgetown University across the disciplines of theology\, art history\, philosophy and politics. He is the former Director and Curator of the B’nai B’rith Klutznick National Jewish Museum where he curated some 80 exhibitions. He is the author of several hundred articles and catalogue essays\, and the author or editor of 25 books\, including The Ashen Rainbow: The Holocaust and the Arts; Symbols of Faith: How Jewish\, Christian\, and Muslim Art Draw from the Same Source; and Tradition and Transformation: Three Millennia of Jewish Art and Architecture and Immortality\, Memory\, Creativity\, and Survival: The Arts of Alice Lok Cahana\, Ronnie Cahana and Kitra Cahana (FAS 2020) \n\n\n\n\n\nEva Hesse and Professor Josef Albers at the Yale School of Art and Architecture\, ca. 1958. Photographer unknown. © The Estate of Eva Hesse. Courtesy Hauser & Wirth \nEVA HESSE DOCUMENTARY\n\n\n\n\nThis is the first event of our online project “Identity\, Art and Migration” in which we investigate US immigration of European refugees during the first half of the 20th century through the lens of seven artist case studies: Anni Albers\, Friedel Dzubas\, Eva Hesse\, Rudi Lesser\, Lily Renee\, Arthur Szyk and Fritz Ascher. \nWhat is it that defines human identity? DNA? Language? Culture? Landscape? Polity? Or is it a combination of all of these factors? How do the sources of identity make it easy or difficult for individuals who migrate from one location to another—by choice or under duress—not merely to adapt but to become fully comfortable within their new home? How do artists\, with their particular set of sensibilities—and who are purveyors of\, respondents to\, and shapers of culture—respond to their own migration? How do they transfer the diverse identity norms of the worlds they leave behind to the new worlds into which they arrive? Can they translate from one language of images to another?  \nEach one of the seven artists featured in this project was affected in different ways by Nazi policies and came as a refugee to the United States\, to remain or not to remain here—or hiding within Germany throughout the war. The life and work of each of these artists addresses the issue of identity and the particulars of its expression from slightly different angles. As a compendium\, they all serve as an intensified and emphatic articulation of the broader issues of relocation\, transformation and the psychological and cultural self as a centerpiece of human being. \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\n\n\n\n\n“IDENTITY\, ART AND MIGRATION” ONLINE EXHIBITIONDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/eva-hesse/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20211006T120000
DTEND;TZID=America/New_York:20211006T130000
DTSTAMP:20260407T113955
CREATED:20210511T194726Z
LAST-MODIFIED:20220218T102520Z
UID:5494-1633521600-1633525200@fritzaschersociety.org
SUMMARY:Through the Prism of Time: John H. Less (1923-2011) and His Visual Impressions of Holocaust Refuge in Shanghai
DESCRIPTION:Presentation by\nSteven Less\, PhD\nSenior research fellow emeritus of the Max Planck Institute for Comparative Public Law and International Law and son of the artist in Heidelberg (Germany)\nand\nHannah-Lea Wasserfuhr\nPhD Candidate at the Center for Jewish Studies in Heidelberg\, Heidelberg (Germany) \nModerated by \nRachel Stern\nDirector and CEO of the Fritz Ascher Society in New York\n\n\n\n\n\n\n\n\n\n\nBorn in Berlin\, John Hans Less (1923 – 2011) fled to Shanghai in September 1940 as a 16-year-old together with his family to escape Nazi persecution. Largely dependent on relief organizations to survive\, the Less family soon went through further disruptions when the Japanese occupied the city and later confined Jewish refugees to the Hongkew Ghetto. The sudden uprooting\, immersion in a completely unfamiliar environment\, and exposure to precarious conditions throughout the seven years Less endured as a refugee in Shanghai deeply affected both his life and art. Thankful to find employment and help support the family with his meager earnings as a commercial artist\, he refused\, however\, to resign himself to the situation and forsake his wider artistic ambitions. Utilizing the limited supplies at hand\, he kept a visual record of his refugee existence – mostly as rough sketches – to which he subsequently gave expression in the form of watercolor drawings and oil paintings. The original images became templates\, for example\, for a series of pictures created decades after he immigrated to the USA that were meant to illustrate an autobiographical account for young people. These drawings and related works reveal Less’ attempt to reassure himself about the reality of his own experience while preserving the memory of Holocaust refuge in Shanghai for a future generation. While his artistic efforts never narrowly focused on his time in China or the past\, the works that do have these motifs are more than reflections on a traumatized youth or flight from Nazi persecution; in them\, he experimented with various styles and deconstructed stereotypical European perceptions of Asian culture. Thus\, they also form part of a much bigger story about European-Asian encounters and European fascination with an “exotic” Orient. \n\n\n\n\n\nJohn H. Less\, The Abandoned\, 2004\, oil painting\, 18 “x 14“\, John H. Less Collection \nJohn H. Less\, Untitled (Shanghai beggar)\, 1999\, oil painting\, 30“ x 24“\, John H. Less Collection\n\n\n\n\nIn 2007\, the artist recalled: “During the Holocaust my parents and our family escaped to Shanghai. Here we were\, a community living in a society that was quite alien to us. Language\, customs and way of life were all new to us. I ran around with my sketch book and pencil\, recording wherever I could. This …[work]\, done recently\, is a painting of a street-scene\, while I lived there for seven years. A brutal hot summer day – as most summer days were – the sun blazing on the perspiring skin of the coolie who pulls a heavy loaded cart… while an affluent man is comfortably pulled by a rickshaw coolie to his destination….”\n\n\n\n\nHans Less\, Untitled (Rebuilt house with grocery store\, Hongkew)\, 1940s\, watercolor\, 7“ x 9 3/4″\, John H. Less Collection\nHans Less\, Untitled (Soup kitchen of the Jewish Community\, Hongkew)\, 1946\, watercolor\, 7 1/4“ x 9 3/4“ \, John H. Less Collection\n\n\n\n\n\nBorn and educated in the US\, Steven Less is a senior research fellow emeritus of the Max Planck Institute for Comparative Public Law and International Law in Heidelberg\, where he was editor-in-chief of an online research paper series as well as managing editor of a semi-annual bibliography of public international law.\nWhile employed by the MPI\, Steven also worked for many years as an adjunct law lecturer at Heidelberg University\, the Heidelberg Center for American Studies (HCA) as well as Schiller International University in Heidelberg\, and he continues to teach American constitutional law.\nSteven dedicated himself\, after his father died in 2011\, to collecting\, preserving and drawing public attention to his father’s art and his history as a Holocaust refugee in Shanghai. He has meanwhile given presentations\, participated in educational projects and arranged for numerous exhibitions commemorating his father and his work in the US\, Germany and China. \n\nHannah-Lea Wasserfuhr is a PhD Candidate at the Center for Jewish Studies in Heidelberg. She studied art history and history at the University of Heidelberg (B.A.)\, followed by a M.A. degree in Jewish Museology at the Hochschule für Jüdische Studien (Center for Jewish Studies) in Heidelberg. In her M.A. thesis\, she analyzed in which ways museums integrate the remains of medieval synagogues in their exhibitions. At the moment\, she is working on her doctoral thesis about the industrial production and marketing of Jewish ritual objects during the Kaiserzeit and the Weimar Republic supervised by Prof. Johannes Heil (Ignatz Bubis Chair at the Hochschule für Jüdische Studien). The PhD is funded by the International Ismar-Elbogen-Scholarship Programm at the Ernst Ludwig Ehrlich Scholarship Fund in cooperation with the Leo Baeck Institute (New York). \n\n\n\n\nFUTURE EVENTS AND THE RECORDINGS OF PAST EVENTSThis event is part of the monthly series “Flight or Fight. stories of artists under repression.” \nDONATE
URL:https://fritzaschersociety.org/exhibition-event/john-less/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20210913T120000
DTEND;TZID=America/New_York:20210913T130000
DTSTAMP:20260407T113955
CREATED:20210728T110111Z
LAST-MODIFIED:20220218T102638Z
UID:5739-1631534400-1631538000@fritzaschersociety.org
SUMMARY:Memory\, Empathy and Image: The Art of Luise Schröder (Germany)and Kitra Cahana (Canada)
DESCRIPTION:Discussion with artists\nLuise Schröder (Germany) and\nKitra Cahana (Canada) \nModerated by\nOri Z Soltes\, PHD\nTeaching Professor at Georgetown University in Washington DC\n\nIntroduced by \nRachel Stern\nDirector and CEO of the Fritz Ascher Society in New York NY\n\n\n\n\n\n\n\n\n\n\nThis program explores the work of two young artists — Kitra Cahana\, from Canada; and Luise Schroeder\, from Germany — whose photography\, documentary filmmaking and other work have been informed by an acute awareness of the myriad complications that have beset diverse individuals and groups within the complexities of the twentieth- and twenty-first-century world. Their inspirational sources range from the Holocaust to the Black Lives Matter movement as\, in similar and yet very different ways\, they focus on and champion under-represented and under-considered subjects who struggle within often callous or oppressed conditions and yet survive and even\, ocassionally\, triumph. \nGenerously sponsored by the Consulate General of the Federal Republic of Germany in New York. \n\nIMAGES (both details):\nLEFT: Luise Schröder\, re-ENVISIONING (Vergegenwärtigen)\, 2004/05\nRIGHT: Kitra Cahana\, Caravane Migrante: The Question of the Future\, 2018 \n\n\n\n\nWEBSITE KITRA CAHANA\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nKitra Cahana is a freelance documentary photographer\, videographer\, a photo/video artist and a TED speaker. She is a contributing photographer to National Geographic Magazine. She has a B.A. in philosophy from McGill University and a M.A. in Visual and Media anthropology from the Freie Universitat in Berlin. Her work ranges from photographic studies of American Teens for National Geographic Magazine to documentaries on the annual life-saving dance competition in a small town in northern Canada. She is renowned for work that consistently reflects a deep sense of empathy with her subjects.\n\n\n\nKitra is the recipient of numerous grants and awards\, including two Canada Council Grants for the Visual Arts\, a 2016 TED Senior Fellowship\, a 2015 Pulitzer Center for Investigative Reporting grant\, a 2014-2015 artist residency at Prim Centre\, the 2013 International Center of Photography’s Infinity Award\, first prize for the 2010 World Press Photo\, a scholarship at FABRICA in Italy and the Thomas Morgan internship at the New York Times. \n\n\n\n\n\n\n\n\nWEBSITE LUISE SCHROEDER\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nLuise Schröder is a visual artist working in France and Germany. She studied Photography and Media Arts at the Academy of Visual Arts in Leipzig\, Germany. Within her artistic practice she is dealing with aspects of “history in the making” from a today’s perspective. She is interested in how cultures of remembrance and commemoration are influenced and formed by political agendas\, media and image production and how this affects identities and communities. In recent years\, Luise Schröder has taken part in numerous single and group exhibitions\, among others at the Rencontres International Paris/Berlin (FRANCE)\, at the Kunsthalle Baden Baden (GER)\, at the Gallery EIGEN+ART (Berlin/Leipzig\, GER)\, and at the 7th Berlin Biennale for Contemporary Art in Berlin. Alongside numerous other distinctions\, the artist got the C/O Talents Preis [C/O Talents Award] in 2012 and the SpallArt Price Salzburg in 2020. Furthermore she held a residency at the Villa Aurora in Los Angeles in 2016 and was awarded a residency at Cité Internationale des Arts in 2018/19 in Paris by the German Federal Government Commissioner for Culture and the Media. Recently she is working on her project: La Barricade – Existing as a promise\, which is supported by the French Ministry of Culture CNAP and Ateliers Médicis.\n\n\n\n\n\n\n\n\n\n RELATED EVENTS: TRAUMA\, MEMORY\, AND ARTDONATE TODAY
URL:https://fritzaschersociety.org/exhibition-event/schroeder-cahana/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Memory,Past Events
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DTSTART;TZID=America/New_York:20210804T120000
DTEND;TZID=America/New_York:20210804T130000
DTSTAMP:20260407T113955
CREATED:20210420T110040Z
LAST-MODIFIED:20220218T102754Z
UID:5451-1628078400-1628082000@fritzaschersociety.org
SUMMARY:Sculpting the Light:Avant-Garde to Auschwitz and Beyond.Moissey Kogan (1879-1943)Lecture by Helen Shiner\, Oxford (UK)
DESCRIPTION:Lecture by\nHelen Shiner\nDirector/Editor at the Moissey Kogan Catalogue Raisonné of Sculpture & Prints\, Oxford (UK) \nIntroduced by \nRachel Stern\nDirector and CEO of the Fritz Ascher Society in New York\n\n\n\n\n\n\n\n\n\n\nMoissey Kogan (1879-1943) was an innovative\, influential sculptor-craftsman and printmaker\, whose career straddled the European avant-gardes of the first half of the 20th century. A cosmopolitan Russian Jew\, whose work was marked by his interest in Jewish mysticism and theosophical beliefs\, Kogan looked to non-European cultures and ancient sources\, in common with many of his contemporaries in Munich\, Berlin\, Amsterdam\, and Paris\, to root his avant-garde experimentations and revivals of ancient techniques\, in what were considered more authentic means of expression.\nOn the day Adolf Hitler came to power\, Kogan fled Berlin and returned to his home in Paris\, forced to leave behind him many of his key works in the care of dealers and museum collections. He would be obliged to watch powerless as his work was seized by the Nazis\, only to be vilified in the infamous Entartete Kunst show of 1937\, and the related exhibit\, Der ewige Jude. In hiding in Paris and associated with the Résistance\, the sculptor would finally be arrested by the Vichy police and transported to his death at Auschwitz.\nThis talk discusses Kogan’s artistic positioning within the European avant-gardes and his preoccupation with transcendence and light. In stark contrast\, it will consider the consequences of the Nazi looting of his work for the task of reconstructing his oeuvre and reclaiming his career from unjustified obscurity. \nThis event is part of the monthly series “Flight or Fight. stories of artists under repression.” \n\n\n\n\n\nMOISSEY KOGAN CATALOGUE RAISONNE \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nHelen Shiner trained as an art historian at the Birmingham Institute of Art & Design\, and the Courtauld Institute London\, following a first degree in modern languages at the University of Leeds. She is the author of a book on the sculpture of André Derain\, written to accompany an exhibition at the Kunsthal Rotterdam\, as well as articles and exhibition catalogue essays on Modernist sculpture\, art patronage\, and the art market. She has lectured in art and design history at the Courtauld Institute London\, the Birmingham Institute of Art & Design\, and Winchester School of Art\, amongst others\, and has undertaken research for several artists’ estates\, and for the Public Monuments and Sculpture Association\, London. Helen was the first to identify\, compile\, and publish a comprehensive list of works in all media by Kogan\, and she initiated the Moissey Kogan Catalogue Raisonné project in February 2018 to mark the 75th anniversary of the sculptor’s death at Auschwitz. \nImage: Detail of Moissey Kogan\, Two Women\, 1913. Relief\, artificial stone; formerly Museum Folkwang\, Essen. Confiscated 1937 as part of Degenerate Art campaign. Now lost. Photographer unknown  \n\n\n\n\n\n\n\n\n\nDONATE
URL:https://fritzaschersociety.org/exhibition-event/moissey-kogan/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20210721T120000
DTEND;TZID=America/New_York:20210721T130000
DTSTAMP:20260407T113955
CREATED:20210530T175601Z
LAST-MODIFIED:20220218T102909Z
UID:5615-1626868800-1626872400@fritzaschersociety.org
SUMMARY:New Frontiers of Provenance Research: The Mosse Art Research Initiative (MARI) Lecture by Prof. Dr. Meike Hoffmann\, Berlin (Germany)
DESCRIPTION:MARI is innovative in many ways. For the first time\, descendants of victims of Nazi persecution are cooperating with German institutions in a public/private partnership in provenance research. After an initial three-year research period\, the successful project at Freie Universität Berlin is now being continued. Numerous works from the former Mosse collection have already been recovered and restituted. In the process\, surprising stories came to light showing the whole challenge range of provenance research and restitution. \nMARI’s task\, however\, is not only to search for the works of the former collection\, but also to gain insight into the strategies of the so called “Gleichschaltung” (consolidation) of the press just after the Nazis came to power in 1933\, as well as the persecution situation of the family and the emigration routes of the individual members\, in order to grasp the full extent of the fate and the consequences that continue until today. \n\n\n\n\nIn her presentation\, Meike Hoffmann shows the whole range of individual cases with a focus on looted art in private hands as well as explain the key to MARI’s success and its efforts to prepare a foundation of a joint\, not only German\, memorial culture. \nProf. Dr. Meike Hoffmann directs the Degenerate Art Research Center\, the Mosse Art Research Initiative (MARI) as well as the Abraham Adelsberger Art Research Project (AAARP) at FU Berlin. She organized the first academic training on provenance research at the Free University of Berlin where she received her PhD and now teaches at the department of history and cultural studies on Degenerate Art and Nazi art policy during the Third Reich. She was a member of the Taskforce Schwabing Art Trove and participated in the follow-up research project on the Gurlitt collection at the German Lost Art Foundation and is author of Hitler’s Art Dealer: Hildebrand Gurlitt\, 1895–1956 amongst several other publications. \n\n\n\n\nRudolf Mosse\, photograph\, ca. 1880.\nPhotography by Debenham and Company\, West Cowes\, I.W. © Leo Baeck Institut New York / Berlin\n\n  \nWalter Schott\, Three Dancing Girls (Drei tanzende Mädchen) Fountain\, 1910.\nLimestone and Bronze\, Voßstraße Berlin. Berliner Tageblatt\, Nr. 90\, Jg. 1910\, 10. November 1910\n\n\nRudolf Mosse was a successful entrepreneur\, progressive political thinker and philanthropist in the late 19th and early 20th century. Rudolf’s business leadership and industry foresight created a phenomenally successful publishing and advertising enterprise in Germany. The enterprise published 130 newspapers and journals\, which included its flagship newspaper\, Berliner Tageblatt (created in 1872). Rudolf Mosse was a generous benefactor of educational and social welfare institutions. \nFollowing Rudolf’s death in 1920\, his sole heir was his daughter Felicia Lachmann-Mosse. Her husband Hans Lachmann-Mosse became the publisher of the Berliner Tageblatt. The newspaper was an outspoken critic of Adolf Hitler and the National Socialists\, and the Lachmann-Mosse family became a symbol of the hated “Jewish press.” Following Hitler’s assumption of power\, in the space of three months in 1933\, the newspaper’s publisher Hans Lachmann-Mosse and many of its leading Jewish staff members were forced to leave Germany. The Nazi government took control of Mosse family property\, including the Rudolf Mosse Company and the Berliner Tageblatt\, as well as Rudolf and Hans’ prized art collection. \n\n\nThe Mosse Art Research Initiative (MARI)\n\nIMAGE: Gari Melchers\, Winter (Schlittschuhläufer)\, 1880/1900. 110 x 64 cm. Formerly Arkell Museum\, Canajoharie/New York
URL:https://fritzaschersociety.org/exhibition-event/mari/
LOCATION:1014 – space for ideas\, 1014 5th Avenue\, New York\, New York\, NY\, 10028\, United States
CATEGORIES:Events,Lectures,Past Events
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