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DTSTART;TZID=America/New_York:20250709T120000
DTEND;TZID=America/New_York:20250709T130000
DTSTAMP:20260407T101355
CREATED:20250428T221842Z
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SUMMARY:DEAR MISS PERKINS. A Story of Frances Perkins’s Efforts to Aid Refugees from Nazi Germany  Book talk by Rebecca Brenner Graham\, Ph.D.
DESCRIPTION:In this book talk\, author Rebecca Brenner Graham\, Ph.D. speaks about “DEAR MISS PERKINS. A Story of Frances Perkins’s Efforts to Aid Refugees from Nazi Germany\,” which focusses on an unknown aspect of Frances Perkins’ prolific career as the first woman to serve in a presidential cabinet\, the longest-serving labor secretary\, and an architect of the New Deal. \n\n\n\n\n\nPerkins’s early experiences working in Chicago’s famed Hull House\, and as a firsthand witness to the horrific Triangle Shirtwaist fire\, shaped her determination to advocate for immigrants and refugees. As Secretary of Labor\, she wrestled with widespread antisemitism and isolationism\, finding creative ways to work around quotas and restrictive immigration laws. Diligent\, resilient\, empathetic\, yet steadfast\, she persisted on behalf of the desperate when others refused to act. \n\n\nFrances Perkins\, age four. Courtesy Mount Holyoke College Archives and Special Collections. \n\nFrances Perkins at her desk\, 1938. United States Holocaust Memorial Museum. Courtesy National Archives and Records Administration\, College Park \n\nPerkins was the first woman to serve in a presidential cabinet\, the longest-serving labor secretary\, and an architect of the New Deal. Yet beyond these celebrated accomplishments\, there is another dimension to Frances Perkins’s story. Without fanfare\, and despite powerful opposition\, Perkins helped save the lives of countless Jewish refugees fleeing Nazi Germany. \nIn March 1933\, at the height of the Great Depression\, Perkins was appointed Secretary of Labor by FDR. As Hitler rose to power\, thousands of German-Jewish refugees and their loved ones reached out to the INS—then part of the Labor Department—applying for immigration to the United States\, writing letters that began “Dear Miss Perkins …” \n\nKensington Books 2025 \nRebecca Brenner Graham\, Ph.D. \n\nDr. Rebecca Brenner Graham is a postdoctoral research associate at Brown University. Previously\, she taught at the Madeira School and American University. She has a PhD in history and an MA in public history from American University\, as well as a BA in history and philosophy from Mount Holyoke College. In 2023\, she was awarded a Cokie Roberts Fellowship from the National Archives Foundation and a Rubenstein Center Research Fellowship from the White House Historical Association. Her writing has been published in the Washington Post\, Time\, Slate\, the Los Angeles Review of Books\, and elsewhere. \n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \nORDER THE BOOK HERE\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/miss-perkins/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20250625T120000
DTEND;TZID=America/New_York:20250625T130000
DTSTAMP:20260407T101355
CREATED:20250512T111941Z
LAST-MODIFIED:20250625T173320Z
UID:9098-1750852800-1750856400@fritzaschersociety.org
SUMMARY:THE ART SPY. The Extraordinary Untold Tale of WWII Resistance Hero Rose Valland Book talk by Michelle Young\, New York and Paris
DESCRIPTION:In this book talk\, author Michelle Young presents WWII Resistance Hero Rose Valland (1898–1980)\, an unlikely heroine who infiltrated the Nazi leadership in Paris during World War II to save the world’s most treasured artworks. \n\nImage above: Book Cover THE ART SPY. The Extraordinary Untold Tale of WWII Resistance Hero Rose Vallant by Michelle Young (Harper One\, May 13\, 2025) \n\n\n\nRose Vallant was a curator at the Jeu de Paume Museum in Paris when the Nazis invaded France\, occupied the museum\, and began using it as a sorting center for thousands of pieces of stolen art from across Europe. Valland made herself appear as nonthreatening and essential as possible\, retaining her position in the museum for years while keeping meticulous secret records of the provenance and destination of every piece of art. Her gathered intelligence enabled the recovery of hundreds of thousands of looted artworks\, stashed in the salt mines of Austria and in German castles\, by the Monuments Men in the last days of the war and after. \n\n\n\n\n\nRose Valland in her 20s. Camille Garapont Family Collection \n\nHitler on his tour of Paris posing in front of the Eiffel Tower\, June 1940. U.S. National Archives\, 242-HLB-5073(20) \n\nYoung moves from the glittering days of pre-War Paris\, home to artistic geniuses of modern culture\, including Picasso\, Josephine Baker\, Coco Chanel\, Le Corbusier\, and Frida Kahlo\, through the tension-riddled cities and resorts of Europe on the eve of war\, to the harrowing years of the Nazi occupation of France when brave people such as Valland risked everything to fight monstrous evil. \nBased on previously undiscovered historical documents\, this detailed portrait of Valland’s bravery and strategic intelligence shows her crucial role in preserving France’s cultural heritage. The story of Valland’s courage and dedication to art and justice is compelling and inspiring. \n\nGeneral Dwight D. Eisenhower\, accompanied by General Omar N. Bradley\, and Lieutenant General George S. Patton\, Jr.\, inspects art treasures stolen by Germans and hidden in salt mine in Germany\, April 1945. U.S. National Archives\, 111-SC-204516 \nEdith Standen (left) and Rose Valland (right) at Wiesbaden Collecting Point\, May 11\, 1946. National Gallery of Art Archives \n\nMichelle Young is an award-winning journalist\, author\, and professor whose writing and photography has appeared in The Wall Street Journal\, The Guardian\, Hyperallergic\, The Forward\, and Narratively. She is a graduate of Harvard College in the History of Art and Architecture and holds a master’s degree from Columbia University’s Graduate School of Architecture\, Planning and Preservation\, where she is a Professor of Architecture. She is the founder of the publication Untapped New York. She divides her time between New York City\, Paris\, and the Berkshires\, Massachusetts. \n\nORDER THE BOOK HERE\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/the-art-spy/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250611T120000
DTEND;TZID=America/New_York:20250611T130000
DTSTAMP:20260407T101355
CREATED:20250516T103249Z
LAST-MODIFIED:20250612T080206Z
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SUMMARY:Victor Brauner's Departures and Returns Presentation by Irina Cărăbaș\, Bucharest (Romania) followed by a conversation with Nicola Baird\, PhD\, London (UK)
DESCRIPTION:This presentation by Irina Cărăbaș from the National University of Arts in Bucharest focusses on several key artistic and political contexts relevant to Brauner’s work and biography\, as well as his reception in Romania. It is followed by a conversation with Nicola Baird\, PhD. Introductory remarks by Sorina Neagu\, Director of DOR – Romanian Diaspora. \nImage above: Victor Brauner\, Composition\, not dated\, oil on canvas\, 53\,5 x 64\,5 cm\, National Museum of Arts of Romania\, Bucharest (INV. 73973/8502) © 2025 Artists Rights Society (ARS)\, New York / ADAGP\, Paris \n\n\n\nBorn in Piatra Neamț\, Romania into a Jewish family\, Victor Brauner (1903-1966) took part in shaping several avant-garde groups in Bucharest since his early twenties. By the mid-1930s\, he oscillated between Bucharest and Paris\, where he nurtured and solidified his commitment to surrealism. During this time\, Brauner also began exploring the representation of the human body—an investigation that he would develop in highly diverse directions throughout his life\, always maintaining a connection with surrealist concepts. He later left Romania due to the rise of antisemitism never to return. His forced hiding in France during World War II became a period of experimentation with new materials and a deep dive into esotericism. The end of the war brought both personal uncertainties and new opportunities—encounters\, exhibitions\, and growing recognition of his work. \n\n\nVictor Brauner\, Self-portrait\, 1931\, oil on wood\, 22 x 16\,2 cm\, Centre Pompidou MNAM-CCI\, Paris (INV. AM1987-1196) Jacqueline Victor Brauner bequest 1986  © 2025 Artists Rights Society (ARS)\, New York / ADAGP\, Paris \nVictor Brauner\, Hitler\, 1934\, oil on canvas\, 22 x 16 cm\, Centre Pompidou MNAM-CCI\, Paris (INV. 2003-259) © 2025 Artists Rights Society (ARS)\, New York / ADAGP\, Paris \n\nIn 2023\, as part of the Timișoara – European Capital of Culture program\, Romania hosted for the first time a monographic exhibition dedicated to the surrealist artist Victor Brauner (1903-1966). The exhibition brought together works from several European collections\, helped to circulate the artist’s name beyond specialist circles\, and invited reflection on traumatic episodes in local and European history. The exhibition catalog (Victor Brauner: Inventions and Magic\, edited by Camille Morando\, Timișoara\, Arta Grafică\, 2023)\, the most recent publication dedicated to the artist\, addressed sensitive points in the local reception of his work and placed his artistic practice in connection with experiences of emigration\, exile\, and an “in-betweenness” that shaped Brauner’s career. \nThis event is part of the online series “Flight or Fight. stories of artists under repression.” In collaboration with DOR – Romanian Diaspora and #CarteadeVineri (CDV). \n\nVictor Brauner\, Stable-Unstable\, Plain of Theus\, 1942\, oil on canvas\, 73 x 54 cm\, Centre Pompidou MNAM-CCI\, Paris (INV. AM3091 P). Purchase from Victor Brauner by the French State in 1951\, allocation to the MNAM in 1951 © 2025 Artists Rights Society (ARS)\, New York / ADAGP\, Paris \nVictor Brauner\, The Totem of Wounded Subjectivity II\, 1948\, oil on canvas\, 91\,5×72\,7 cm\, Centre Pompidou MNAM-CCI\, Paris (INV. AM1987-1205) Jacqueline Victor Brauner bequest in 1986 © 2025 Artists Rights Society (ARS)\, New York / ADAGP\, Paris \n\nIrina Cărăbaș is assistant professor at the Department of Art History and Theory\, National University of Arts in Bucharest. Her interests are the historical avant-garde\, Socialist Realism\, transnational relations in the Eastern Bloc\, and the survival of Modernism in the postwar era. She is the author of the book Realismul socialist cu fața spre trecut. Instituții și artiști în România 1944-1953 (Socialist Realism facing the past. Institutions and artists in Romania 1944-1953\, Cluj-Napoca\, Idea Design&Print\, 2017) and also co-editor of several collective volumes. \nDr Nicola Baird is an independent art historian and curator affiliated with the Centre for the Study of the Networked Image at London South Bank University. She specializes in twentieth century and contemporary British and European art and cultural history and is also passionate about European émigré histories and cultures. Previous exhibitions have included Fred Uhlman (Burgh House and Hatton Gallery\, 2018)\, Czech Routes to Britain (Ben Uri Gallery\, 2019)\, Becoming Gustav Metzger (Ben Uri Gallery\, 2021)\, Knots: Jonny Briggs x Burgh House- Contemporary Interventions into an Historic House (Burgh House\, 2021-2022) and ‘The line is an unreal thing’: Dorothy Mead and Edna Mann (LSBU\, 2024). She is Section Editor for Open Cultural Studies and Editorial Assisant at The International Yearbook of Futurism Studies\, both published by De Gruyter. \nAbout DOR\nFounded in 2020\, DOR-Romanian Diaspora CIC is a UK-based association of Romanians who support and enhance the potential of Romanian communities in the UK by enabling opportunities for integration and continuing education. We deliver a broad range of physical and virtual projects encouraging cross-cultural conversations through community-focused creative and cultural activities.\n\n\n\nAbout CDV\nCartea de Vineri or Friday Book Club\, now in its fifth year\, promotes books by Romanian authors or books by authors of any nationality about Romania. Every week we post a book recommendation on Facebook\, Twitter and Instagram and once a month we host live (recorded) conversations with authors. Authors who have previously taken part in our series of live conversations include Howard Reich\, Valentina Glajar\, Bogdan Suceava\, Radu Vancu\, Oliver Jens Schmitt\, Dennis Deletant\, Tom Gallagher\, Anca Pârvulescu & Manuela Boatcă.\n\n\nDOR-Romanian Diaspora\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/victor-brauner/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20250521T120000
DTEND;TZID=America/New_York:20250521T130000
DTSTAMP:20260407T101355
CREATED:20250428T181748Z
LAST-MODIFIED:20250521T174304Z
UID:9012-1747828800-1747832400@fritzaschersociety.org
SUMMARY:Tamara de Lempicka: Modern Maverick Presentation by Alison de Lima Greene\, Houston (TX)
DESCRIPTION:Join curator Alison de Lima Greene for an introduction to the remarkable arc of Lempicka’s career as she rose to the pinnacle of café society in 1920s and 1930s Paris\, and her American odyssey after she fled Europe in 1939. \nImage above: Tamara de Lempicka\, Portrait of a Young Woman in a Blue Dress\, 1922\, oil on canvas\, private collection © 2025 Tamara de Lempicka Estate\, LLC / ADAGP\, Paris / ARS\, NY\, Image © 2023 Christie’s Images Limited \n\n\nCapturing the glamour and vitality of 1920s postwar Paris and the cosmopolitan sheen of Hollywood celebrity\, Tamara de Lempicka (1894–1980) infused her paintings with a brilliant sense of fashion\, design\, and the theatrical. Currently the subject of the first retrospective devoted to her work in the United States\, organized by the San Francisco Fine Arts Museums and currently on view at the Museum of Fine Arts\, Houston\, Lempicka’s singular contribution to the history of modernism is only now becoming widely known. \n\n\nTamara de Lempicka\, Young Girl in Green (Young Girl with Gloves)\, c. 1931\, oil on board\, Centre Pompidou\, purchase\, 1932\, inv. JP557P. © 2024 Tamara de Lempicka Estate\, LLC / ADAGP\, Paris / ARS\, NY. Digital image © CNAC/MNAM\, Dist. RMN- Grand Palais / Art Resource\, NY \n\n\n\n\n Tamara de Lempicka\, Saint-Moritz\, 1929\, oil on panel\, Musée des Beaux-Arts d’Orléans\, inv. no. 76.12.1. © 2024 Tamara de Lempicka Estate\, LLC / ADAGP\, Paris / ARS\, NY \n\n\n\n\nBorn Tamara Rosa Hurwitz in Poland in an era of fierce anti-Semitism\, she learned at an early age to conceal her Jewish ancestry. In 1916\, she married a Polish aristocrat\, Tadeusz Lempicki\, and the two settled briefly in St. Petersburg before fleeing to Paris in the wake of the Russian Revolution. Faced with the need to earn money\, Lempicka determined to become an artist: she first presented her paintings at the Salon d’Automne in 1922 under the name “Monsieur Łempitzky\,” and then more forthrightly as “Tamara de Lempicka” as she established an internationally acclaimed career. \nLempicka’s second marriage\, to Austro-Hungarian Baron Raoul Kuffner-de Diószegh\, granted her the title “Baroness Kuffner\,” the name she took with her to the United States in 1939 in advance of the German invasion of Paris. After 1945 Lempicka divided her time between New York\, Paris\, and Houston where her daughter Kizette had settled\, and she spent her final years in Cuernavaca\, Mexico. \n\n\nUnidentified photographer\, Tamara de Lempicka at home in New York\, c. 1943\, Tamara de Lempicka Estate. \n\n\n\n\n\n\nTamara de Lempicka\, Still Life of Fruit and Draped Silk\, 1949\, oil on canvas board\, Blanton Museum of Art\, The University of Texas at Austin\, gift of Luis Aragón\, 1986\, inv. no. 1986.174. © 2024 Tamara de Lempicka Estate\, LLC / ADAGP\, Paris / ARS\, NY  \n\n\n\n\n\n\nAlison de Lima Greene is the Isabel Brown Wilson Curator of Modern and Contemporary Art at the Museum of Fine Arts\, Houston\, where she has served on the curatorial staff since 1984. A member of the curatorial team responsible for the inaugural presentations in the MFAH’s new Nancy and Rich Kinder Building in 2020\, her recent exhibitions include Philip Guston Now\, organized in collaboration with the National Gallery of Art and the Museum of Fine Arts\, Boston\, and the Tate London.\nMs. Greene was a 2010 Fellow at the Center for Curatorial Leadership and has served as vice president and trustee of the Association of Art Museum Curators; she is currently on the advisory boards of the Frances Lehman Loeb Art Center at Vassar College and The Barnett Newman Foundation. \nThis event is part of the online series “Flight or Fight. stories of artists under repression.”\nPresented in connection with Jewish American Heritage Month. \nThe exhibition Tamara de Lempicka is on view through July 6\, 2025 at the Museum of Fine Arts in Houston (TX). \n\nMUSEUM OF FINE ARTS\, HOUSTON\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/tamara-de-lempicka/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2025/04/08_Portrait-of-a-Young-Woman-in-Blue-Dress-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250507T120000
DTEND;TZID=America/New_York:20250507T130000
DTSTAMP:20260407T101355
CREATED:20250416T001229Z
LAST-MODIFIED:20250507T174245Z
UID:8986-1746619200-1746622800@fritzaschersociety.org
SUMMARY:Through the Lens of Trude Fleischmann (1895-1990) Presentation by Carey Mack Weber\, Fairfield (CT)\,  followed by a conversation with Barbara Rosenberg Loss
DESCRIPTION:Presentation by Carey Mack Weber\, Curator and Director\, Fairfield University Art Museum\, followed by a conversation with Fleischmann’s cousin\, Barbara Rosenberg Loss. Introductory remarks by Stephanie Buhmann\, PhD\, Head of Visual Arts\, Architecture and Design at the Austrian Cultural Forum New York. \nImage above: Trude Fleischmann\, Sandra and Barbara with Golden Heart Necklaces\, 1951\, gelatin silver print. Courtesy of Barbara Rosenberg Loss. © Trude Fleischmann \n\n\nAfter opening her own studio in Vienna at the age of just 25\, Trude Fleischmann (1895-1990) had great success there in the 1920s and 30s photographing artists\, dancers\, actors\, and other key cultural figures of the era. When the Nazis invaded during the Anschluss in 1938\, she fled first to London and then to New York. She opened a studio just behind Carnegie Hall on 56th Street\, in 1940 and photographed many of the artists and intellectuals of the day\, including Eleanor Roosevelt\, Marian Anderson\, and Albert Einstein. \n\n\nTrude Fleischmann\, Toni Birkmeyer Ballet in “Cancan\,” Vienna\, 1930\, gelatin silver print. Lent by Michael Mattis and Judith Hochberg. © Trude Fleischmann \n\nTrude Fleischmann\, Helen’s Hands with Cigarette and Ashtray\, ca. 1940\, gelatin silver print. Courtesy of Peter Modley. © Trude Fleischmann \n\nCarey Mack Weber is the Executive Director of the Fairfield University Art Museum and the curator of the current exhibition in the Museum’s Bellarmine Hall Galleries – Famous & Family: Through the Lens of Trude Fleischmann. She was integral to the creation of the Museum in 2010 and was named the Frank and Clara Meditz Executive Director in 2019. Carey also currently serves as the President of the Connecticut Art Trail\, is the CT State Representative for the Association of Academic Museums and Galleries\, sits on the Advisory Board of the Maguire Museum at St. Joseph’s University\, and serves as a board member of the Connecticut League of Museums. \nBarbara (Bobbie) Rosenberg Loss is the co-curator of  Famous & Family: Through the Lens of Trude Fleischmann. She was greatly influenced by the artist\, her cousin\, who was an integral part of her family growing up. A former English teacher and reading consultant in the Bridgeport and Fairfield Public High Schools and at Norwalk Community College\, she is the author of Say the Word\, A Guide to Improving Word Recognition Skills. Bobbie often incorporated her own photography into her classrooms. Her interests generated numerous photo books\, including Bridgeport\, Beauty and Blight\, A Tour of Our City through Photographs (2016) and Views from the Train (2020). She was a contributor and consultant to the Austrian TV Documentary: Trude Fleischmann In Nackter Gesellschaft (2019)\, directed by Michael Kreiner and Katherina Lochmann. \nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \nPresented in connection with Jewish American Heritage Month. \n\nTrude Fleischmann\, Albert Einstein\, ca. 1947\, gelatin silver print. Lent by Photography Collection\, Miriam and Ira D. Wallach Division of Art\, Prints and Photographs\, The New York Public Library\, Astor\, Lenox and Tilden Foundations. © Trude Fleischmann. Photo credit: Photography Collection\, The New York Public Library\n\n\n\nTrude Fleischmann\, Marian Anderson\, 1952\, gelatin silver print. Lent by Photography Collection\, Miriam and Ira D. Wallach Division of Art\, Prints and Photographs\, The New York Public Library\, Astor\, Lenox and Tilden Foundations. © Trude Fleischmann. Photo credit: Photography Collection\, The New York Public Library. \n\nThe exhibition Famous & Family: Through the Lens of Trude Fleischmann\, the first solo museum exhibition of the photographer’s work to be presented in the United States\, is on view from May 2 – July 26\, 2025\, in the Museum’s Bellarmine Hall Galleries at Fairfield University Art Museum. \n\nFAIRFIELD UNIVERSITY ART MUSEUM\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/trude-fleischmann/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2025/04/Fleischmann_15-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250424T120000
DTEND;TZID=America/New_York:20250424T130000
DTSTAMP:20260407T101356
CREATED:20250402T180235Z
LAST-MODIFIED:20250424T194758Z
UID:8972-1745496000-1745499600@fritzaschersociety.org
SUMMARY:For I See Old Things Happening Again: Jill Freedman’s “Missing Generations” Presentation by Susan Chevlowe\, PhD\, followed by a conversation with family member Wendy Wernick
DESCRIPTION:Susan Chevlowe\, PhD\, Chief Curator and Museum Director of Derfner Judaica Museum + The Art Collection at Hebrew Home at Riverdale\, presents the documentary and street photographer Jill Freedman (1939-2019)\, followed by a conversation with family member Wendy Wernick. \nWhen the documentary and street photographer Jill Freedman went to Poland in April 1993\, on the occasion of the 50thanniversary of the Warsaw Ghetto uprising\, she wrote that she made the journey as a pilgrim “to mourn the dead\, to honor them\,” along with the “survivors\, their children\, old soldiers and witnesses.” She returned to the sites of destruction again the next year after receiving a fellowship from the Alicia Patterson Foundation (APF)\, which supports the work of photojournalists. Susan Chevlowe\, PhD\, discusses the series of photographs that resulted from these two trips\, including to additional sites in Hungary and the Czechia\, and the book that Freedman had planned but that was left unrealized at the time of her death. \nImage above: Jill Freedman\, Auschwitz 1. Tourist family entering gas chamber\, 1994. Gelatin silver print\, 8 1/2 x 12 11/16 in. (21.6 x 32.2 cm). © Jill Freedman Family Estate \nFrom the moment she picked up a camera in 1966\, Freedman candidly and passionately documented the world around her. In the 1990s\, as ethnic cleansing was once again being perpetrated in Europe and historical revisionists were denying the Holocaust had ever happened\, the project she called Missing Generations became ever more urgent. Dr. Chevlowe will look at these photographs in the context of Freedman’s other work\, which she undertook as part of her relentless pursuit of social justice in an inherently unjust world\, particularly her photographs documenting the Poor People’s Campaign march to Washington\, D.C.\, following the death of Martin Luther King\, Jr.\, in 1968. \n\nJill Freedman\, Survivors in Front of the Warsaw Ghetto Memorial\, 1993. Gelatin silver print. © Jill Freedman Family Estate. \n\nJill Freedman\, Tourists peering through the doors of the Old-New Synagogue (Altneuschul)\, Prague\, 1994.  Gelatin silver print\, 12 11/16 x 8 1/2 (32.2 x 21.6). Derfner Judaica Museum + The Art Collection\, Gift of the Jill Freedman Irrevocable Trust © Jill Freedman Family Estate \n\nFreedman published seven books: Old News: Resurrection City (1970); Circus Days (1975); Firehouse (1977; 2022); Street Cops (1981; 2022); A Time That Was: Irish Moments (1987); Jill’s Dogs (1993)\, and Ireland Ever (2004). In addition to Missing Generations\, Freedman planned two additional photography books at the time of her death\, Madhattan and Patriot Acts.  Freedman was born in Pittsburgh\, Pennsylvania\, in 1939\, and lived and worked for most of her career in New York City. She died in 2019. \n\n\n\n\nJill Freedman\, Treblinka. View from the bus\, 1993. Gelatin silver print\, 8 1/2 x 12 11/16 in. (21.6 x 32.2 cm). © Jill Freedman Family Estate. \n\n\n\nJill Freedman in Jewish cemetery\, Poland\, 1993. Gelatin silver print. © Jill Freedman Family Estate. \n\nSusan Chevlowe is Chief Curator and Museum Director of Derfner Judaica Museum + The Art Collection at Hebrew Home at Riverdale\, in the Bronx where she has organized solo shows featuring the work of Micaela Amato\, Leonard Freed\, Jill Freedman\, Jonathan Hammer\, Robert Katz\, Richard McBee\, Jill Nathanson\, Archie Rand\, and many others\, as well as group exhibitions. She is a former adjunct assistant professor in the Program in Jewish Art and Visual Culture at the Jewish Theological Seminary\, where she also served as co-chair of the Visual Arts Committee of the Arts Advisory Board. Prior to coming to the Derfner\, Dr. Chevlowe was an associate curator at the Jewish Museum\, New York\, where she organized such exhibitions as Painting a Place in America: Jewish Artists in New York\, 1900–1945 (co-curated with Norman L. Kleeblatt)\, Common Man\, Mythic Vision: The Paintings of Ben Shahn\, 1936-1962\, and The Jewish Identity Project: New American Photography\, and edited or co-edited their accompanying exhibition catalogues. Her essay on photographer Adi Nes was included in the exhibition of his biblical series at the Tel Aviv Museum of Art. Dr. Chevlowe received her Ph.D. in art history from the Graduate Center\, CUNY. She is a member of the Jewish Art Salon advisory board and lectures and writes about Jewish art and visual culture. \n\n\nWendy Wernick is Lean Six Sigma Black Belt Healthcare certified. She completed Bachelors in Health Service Administration and is a registered wound ostomy continence nurse working clinical solution specialist for northeast at convaTEc. Wendy Wernick is also a distant relative of Jill Freedman and is\, with her sisters Susan Hecht and Nancy Sklar\, the custodian of the Jill Freedman Family Estate. \nFor further information about the 2023 exhibition of Jill Freedman’s Missing Generations at the Derfner Judaica Museum\, and more information about the museum and its programs please go to: \n\nDERFNER JUDAICA MUSEUM\nYou can find further information about Jill Freedman on the photographer’s website: \n\nJILL FREEDMAN WEBSITE\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/jill-freedman/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2025/04/Jill-Freedman-Auschwitz-1.-Tourist-family-entering-gas-chamber-1994-1-1024x688-1.jpg
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DTSTART;TZID=America/New_York:20250409T120000
DTEND;TZID=America/New_York:20250409T130000
DTSTAMP:20260407T101356
CREATED:20250324T181457Z
LAST-MODIFIED:20250409T182241Z
UID:8958-1744200000-1744203600@fritzaschersociety.org
SUMMARY:Léo Maillet (1902-1990): The Broken Mirror Presentation by Erik Riedel\, Frankfurt am Main (Germany)
DESCRIPTION:Curator Erik Riedel presents the work of the painter and graphic artist Léo Maillet\, who changed his original name Leopold Mayer in exile\, reflecting the numerous fractures in his biography. \n\n\n\n\nImage above: Léo Maillet\, Le Graveur (Self-Portrait)\, 1944. Oil on cardboard. Permanent loan by the Adolf und Luisa Haeuser-Stiftung für Kunst und Kulturpflege. © estate of Léo Maillet: Daniel Maillet and Nikolaus Mayer \n\n\n\n\nAfter his dramatic escape from a deportation train bound for Auschwitz\, Maillet lived in the French Cévennes under a false identity from 1942 onwards. He painted and drew with the simplest of materials. Some years later\, he took up the works he had created during his flight and persecution and transformed them into paintings and etchings. The resulting works are\, on the one hand\, artistic reflections of his own work and\, on the other\, confrontations with his own persecution. The fact that Maillet began the latter just a few years after the end of the war is rather unusual. Both among survivors and in the context of the emerging culture of remembrance\, intensive processing of the Shoah only began in the late 1970s. \n\nLéo Maillet\, Self-Portrait Looking Upwards\, 1928. Oil painting\, 80 x 40 cm (destroyed) © estate of Léo Maillet: Daniel Maillet and Nikolaus Mayer \n\nLéo Maillet\, Le Graveur (Self-Portrait)\, 1944. Oil on cardboard. Permanent loan by the Adolf und Luisa Haeuser-Stiftung für Kunst und Kulturpflege. © estate of Léo Maillet: Daniel Maillet and Nikolaus Mayer \n\nLeopold Mayer was born in 1902 in Frankfurt as the only son of the Jewish merchant Eduard Mayer and his wife Betty\, née Nathan. After completing a banking and business apprenticeship in a Frankfurt fashion house\, he attended the Frankfurt Städelschule academy from 1925 on\, where he studied under Franz Karl Dellavilla. In 1930 he was accepted into Max Beckmann’s master class and moved into his own studio at the Städelschule. Due to the unexpected death of his father in 1932 he had to interrupt his art studies and take over his father’s ladies’ hat store. After the Nazis came to power in 1933\, he was forced to end his studies and many of his works at the Städelschule were destroyed. When the family business was seized\, he decided to leave Germany. In 1935 he emigrated to France; in Paris he worked as a photographer and printer. At the outbreak of war\, he was interned as an enemy alien. \nAfter his escape in 1940\, he lived in Provence in the unoccupied part of France. In 1942 he was arrested by the Vichy police and interned in the Les Milles and Rivesaltes camps. After escaping from the deportation train to Auschwitz he made his way back to the south of France and eventually lived under a false identity as a shepherd in the Cévennes mountains. With the support of a refugee aid organization\, Maillet was able to escape to Switzerland in 1944\, where he was interned for six months. After the war he remained in Switzerland where he studied stage design. He finally settled in a small town in Ticino where he died in 1990. \n\n\n\n\nLéo Maillet\, Hanged\, 1971. Etching after an ink drawing from 1940. © estate of Léo Maillet: Daniel Maillet and Nikolaus Mayer \n\n\n\nLéo Maillet\, The Broken Mirror\, 1971. Etching after an ink drawing from 1944. © estate of Léo Maillet: Daniel Maillet and Nikolaus Mayer \n\nThe etching Hanged shows the artist’s portrait in a round mirror hanging from a ceiling beam. The small room is empty except for a stove. Many artists use self-portraits as a medium for self-questioning and self-assurance. This is also the case with Léo Maillet\, whose self-portraits created in exile reflect his life as an emigrant under difficult material conditions and increasing persecution. But in numerous self-portraits\, Maillet also shows the mirror and the space surrounding it. In this way\, he not only addresses the actual circumstances under which the self-portrait is created\, but also the act of seeing and drawing itself\, which is explicitly made visible here as self-observation. \nErik Riedel is head of exhibitions at the Jewish Museum Frankfurt and curator of the museum’s Ludwig Meidner Archive. The archive consists of the artistic estates of Ludwig and Else Meidner and several other artists who were forced into exile. Erik Riedel has curated numerous exhibitions on 19th- and 20th-century art\, for instance on Moritz Daniel Oppenheim\, Ludwig and Else Meidner\, Charlotte Salomon\, and Arie Goral. Apart from several exhibitions catalogues he has published the catalogue raisonné of Ludwig Meidner’s sketchbooks and the conference proceedings “Ludwig Meidner. Expressionism\, Ecstasy\, Exile” (2018)\, as well as the catalogue raisonné of Ludwig Meidner’s paintings until 1927 (2023). \n\n\n\n\nA special exhibition with works by Léo Maillet (1902–1990) is on view until November 16\, 2025 in the “Art and Exile” room on the third floor of the permanent exhibition in the Rothschild Palace of the Jewish Museum Frankfurt (Germany). \nJEWISH MUSEUM FRANKFURTMaillet’s sons created a website with much information about the art and biography of their father: \nLÉO MAILLET WEBSITEThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/leo-maillet/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20250327T193000
DTEND;TZID=America/New_York:20250327T210000
DTSTAMP:20260407T101356
CREATED:20250303T232114Z
LAST-MODIFIED:20250401T155007Z
UID:8906-1743103800-1743109200@fritzaschersociety.org
SUMMARY:Survival and Intimations of Immortality:Artist and Curator Talk
DESCRIPTION:Join curator Ori Z Soltes\, Rabbi Ronnie Cahana\, and Kitra Cahana for a conversation about Survival and Intimations of Immortality: The Art of Alice Lok Cahana\, Rabbi Ronnie Cahana\, and Kitra Cahana. \n\n\n\n\nImage above: Alice Lok Cahana\, 1940-44 Triptych: left panel\, 1984. Collection Ronnie and Michael Cahana\, Inv. 052 \n\n\n\n\nThis unique and powerful exhibition at the Oregon Jewish Museum and Center for Holocaust Education explores the role of art and creativity\, bringing the past into the present by focusing on three generations of artists from the same family. The artists and curatorial team will share their insights about the work in the exhibition\, how the show was made\, and the impact it had\, and share more insight into the remarkable life and work of Holocaust survivor Alice Lok Cahana. \n\nAlice Lok Cahana\, New Day IV\, 1981. Collection Ronnie and Michael Cahana\, Inv. 079 \n\nAlice Lok Cahana\, 1940-44 Triptych: center panel\, 1984. Collection Ronnie and Michael Cahana\, Inv. 051 \n\nKitra Cahana is an acclaimed documentary photographer\, filmmaker\, and TED speaker. She holds a B.A. in philosophy from McGill University and an M.A. in Visual and Media Anthropology from the Freie Universität in Berlin. Her work explores important social\, anthropological\, and spiritual themes\, and she is committed to telling deeply human stories with sensitivity and depth. Her work has appeared in National Geographic Magazine\, The New York Times\, The Washington Post\, ProPublica\, The Intercept etc. \nKitra has received numerous recognitions\, including\, a Peabody Award\, a TED Senior Fellowship\, a DuPont Columbia award\, a World Press Photo award\, the International Center of Photography’s Infinity Award for young photographers\, a World Press Photo Online Video of the Year Nominee\, multiple Canada Council grants for the Visual Arts\, and a year long residency at FABRICA. \nRabbi Ronnie Cahana is a rabbi and poet who had a severe brain-stem stroke in 2011 that left him quadriplegic in a rare condition called locked-in syndrome; paralyzed from the eyes down with a fully cognizant mind. Today\, Rabbi Cahana has regained his capacity to speak\, breathe\, and sing. He works with a scribe who helps him produce his poetry\, psalms\, and Divrei Torah. \n\nKitra Cahana\, Still Man: Transcendence\, 2013. \n\n\n\nKitra Cahana\, The Cult of Maria Lionza: Fire\, 2009 \n\nOri Z Soltes\, PhD teaches at Georgetown University across the disciplines of theology\, art history\, philosophy and politics. Since 1997 he is a Founding Director of the Holocaust Art Restitution Project (HARP) and has spent more than 20 years researching and consulting on the issue of Nazi-plundered art. A former Director of the B’nai B’rit Klutznick National Jewish Museum in Washington DC\, he has extensive experience in developing and executing exhibition concepts. He is the author or editor of 25 books\, including The Ashen Rainbow: The Holocaust and the Arts; Symbols of Faith: How Jewish\, Christian\, and Muslim Art Draw from the Same Source; and Tradition and Transformation: Three Millennia of Jewish Art and Architecture. \nThis program is co-sponsored by the Oregon Jewish Museum and Center for Holocaust Education and the Fritz Ascher Society and presented as part of Survival and Intimations of Immortality: The Art of Alice Lok Cahana\, Rabbi Ronnie Cahana\, and Kitra Cahana\, which is on view until May 25\, 2025. \n\n\n\n\nMORE INFORMATION ABOUT THE EXHIBITION\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/cahana-panel-discussion/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Memory,Past Events
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DTSTART;TZID=America/New_York:20250326T120000
DTEND;TZID=America/New_York:20250326T130000
DTSTAMP:20260407T101356
CREATED:20250214T220825Z
LAST-MODIFIED:20250326T200421Z
UID:8881-1742990400-1742994000@fritzaschersociety.org
SUMMARY:"There is something mad about the art” The German-Jewish Art Dealer Alfred Flechtheim and his Heirs' Fight for Restitution Presentation by Journalist Michael Sontheimer\, Berlin (Germany)
DESCRIPTION:Journalist and author Michael Sontheimer speaks about Alfred Flechtheim\, who was born in 1878 in Münster as the son of a wealthy German Jewish grain dealer. He was trained as a trader but did not want to stay in the family business. As he was fascinated with art\, he left his hometown and moved to Düsseldorf\, where he opened a gallery in 1913. \n\n\n\n\nImage above: Rudolf Großmann\, Alfred Flechtheim\, 1922-27. Pencil\, ink\, and gouache on paper\, 5.3 x 3.8 in. Museum für Moderne Kunst\, Freiburg (Germany) G 62/008 b. \n\n\n\n\nAfter serving in the German Army during the First World War\, in 1921 he opened a second gallery in Berlin\, the place to be in the 1920s. He brought works from modern French artists like Picasso\, Braque\, Chagall\, and others to Germany. He also made German painters like Max Beckmann\, George Grosz\, and Paul Klee widely known. \n\n\n\n\nImage above: Rudolf Großmann\, Alfred Flechtheim\, 1922-27. Pencil\, ink\, and gouache on paper\, 5.3 x 3.8 in. Museum für Moderne Kunst\, Freiburg (Germany) G 62/008 b. \n\n\n\n\n\nAlfred Flechtheim\, 1911 \n\nFront Cover of Der Querschnitt\, vol. VIII\, no. 6\, Juni 1928. Berlin: Propyläen Verlag\, 1928 \n\nAdolf Hitler and the National Socialists targeted Flechtheim not only for his involvement with ‘Entartete Kunst’ but also for being Jewish\, using him in Anti-Semitic propaganda. After Hitler’s rise to power\, Flechtheim fled to Paris\, where he had to cheaply sell paintings. Many artworks from his gallery and personal collection were stolen. He died in London in 1937 in poverty and despair. His wife\, Betty Flechtheim\, took her life the night before her announced deportation “to the East”. \n\n\n\n\n“Die Rassenfrage ist der Schlüssel zur Weltgeschichte” (“The race question is the key to world history”). Front cover Illustrierter Beobachter\, 1932. Foto: Flechtheim-Estate \n\n\n\nRudolf Hermann\, Entartete Kunst exhibition poster with Otto Freundlich’s sculpture\, Large Head (Der Neue Mensch\, 1912) and a caricature of Alfred Flechtheim in the background\, 1938. Los Angeles County Museum of Art\, gift of the Robert Gore Rifkind Collection\, Beverly Hills\, CA \n\nIn the 1950s\, a nephew of Flechtheim\, who had no descendants\, submitted a claim for compensation. He received only a modest amount for artworks by renowned artists\, including Picasso. Following the Washington Conference on Holocaust-Era Assets\, held from November 30 to December 3\, 1998\, in Washington\, D.C.\, which reinforced the rights of individuals seeking the restitution of Nazi looted art\, Flechtheim’s grandnephew\, Michael Hulton\, residing in San Francisco\, pursued restitution. However\, the museums in possession of the artworks that once belonged to Flechtheim contested their return. The heirs successfully reclaimed a limited number of paintings\, yet several remain subject to dispute. \n\n\n\n\nOskar Kokoschka\, Marquis Joseph de Montesquiou-Fezensac\, 1910. Return of the painting by Moderna Museet in Stockholm to Flechtheim-Heir Michael Hulton in 2018. Sold at auction by Sotheby’s. \n\n\nMichael Sontheimer was born in 1955 in Freiburg\, Germany. He studied modern history and politics at the Free Universität in Berlin. Becoming a journalist\, he was one of the founders of the daily newspaper “die tageszeitung”\, later he was a staff writer with DIE ZEIT and DER SPIEGEL. He published ten books on political and historical issues like: Goetz Al /Michael Sontheimer: How Julius Fromm’s Condom Empire Fell to the Nazis. Other Press\, New York 2009.  \n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/alfred-flechtheim/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20250312T120000
DTEND;TZID=America/New_York:20250312T130000
DTSTAMP:20260407T101356
CREATED:20250306T170219Z
LAST-MODIFIED:20250312T182213Z
UID:8919-1741780800-1741784400@fritzaschersociety.org
SUMMARY:Art and Conscience in a Time of Upheaval. Ben Shahn (1898-1969)Presentation by Ori Z Soltes\, Washington (DC)
DESCRIPTION:Georgetown University professor Ori Z Soltes will speak about Ben Shahn (1898-1969)\, who arrived in 1906 as a child to the United States from Tsarist-governed Lithuania. Four years after the Tsarist authorities had exiled his father to Siberia for alleged revolutionary activities\, his mother managed to bring the family to New York. There they reconnected with Ben’s father who had escaped from Siberia and made it to the US by way of South Africa. \n\n\n\n\nImage above: Ben Shahn\, Detail of the Mural “The Meaning of Social Security\,” Wilbur J. Cohen Federal Building\, Washington\, D.C. \n\n\n\n\n\nWithin 25 years Shahn emerged as perhaps the key figure in the developing arena of American Social Realist painting with a strongly political bent. He became renowned for his championing of left-wing causes and in his later years achieved recognition as a photographer\, as well. No artist in the twentieth century more effectively than Ben Shahn simultaneously appreciated his adopted country for its promising possibilities and criticized it stridently for its failures to live up to that promise. His work remains painfully relevant today. \n\n\n\n\n\nBen Shahn\, Children of destitute Ozark mountaineer\, Arkansas\, 1935 \n\nBen Shahn\, Sharecropper on Sunday\, Little Rock\, Ark.\, 1935. \nBen Shahn\, Mural at the Wilbur J. Cohen Federal Building\, Washington\, DC\, 1939-1940 \n\n\n\nBen Shahn\, Mural at the Wilbur J. Cohen Federal Building\, Washington\, DC\, 1939-1940 \n\nOri Z Soltes teaches art history\, theology\, philosophy\, and political history in Georgetown University’s Center for Jewish Civilization. He is the author or editor of 31 books\, including Jewish American Painters in the Twentieth Century and Welcoming the Stranger: Abrahamic Hospitality and Its Contemporary Implications (with Rachel Stern). \n\n\n\n\nBen Shahn\, Lidice poster\, DPLA\, between 1941 and 1945. \nBen Shahn\, Torture\, proposed poster in The Nature of the Enemy series\, 1942 or 43\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/ben-shahn/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20250227T120000
DTEND;TZID=America/New_York:20250227T130000
DTSTAMP:20260407T101356
CREATED:20250120T150033Z
LAST-MODIFIED:20250302T093445Z
UID:8797-1740657600-1740661200@fritzaschersociety.org
SUMMARY:Love and Betrayal. The German-Jewish artist Fritz Ascher (1893-1970) A presentation by Rachel Stern\, organized by Saint Elizabeth University\, Morristown (NJ)
DESCRIPTION:Rachel Stern will present insights into the art and life of the German-Jewish artist Fritz Ascher and the mission of The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art. Introduced by Richard Quinlan\, Director of the Center for Holocaust and Genocide Education at Saint Elizabeth University in Morristown (NJ). \n\n\n\nImage above: Fritz Ascher\, Male Portrait in Red\, c. 1915. Private collection © Bianca Stock \n\n\n\n\nFritz Ascher (1893-1970)\, a painter\, graphic artist\, and poet\, was recommended to the art academy in Königsberg by the renown German painter Max Liebermann at the age of 16. From 1913 onwards\, he gained recognition as a painter in Berlin. Ascher was a keen observer of his era; the devastation of World War I and the revolutionary turmoil in Berlin inspired him to explore Christian and mystical themes\, which he reinterpreted in innovative ways. Following the rise of the Nazi regime in 1933\, the Jewish-born artist faced a ban on creating\, exhibiting\, and selling his work. During the pogroms of November 9/10\, 1938\, he was arrested and subsequently interned in the Sachsenhausen concentration camp and the Potsdam Gestapo prison. \n\n\n\n\n\nFritz Ascher\, Bajazzo\, c. 1916. Private collection © Bianca Stock. Photo: Malcolm Varon \n\nFritz Ascher\, Study for Golgotha: Mary Magdalene\, c. 1919. Private collection © Bianca Stock. Photo: Rafi Koegel \n\n\nAscher survived the Shoah from 1942\, finding refuge in a cellar in Berlin-Grunewald. During these harrowing and isolating years\, he composed poetry. Post-1945\, Ascher developed a distinctive artistic style\, drawing inspiration from the nearby Grunewald\, focusing on landscapes while remaining faithful to his expressionist visual language. He lived a reclusive life until his passing on March 26\, 1970. \n\n\nFritz Ascher\, Two Sunflowers\, c. 1959. © Bianca Stock. Photo: Malcolm Varon \nFritz Ascher\, Landscape\, c. 1960. Oil on canvas\, 40 x 37.4 in. © Bianca Stock. Photo: Malcolm Varon \n\nRachel Stern is the founding director of the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art in New York. She emigrated to the USA in 1994\, wrote for AUFBAU and worked for ten years in the Department of Drawings and Prints at the Metropolitan Museum of Art in New York. Most recently\, she published a selection of poems by Fritz Ascher\, Poesiealbum 357 (Wilhelmshorst: Märkischer Verlag 2020) and co-edited with Ori Z Soltes “Welcoming the Stranger. Abrahamic Traditions and Its Contemporary Implications” (New York: Fordham University Press 2024)\, and co-edited with Jutta Götzmann the exhibition catalogue “Love and Betrayal. The Expressionist Fritz Ascher from New York Private Collections” (Petersberg: Michael Imhof Publishers 2024). Stern studied art history and economics at the Georg August University of Göttingen. \n\n\nThe exhibition LOVE AND BETRAYAL – The Expressionist Fritz Ascher from New York Private Collections is on view at Haus der Graphischen Sammlung in Freiburg\, Germany until March 2\, 2025. It was co-curated by Rachel Stern and Jutta Götzmann\, Managing Director of the Freiburg Municipal Museums. The exhibition catalogue\, published by Michael Imhof Verlag in 2024\, can be ordered in the online shop of the museum. \n\nMORE INFORMATION ABOUT THE EXHIBITION\nThis event is organized by the Center for Holocaust and Genocide Education at Saint Elizabeth University. It is co-sponsored by The Fritz Ascher Society. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/love-and-betrayal/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20250212T120000
DTEND;TZID=America/New_York:20250212T130000
DTSTAMP:20260407T101356
CREATED:20250126T195041Z
LAST-MODIFIED:20250213T120051Z
UID:8829-1739361600-1739365200@fritzaschersociety.org
SUMMARY:Signs and Wonders. Author Melvin Jules Bukiet in Conversation with Artist David Stern
DESCRIPTION:This presentation starts with Bukiet reading an excerpt from a novel he is currently working on\, followed by an inspiring discussion with Stern about the daily reality and nature of being a writer. They continue with a broader conversation about the arts and their relationship to reality. As they delve into his books\, they explore the direct or indirect presence of the Holocaust in his works and the way it still shakes the foundation of our civilization. \n\n\n\n\n\n\n\nMelvin Jules Bukiet has published eleven books\, including After\, Signs and Wonders and Strange Fire. His fiction has appeared in the Paris Review and other magazines\, his non-fiction in the American Scholar and other magazines. He teaches at Sarah Lawrence College and lives in New York City. \n\n\n\n\n\n\nAMAZON LINK TO ORDER MELVIN BUKIET’S BOOKSDavid Stern is a German born American figurative painter\, whose work is rooted in the European figurative tradition and informed by American Abstract Expressionism. Stern’s art explores the human condition. With a career spanning over 45 years\, his works have been exhibited internationally and can be found in public and private collections across the United States\, Europe\, and Asia. \nDAVID STERN WEBSITE\nThis event is part of the online series “Flight or Fight. stories of artists under repression.”  \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/bukiet-stern/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250211T190000
DTEND;TZID=America/New_York:20250211T210000
DTSTAMP:20260407T101356
CREATED:20250103T001741Z
LAST-MODIFIED:20250212T194701Z
UID:8762-1739300400-1739307600@fritzaschersociety.org
SUMMARY:Plunderer. The Life and Time of a Nazi Art ThiefScreening followed by Q+A with producer John FriedmanMarlene Meyerson JCC Manhattan\, New York
DESCRIPTION:Hermann Goering’s art dealer\, Bruno Lohse\, prospered by selling stolen art for decades after WWII\, while Jewish families struggled to regain their paintings and memories. Captured and interrogated by the Monuments Men after the war\, he served a brief prison sentence. After his release\, he dealt profitably in stolen art for sixty years after the war\, selling to collectors\, galleries\, and major museums. Highlighting stories of Holocaust survivors working to reclaim their families’ lost artworks\, Plunderer reveals the failures of post-war justice and the continuing complicity of governments and the art trade. \n\n\nScreening followed by Q+A with producer John Friedman. \nIn partnership with The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art. \n\n\n\n\n\nDirector: Hugo Macgregor\nYear: 2024\nRuntime: 115 minutes\nLanguage: English\nCountry: United Kingdom\, United States\n\n\n\n\n\n\n\n\n\nTRAILER\n\n\n\n20% off tickets with code fritz2025\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/plunderer/
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/2025/01/Plunderer-film-still.jpg
ORGANIZER;CN="Marlene Meyerson JCC Manhattan":MAILTO:info@mmjccm.org
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DTSTART;TZID=America/New_York:20250204T190000
DTEND;TZID=America/New_York:20250204T210000
DTSTAMP:20260407T101356
CREATED:20250120T162036Z
LAST-MODIFIED:20250120T162036Z
UID:8817-1738695600-1738702800@fritzaschersociety.org
SUMMARY:The Return from the Other Planet\, 2023Screening followed by Q+A with director Assaf LapidMarlene Meyerson JCC Manhattan\, New York
DESCRIPTION:Ka.tzetnik\, the Holocaust author who sold millions of copies and shaped its memory in Israel\, was and remains an enigma. He remained elusive as rumors spread\, claiming that he wrote all night long\, in complete solitude\, wearing his prisoner uniform from Auschwitz and burning his manuscripts by morning. During the explosive Eichmann trial\, Ka.tzetnik was forced to reveal his identity to the public as he was summoned to testify. In a short testimony of a few minutes\, he coined the term “The Other Planet” in describing Auschwitz\, and fainted. \nThe film explores the Ka.tzetnik enigma\, shedding light on the person behind the myth\, and brings back a chapter in his life that wasn’t discussed much—his personal odyssey in coping with his trauma through the unconventional path of LSD. \n\n\nScreening followed by Q+A with director Assaf Lapid. \nIn partnership with the Books That Changed My Life Festival 2025\, 3GNY\, Claims Conference\, and The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art. \n\n\n\n\n\nDirector: Assaf Lapid\nYear: 2023\nRuntime: 81 minutes\nLanguage: Hebrew\, English\, Dutch\, Yiddish\nCountry: Israel\, Germany\n\n\n\n\n\n\n\n\n\n\n\n20% off tickets with code fritz2025\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/return-from-the-other-planet-screening/
LOCATION:Marlene Meyerson JCC Manhattan\, 334 Amsterdam Ave\, New York\, NY\, 10023\, United States
CATEGORIES:Events,Lectures
ORGANIZER;CN="Marlene Meyerson JCC Manhattan":MAILTO:info@mmjccm.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20250126T160000
DTEND;TZID=America/Los_Angeles:20250126T180000
DTSTAMP:20260407T101356
CREATED:20250120T115205Z
LAST-MODIFIED:20250127T123146Z
UID:8792-1737907200-1737914400@fritzaschersociety.org
SUMMARY:Opening receptionSURVIVAL AND INTIMATIONS OF IMMORTALITY:The Arts of Alice Lok Cahana\, Rabbi Ronnie Cahana and Kitra CahanaOregon Jewish Museum and Center for Holocaust Education\, Portland\, Oregon
DESCRIPTION:Please join us for the opening event! \nSurvival and Intimations of Immortality: The Art of Alice Lok Cahana\, Rabbi Ronnie Cahana\, and Kitra Cahana is a unique and powerful exhibition that explores the role of art and creativity\, bringing the past into the present by focusing on three generations of artists from the same family. Alice Lok Cahana (1929-2017) was a Holocaust survivor who pledged she would become an artist if she survived the war. Rabbi Ronnie Cahana\, Alice’s oldest son\, is a poet and survivor of a major stroke. Kitra Cahana\, Ronnie’s daughter\, is a filmmaker and photographer. This exhibition reveals how the tragedy of the Holocaust impacted multiple generations of a family and how each member transformed the destructive trauma of the Shoah into acts of intense creative accomplishment\, taking their own path to provide a through-line to preserving the memories\, culture\, and identity of their shared family and the Jewish people. \nImage above: Alice Lok Cahana\, 1940-44 Triptych: right panel\, 1984\, Collection Ronnie and Michael Cahana\, Inv. 052 \nAlice Lok Cahana\, New Day III\, c. 1980\, Collection Ronnie and Michael Cahana\, Inv. 078 \nKitra Cahana\, Caravana Migrante: The Question of the Future (Portrait of Maryuri Celeste\,18\, from Santa Rosa\, Honduras) Tijuana\, Mexico\, 2018 \nSurvival and Intimations of Immortality is guest-curated by Ori Z Soltes. It was organized in cooperation with The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. Funding has been generously provided by the Craig E. Wollner Exhibition Fund\, the Arnold and Augusta Newman Photography Fund\, and the Judy Margles Education and Culture Fund \nOREGON JEWISH MUSEUM AND CENTER FOR HOLOCAUST EDUCATIONThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.YOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/opening-reception-ojmche/
LOCATION:Oregon Jewish Museum and Center for Holocaust Education\, 724 NW Davis St\, Portland\, OR\, 97209\, United States
CATEGORIES:Events,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2025/01/16_Alice-Lok-Cahana_triptych-right-1-scaled.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250126
DTEND;VALUE=DATE:20250526
DTSTAMP:20260407T101356
CREATED:20241122T200714Z
LAST-MODIFIED:20251121T160133Z
UID:8596-1737849600-1748217599@fritzaschersociety.org
SUMMARY:SURVIVAL AND INTIMATIONS OF IMMORTALITY:The Arts of Alice Lok Cahana\, Rabbi Ronnie Cahana and Kitra CahanaOregon Jewish Museum and Center for Holocaust Education\, Portland\, Oregon
DESCRIPTION:Survival and Intimations of Immortality: The Art of Alice Lok Cahana\, Rabbi Ronnie Cahana\, and Kitra Cahana is a unique and powerful exhibition that explores the role of art and creativity\, bringing the past into the present by focusing on three generations of artists from the same family. Alice Lok Cahana (1929-2017) was a Holocaust survivor who pledged she would become an artist if she survived the war. Rabbi Ronnie Cahana\, Alice’s oldest son\, is a poet and survivor of a major stroke. Kitra Cahana\, Ronnie’s daughter\, is a filmmaker and photographer. This exhibition reveals how the tragedy of the Holocaust impacted multiple generations of a family and how each member transformed the destructive trauma of the Shoah into acts of intense creative accomplishment\, taking their own path to provide a through-line to preserving the memories\, culture\, and identity of their shared family and the Jewish people. \nSurvival and Intimations of Immortality is curated by Ori Z Soltes and co-organized by Rachel Stern in collaboration with the museum. \nPress voices \nArts Beat\, Oregon Public BroadcastingThe Franklin PressKATU TVOREGON JEWISH MUSEUM AND CENTER FOR HOLOCAUST EDUCATIONAlice Lok Cahana\, 1940-44 Triptych: right panel\, 1984\, Collection Ronnie and Michael Cahana\, Inv. 052 \nKitra Cahana\, Caravana Migrante: The Question of the Future (Portrait of Maryuri Celeste\,18\, from Santa Rosa\, Honduras) Tijuana\, Mexico\, 2018 \nVIEW OUR BOOK AND RECORDINGS OF RELATED EVENTSThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.YOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/cahana-ojmche/
LOCATION:Oregon Jewish Museum and Center for Holocaust Education\, 724 NW Davis St\, Portland\, OR\, 97209\, United States
CATEGORIES:Exhibitions,Past Exhibitions
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250122T120000
DTEND;TZID=America/New_York:20250122T130000
DTSTAMP:20260407T101356
CREATED:20241222T114115Z
LAST-MODIFIED:20250122T183112Z
UID:8673-1737547200-1737550800@fritzaschersociety.org
SUMMARY:Making Way for Berthe Weill—Art Dealer of the Parisian Avant-Garde A presentation by Lynn Gumpert\, New York
DESCRIPTION:Berthe Weill was a trailblazing art dealer who exhibited works by emerging artists in her Parisian gallery from 1901 to 1941. Even though many of them went on to become key avant-garde figures\, Weill’s role has been omitted from most historical accounts of 20th-century modernism. \nIn this presentation\, Lynn Gumpert\, a co-curator of the first exhibition on Weill\, provides an overview of this remarkable woman. \n\n\n\n\nImage above: Amedeo Modigliani\, Fille rousse (Girl with red hair)\, c. 1915. Oil on canvas\, 16 x 14 3/8 in. (40.5 x 36.5 cm). Musée de l’Orangerie\, Paris. Jean Walter and Paul Guillame Collection\, 1960.46 © Photo: Musée de l’Orangerie / Sophie Crépy \n\n\n\n\nPassionate and outspoken\, Weill was the first to sell works by Pablo Picasso\, to exhibit Henri Matisse\, and organized Amedeo Modigliani’s only solo show during his lifetime. She also championed fledgling Fauves and Cubists along with numerous women artists. Born in 1865 in Paris to a modest Alsatian Jewish family\, she apprenticed in her early teens with a print and antique dealer. \nPablo Picasso\, Le Chemineau ou Vieux Tolédan (The Vagabond or Old Tolédan)\, 1901. Pen and Indian ink enhanced with watercolor and pencil on wove paper mounted on paper board. 8 1/4 x 5 3/8 in. (21 x 13.6 cm). Musée des Beaux-Arts\, Reims\, France. 949.1.108 © 2024 Estate of Pablo Picasso / Artists Rights Society (ARS)\, New York. Photo: Christian Devleeschauwer \n\nPablo Picasso\, La Miséreuse accroupie (Crouching beggarwoman)\, 1902. Oil on canvas\, 39 7/8 x 26 in. (101.3 x 66 cm). Art Gallery of Ontario\, Canada. Anonymous gift\, 1963\, 63/1 © 2024 Estate of Pablo Picasso / Artists Rights Society (ARS)\, New York \n\n\n\n\n\n\n\nAt the age of 36\, she opened the Galerie B. Weill with a business card that read “Make way for the young.” Weill also sold books\, prints\, and antiques to pay the rent. In 1941 she was forced to close during the Nazi occupation. Managing to avoid deportation\, Weill emerged impoverished and in poor health after the war. She died in 1951 at the age of 85. \n\n\n\n\n\n\nHenri Matisse\, Liseuse en robe violette (Reading woman in a violet dress)\, 1898. Oil on canvas\, 14 7/8 x 18 1/8 in. (37.8 x 46 cm). Musée des Beaux-Arts\, Reims\, France 949.1.40.  © Succession H. Matisse / Artists Rights Society (ARS)\, New York. Photo: Christian Devleeschauwer \nÉmilie Charmy\, Piana Corsica\, 1906. Oil on canvas mounted on board\, 21 1/8 x 25 3/8 in. (53.5 x 64.5 cm). Galerie Bernard Bouche\, Paris © Alberto Ricci \n\n\n\n\n\n\nMuseum director\, curator\, administrator\, and art historian\, Lynn Gumpert has overseen and organized exhibitions on four continents. For more than 25 years\, she has served as Director of New York University’s Grey Art Museum\, formerly known as the Grey Art Gallery. During her tenure\, the Grey has presented over 75 exhibitions. Among them are: Taking Shape: Abstraction from the Arab World\, 1950s–1980s (2020); The Beautiful Brain: The Drawings of Santiago Ramón y Cajal (2018); and The Downtown Show: The New York Art Scene\, 1974–1984 (2006). Gumpert received a BA from the University of California at Berkeley and an MA in art history from the University of Michigan. The French government honored Gumpert with the distinction of Chevalier of the Order of Arts and Letters in 1999. \n\n\n\n\n\n\nMarc Chagall\, Bella à Mourillon\, 1926. Oil on canvas\, 18 1/8 x 25 5/8 in. (46 x 65 cm). Private collection © 2024 Artists Rights Society (ARS)\, New York / ADAGP\, Paris \nRaoul Dufy\, 30 ans ou la Vie en rose (Thirty years or la Vie en rose)\, 1931. Oil on canvas\, 38 5/8 x 50 3/8 in. (98 x 128 cm). Musée d’Art Moderne de la Ville de Paris. Donation of Mathilde Amos\, 1955\, AMVP 1924 © 2024 Artists Rights Society (ARS)\, New York. Photo: CC0 Paris Musées / Musée d’Art Moderne de la Ville de Paris \n\n\n\n\n\n\nThe exhibition Make Way for Berthe Weill. Art Dealer of the Parisian Avant-Garde features some 110 paintings\, drawings\, prints\, and sculpture—many of which were shown at her gallery during the first four decades of the 20th century. The exhibition also includes archival documents—such as letters\, exhibition catalogs\, photographs\, and journals—that reveal her deep relationships with a range of artists. Examining Weill’s contributions to the history of modernism as a gallerist\, a passionate advocate of contemporary art\, and a Jewish woman\, it brings to light the remarkable achievements of a singular figure who overcame sexism\, antisemitism\, and economic struggles in her quest to promote emerging artists. \nThe exhibition is on view at the Grey Art Museum October 1\, 2024–March 1\, 2025 and will tour to the Montreal Museum of Fine Arts May 10–September 7\, 2025\, and the Musée de l’Orangerie in Paris October 8\, 2025–January 25\, 2026. \n\n\n\n\n\n\nEXHIBITION AT THE GREY ART MUSEUMLynn Gumpert \n\n\n\n\n\n\nAn illustrated publication\, Berthe Weill: Art Dealer of the Parisian Avant-Garde\, accompanies the exhibition. Published by Flammarion\, it illuminates the rich artistic period by spotlighting recently rediscovered artists and offering new insights into the era’s central figures. It includes an introductory essay by Le Morvan\, a discussion of portraits of Weill by Grace\, an essay on antisemitism in late 19th-century France by historian Charles Dellheim\, an overview of collectors who frequented the Galerie B. Weill by researcher Robert McD. Parker\, and entries on works by Eloy. It also features a chronology and selected bibliography. The publication is available for purchase in-person at the Grey Art Museum\, NYU\, and through the online bookstore. \n\n\n\n\n\n\nORDER THE BOOK HERE\n\n\n\n\n\nAlso available is Weill’s recently translated 1933 memoir\, Pow! Right in the Eye! Thirty Years Behind the Scenes of Modern French Painting (University of Chicago Press\, 2022)\, which offers rare insights into the Parisian avant-garde and a lively inside account of the development of the modern art market. The volume is edited by Lynn Gumpert and translated by William Rodarmor\, with an introduction by Marianne Le Morvan and foreword by Julie Saul and Lynn Gumpert. \n\n\n\n\n\n\nORDER THE BOOK HERE\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” It is co-sponsored by The Grey Art Museum. \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/berthe-weill/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/12/12.-Modigliani_Fille-rousse_1915-copy.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250108T120000
DTEND;TZID=America/New_York:20250108T130000
DTSTAMP:20260407T101356
CREATED:20241121T182200Z
LAST-MODIFIED:20250109T192752Z
UID:8572-1736337600-1736341200@fritzaschersociety.org
SUMMARY:Fred Kormis – Sculpting the Twentieth Century Presentation by Barbara Warnock\, London (England)
DESCRIPTION:Born in 1894 in Frankfurt into an Austrian and German Jewish family\, Fred Kormis’ life and career were shaped and disrupted by some of the most significant events of the twentieth century. Kormis saw action and was wounded in the First World War as part of the Austrian army\, before being held for four years as a prisoner of war in Siberia. \nImage above: Fred Kormis\, Two Heads\, c. 1930s © Wiener Holocaust Library Collections \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nHe worked as an artist during the politically and culturally tumultuous Weimar period\, and during the Nazi era revealed himself to be Jewish\, a decision that led to the removal of his art from galleries. Kormis and his wife Rachel Sender left Germany in 1933\, and many of the works he left behind in Germany were lost. In exile in relative poverty in Britain from 1934\, Kormis formed deep links with many in the Jewish refugee community in London. \n\n\n\n\n\n\n\n\nFred Kormis\, Portrait of a Man\, c. 1915-20. Woodcut printed on oriental laid paper © Wiener Holocaust Library collections \nFred Kormis\, Adam and Eve\, 1986. Bronze resin \n\n\n\n\n\n\nDuring the war\, he had to rebuild his life and career once again\, when his studio and much of the work he had produced in Britain were destroyed in an air raid. Kormis’ artistic practice was varied and evolved over time\, but his experiences as a prisoner of war created in him a lifelong preoccupation with memorialising and representing in sculptural form the emotional impact of captivity. This theme culminated in the 1960s in his Prisoner of War and Concentration Camp Victim memorial in Gladstone Park in London. \n\n\n\n\n\n\n\n\nFred Kormis\, Memorial to Prisoners of War and Concentration Camp Victims\, 1969. Gladstone Park\, London (England). Photo Adam Soller\n\n\n\nFred Kormis\, Detail: Head from Memorial to Prisoners of War and Concentration Camp Victims\, 1969. Gladstone Park\, London (England). Photo Adam Soller\n\n\n\n\n\n\n\nDr Barbara Warnock is the Senior Curator and Head of Education at The Wiener Holocaust Library\, where she oversees the education programme and has curated the exhibitions Jewish Resistance to the Holocaust; Berlin London: The Lost Photographs of Gerty Simon; Fighting Antisemitism from Dreyfus to Today\, and Forgotten Victims: The Nazi Genocide of the Roma and Sinti\, amongst others. She is the author (with John March) of Berlin-London: The Lost Photographs of Gerty Simon (2019)\, a Spectator Book of the Year\, and the editor of Anti-Antisemitism: Countering Anti-Jewish Racism in Western Europe\, 1890-2022 (2022). She has written a number of articles on refugee history\, the Nazi persecution of Roma and the history of The Wiener Holocaust Library. She obtained her doctorate in Austrian history from Birkbeck College\, University of London\, in 2016. She was for many years a history teacher and examiner. \n\n\n\n\n\n\n\n\n\n\n\n\nThe Wiener Holocaust Library in London\, the world’s oldest and Britain’s largest archive on the Nazi era and the Holocaust\, received a collection for Fred (Fritz) Kormis’ documents and photographs in 1986. Their exhibition Fred Kormis – Sculpting the Twentieth Century reunites some of the most important of his diverse works\, borrowed from major institutions in the UK. It is on view until February 6\, 2025. \nA book publication contains personal reflections of Kormis by David Aronsohn\, and expert assessments of the sculptor’s extraordinary life\, work and legacy. \n\n\n\n\n\n\nEXHIBITION FRED KORMIS – SCULPTING THE TWENTIETH CENTURY\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” It is co-sponsored by The Wiener Holocaust Library. \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/fred-kormis/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/11/1032-002-007_023-0001-copy.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241218T120000
DTEND;TZID=America/New_York:20241218T130000
DTSTAMP:20260407T101356
CREATED:20241124T191846Z
LAST-MODIFIED:20241218T191811Z
UID:8595-1734523200-1734526800@fritzaschersociety.org
SUMMARY:Behind the Glass: The Villa Tugendhat and Its FamilyA book talk by Michael Lambek\, Toronto (Canada)
DESCRIPTION:In this book talk\, Michael Lambek follows the intertwined history of Mies van der Rohe’s iconic Villa Tugendhat and the family who inhabited it from 1930-1938. Part memoir\, part social history\, the book traces the family from its origins in a Jewish ghetto to the present day\, focussing on the author’s maternal grandmother\, Grete Tugendhat who commissioned and championed the house\, which is now a World Heritage Site in Brno\, Czechia. \n\n\n\n\nImage above: Ludwig Mies van der Rohe\, Villa Tugendhat\, Brno (Czechia)\, photo David Zidlicky \n\n\n\n\n\n\n\n\n\n\nThe Villa Tugendhat\, designed by Mies van der Rohe in 1929\, is an icon of architectural modernism in Brno\, Czechia. It was also a family home. Centring my account on my remarkable maternal grandmother\, Grete Tugendhat\, who commissioned\, loved\, and championed the house\, I write about what the house has meant for the family and the family for the house. I recount the social history of the family from a Moravian ghetto to wealthy textile owners\, to the contemporary diaspora. The family fled in 1938-9 but Grete conditionally offered the house to the city of Brno in the late 1960s. Eventually the house became a UNESCO World Heritage site and was restored as she had wished. It has become a museum of itself. In 2017 the city invited the family back\, raising the question of how they should be represented in the house and what this belated recognition of a Jewish family and house have come to mean for the city itself. \n\n\n\n\n\n\nLiving room\, Villa Tugendhat. Brno (Czechia) \nBoys by window\, Villa Tugendhat\, Brno (Czechia)\, 1935\nLiving room\, Villa Tugendhat. Brno (Czechia). Copyright David Zidlicky \nLiving room\, Villa Tugendhat. Brno (Czechia). Copyright David Zidlicky \nGrete Tugendhat\, 1940. Bromine oil print. \n\n\n\n\n\n\nMichael Lambek is Professor and Canada Research Chair emeritus of Anthropology at the University of Toronto and former Professor at the London School of Economics. He has carried out ethnographic research in Madagascar\, the Comoro Archipelago\, and Switzerland\, writing on questions of religion\, ethical life\, historicity\, memory\, healing\, and kinship. In 2019 he delivered a Tanner Lecture to the Philosophy Department at the University of Michigan. He is the author of 8 books and 9 edited collections. \nHis book “Behind the Glass: The Villa Tugendhat and Its Family” was published by University of Toronto Press in 2022.\nYou will receive a 25% discount on the hardcover and e-book formats with the code Lambek25. \n\n\n\n\n\n\nORDER THE BOOK HERE\nThis event is part of the online series “Flight or Fight. stories of artists under repression.”  \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/villa-tugendhat/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/11/Ch-1-house-photo-by-Zidilcky-scaled.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241217T190000
DTEND;TZID=America/New_York:20241217T210000
DTSTAMP:20260407T101356
CREATED:20241209T221332Z
LAST-MODIFIED:20241209T221332Z
UID:8674-1734462000-1734469200@fritzaschersociety.org
SUMMARY:World Premiere: Kafka’s Last TrialScreening at Marlene Meyerson JCC Manhattan
DESCRIPTION:Screening followed by Q+A with director Eliran Peled\, writer Daphne Merkin\, and author Benjamin Balint. Film and screening offered in partnership with the New York Jewish Week. Co-sponsored by Fritz Ascher Society for Persecuted\, Ostracized and Banned Art. \nUpon his death in 1924\, the great Czech-Austrian novelist Franz Kafka left behind a rich collection of unpublished manuscripts\, with instructions to his friend Max Brod to burn them all. \nThanks to Brod’s failure to fulfill Kafka’s wishes\, the world has come to know one of the great writers of the 20th century. Now\, 100 years after his death\, the film “Kafka’s Last Trial” tells the story of this altruistic betrayal and the multi-generational effort to preserve Kafka’s literary legacy. Based on the book by renowned author Benjamin Balint\, the film takes viewers from the twisty streets of Prague to Spinoza Street in Tel Aviv\, where Brod’s legendary secretary died at the age of 102\, and where the manuscripts discovered in her home would lead to a trial that could have been written by Kafka himself. \nDon’t miss the World Premiere of this new film\, by Israeli director Eliran Peled\, and brought to New York by the New York Jewish Week\, immediately followed by a discussion with Peled\, Balint and acclaimed literary critic Daphne Merkin. \n\n\n\n\n\n\n\n\nBUY TICKET HERE\n\n\n\n\n\nCan’t make it to the event in person? Click here to purchase a virtual ticket. You’ll receive online access to the film and a link to watch our live conversation with Eliran Peled\, Daphne Merkin and Benjamin Balint. \nTickets for screening and Q&A are $36. $54 VIP tickets entitle you to join us at a meet-and-greet with the speakers before the film. \nBy registering for this event\, you agree to receive emails from the New York Jewish Week about the film and other New York Jewish news. You can unsubscribe at any time. \n\n\n\n\n\n\nBUY VIRTUAL TICKET HERE\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/kafkas-last-trial/
LOCATION:Marlene Meyerson JCC Manhattan\, 334 Amsterdam Ave\, New York\, NY\, 10023\, United States
CATEGORIES:Events,Lectures
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ORGANIZER;CN="Marlene Meyerson JCC Manhattan":MAILTO:info@mmjccm.org
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BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20241206T170000
DTEND;TZID=Europe/Berlin:20241206T180000
DTSTAMP:20260407T101356
CREATED:20241204T200057Z
LAST-MODIFIED:20241218T105527Z
UID:8662-1733504400-1733508000@fritzaschersociety.org
SUMMARY:Love\, Betrayal and Ascher's Unpainted PicturesTour by Exhibition Curator Jutta GötzmannHaus der Graphischen Sammlung\, Freiburg (Germany)
DESCRIPTION:Jutta Götzmann\, exhibition curator of “Love and Betrayal\,” presents the artist Fritz Ascher (1893-1970) during a tour. In addition to early charcoal\, graphite and ink drawings\, colorful gouaches are fascinating. Poems that are considered his “unpainted pictures” and were created in secret during the National Socialist era complement the exhibition. \n\n\n\n\n\n\n\n\nBUY TICKETS HERE\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/jutta-goetzmann/
LOCATION:Haus der Graphischen Sammlung\, Salzstraße 34\, Freiburg im Breisgau\, 79098\, Germany
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/12/HGS_Liebe-und-Verrat_Foto_Patrick-Seeger-copy-2.jpeg
ORGANIZER;CN="Augustinermuseum":MAILTO:augustinermuseum@stadt.freiburg.de
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241204T120000
DTEND;TZID=America/New_York:20241204T130000
DTSTAMP:20260407T101356
CREATED:20241119T225332Z
LAST-MODIFIED:20241205T115815Z
UID:8555-1733313600-1733317200@fritzaschersociety.org
SUMMARY:Gertrud Kauders\, Jewish Artist from Prague (1883-1942):Surprises\, Enigmas\, Opportunities Presentation by Simon During\, Brisbane (Australia)
DESCRIPTION:While workmen were demolishing a house on Prague’s outskirts in July 2018 they were astonished to be deluged by works of art falling from a ceiling. Nobody knew the works had been hidden there. The art turned out to be that of Gertrud Kauders who had hidden them in the house of a friend before being deported to Theresienstadt and then to Majdanek where she was murdered on arrival in May 1942. Kauders was a serious and inventive artist\, quite well known in Prague’s art world of the time.  She worked in oils\, pencil\, crayon\, watercolour and gouache. Now her work is held by museums around the world. \n\n\n\n\nImage above: Gertrud Kauders © Kauders Family Estate \n\n\n\n\n\n\n\n\n\n\nGertrud came from an affluent secular German-speaking Prague Jewish family. Aged 21 she was given sufficient capital to live on for the rest of her life. She went to art school in Paris and Munich\, and produced both works on paper and on canvas\, at first mainly for her own and her family’s sake it seems. These works reflect a way of life. But in the mid-1920s money became tight as a result of Germany’s hyperinflation. At that time she became more involved in the art world\, participating in several prestigious exhibitions\, including those of the Prague Secession.  In one such exhibition (the 1926 Concordia show)\, a respected critic of the time singled out her works on paper as the best pieces on display. \nSimon During’s presentation tells the story of Kauders’ art\, its recovery and distribution both to museums and the family.  It goes on to think about what Kauders’ art means to us today. \n\n\n\n\n\nSimon During\, born in Wellington NZ in 1950\, is Gertrud Kauders’s great nephew who played a key role in retrieving her work. He is a professor of English Literature who has worked in universities around the world\, including the University of Melbourne\, UC Berkeley\, Johns Hopkins and the Freie Universität\, Berlin. He currently spends his time between Brisbane Australia and Berlin. His most recent book (co-written with Amanda Anderson)\, Humanities Theory will appear soon with Oxford University Press. \n\n\n\n\n\n\n\n\n\n\n\nGertrud Kauders\, Self-portrait in red beret. Watercolor and ink on paper\, 60 x 39 cm. Miriam Kauders estate © Kauders Family Estate \nGertrud Kauders\, Portrait of a woman in summer dress. Graphite\, watercolour and ink on paper\, 32\,5 x 47\,0 cm. Jewish Museum New York © Kauders Family Estate \n\n\nGertrud Kauders\, Flowers in a blue vase\, 1934. Watercolour on paper\, 59 x 44 cm. Collection Simon During © Kauders Family Estate\n\n\nGertrud Kauders\, Nude on red chair. Graphite\, watercolour and ink on paper\, 51 x 36 cm. Collection Simon During © Kauders Family Estate \n\n\n\nToday\, works by Gertrud Kauders are in the collections of The Jewish Museum of Prague\, the Jewish Museum in New York\, the Museum of New Zealand and the United States Holocaust Memorial Museum in Washington\, DC. \nOnly the last two institutions have made their collections digitally available (USHMM has not yet added photos of the artwork): \n\n\n\nGERTRUD KAUDERS AT MUSEUM OF NEW ZEALANDGERTRUD KAUDERS AT USHMM\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/gertrud-kauders/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/11/PANA1470.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241120T120000
DTEND;TZID=America/New_York:20241120T130000
DTSTAMP:20260407T101356
CREATED:20241011T123307Z
LAST-MODIFIED:20241120T185030Z
UID:8495-1732104000-1732107600@fritzaschersociety.org
SUMMARY:Felka Platek - Artist and Companion of the Painter Felix Nussbaum Presentation by Anne Sibylle Schwetter\, Osnabrück (Germany)
DESCRIPTION:Felka Platek (1899 Warsaw – 1944 Auschwitz) came to Berlin from Warsaw in the early 1920s to become a painter. In 1932 she followed her friend and later husband Felix Nussbaum (1904 Osnabrück – 1944 Auschwitz) to Italy. In 1935 they decided to go into exile in Belgium. However\, neither of them could escape persecution by the Nazis. They were captured in their hiding place in Brussels on June 21\, 1944 and murdered in Auschwitz shortly afterwards. \n\n\n\n\nImage above: Felka Platek\, Self-portrait in front of an open window\, around 1940. Gouache on drawing paper\, 65 x 49.7 cm. Felix-Nussbaum-Haus at Museumsquartier Osnabrück\, on permanent loan from the Felix Nussbaum Foundation\, photo © Felix-Nussbaum-Haus Osnabrück \n\n\n\n\n\n\n\n\n\nAnne Sibylle Schwetter’s presentation provides an insight into Platek’s artistic work\, from her earliest works from 1927 to the last known graphics\, which were created in hiding in 1943. \n\n\n\n\n\nFelka Platek\, Portrait of a young woman (self-portrait?)\, 1927. Oil and gouache on olive green paper\, 70 x 50 cm. Felix-Nussbaum-Haus at Museumsquartier Osnabrück\, photo © Felix-Nussbaum-Haus Osnabrück \nFelka Platek\, Still life with watering can and agave\, 1943. Gouache on paper\, 48 x 63 cm. Felix-Nussbaum-Haus at Museumsquartier Osnabrück\, photo © Felix-Nussbaum-Haus Osnabrück \n\nIn contrast to that of her well-known artist colleague and husband Felix Nussbaum\, Felka Platek’s life and work remain fragmentary to this day. Only around 30 of her works have survived. The little that is known about Felka Platek’s life is based primarily on research carried out as part of the research into Felix Nussbaum. \nAlthough her life and work are fragmentary\, the surviving images nevertheless bear impressive witness to an artist’s biography that was broken by exile\, flight and persecution. The lecture provides an insight into Platek’s artistic work\, from her earliest works from 1927 to the last known graphics\, which were created in hiding in 1943. \n\n\n\nFelka Platek\, The Melting Snow\, 1940. Gouache on paper\, 45.4\, 35.5 cm\, Felix-Nussbaum-Haus at Museumsquartier Osnabrück\, on permanent loan from the Felix Nussbaum Foundation\, photo © Felix-Nussbaum-Haus Osnabrück\n\n\nFelka Platek\, Still life with African sculpture and umbrella\, 1943. Watercolor on handmade paper\, 63 x 48 cm\, Felix-Nussbaum-Haus at Museumsquartier Osnabrück\, on permanent loan from the Felix Nussbaum Foundation\, photo © Felix-Nussbaum-Haus Osnabrück \n\n\n\n\n\n\n\n\n\n\n\nAnne Sibylle Schwetter is an art historian and curator of the Felix Nussbaum Collection at the Felix-Nussbaum-Haus in Osnabrück. She has devoted herself to the life and work of the German-Jewish painter Felix Nussbaum (Osnabrück 1904-Auschwitz 1944) for more than 20 years and is in charge of the artist’s catalogue raisonné. The scientific research project Online Catalogue Raisonné Felix Nussbaum (last published 2006-2018) is due to be published in a revised form in 2025. In addition to managing the artist’s collection and archive\, she curates exhibitions on Felix Nussbaum and classical modern art such as Seeing Nussbaum differently – New perspectives on the Felix Nussbaum Collection (2020) and Danse Macabre. Dance and Death in the Art of the Early 20th Century (2017) or most recently together with Mechthild Achelwilm and Alejandro Perdomo-Daniels #nichtmuedewerden. Felix Nussbaum and artistic resistance today (2023/24). In 2024 she was a short-term fellow at the Villa Massimo in Rome. \n\n\n\n\n\n\n\n\n\n\nThe exhibition “Felka Platek – eine Künstlerin im Exil“ is on view until May 11\, 2025 at Felix-Nussbaum-Haus. It is accompanied by a publication. \n\nExhibition “Felka Platek – eine Künstlerin im Exil“\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/felka-platek/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/10/2023-11-22-Platek-02-1.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241114T130000
DTEND;TZID=America/New_York:20241114T150000
DTSTAMP:20260407T101356
CREATED:20241028T103327Z
LAST-MODIFIED:20241124T193931Z
UID:8531-1731589200-1731596400@fritzaschersociety.org
SUMMARY:Liebe und Verrat: Fritz AscherKurator Erik Riedel im Gespräch mit Rachel SternJüdisches Museum Frankfurt (Germany)
DESCRIPTION:Der Maler\, Grafiker und Dichter Fritz Ascher (1893-1970) wurde bereits als 16-Jähriger von Max Liebermann an die Akademie in Königsberg empfohlen. Ab 1913 gehörte er zu den gefragten Malern in Berlin. Er war ein genauer Beobachter seiner Zeit; die Urkatastrophe des Ersten Weltkriegs und die revolutionären Unruhen in Berlin führten ihn zu christlichen und mystischen Themen\, die er radikal neu interpretierte. Nach 1933 erhielt Ascher als Jude Berufsverbot. Während der Pogrome am 9./10. November 1938 wurde er verhaftet und im Konzentrationslager Sachsenhausen und im Potsdamer Gestapo-Gefängnis interniert. \nDie Schoa überlebte er ab 1942 versteckt in einem Keller in Berlin-Grunewald. Während dieser einsamen Jahre verfasste er Gedichte. Als Künstler fand Ascher nach 1945 seinen ganz eigenen Stil. Angeregt vom nahe gelegenen Grunewald schuf er ein Spätwerk\, das sich auf Landschaften konzentrierte und dabei seiner expressionistischen Bildsprache treu blieb. Bis zu seinem Tod am 26. März 1970 lebte er zurückgezogen. \nDie Kunsthistorikerin sowie Gründungsdirektorin und Geschäftsführerin der Fritz Ascher Society for Persecuted\, Ostracized and Banned Art Rachel Stern\, gibt an diesem Abend einen Einblick in das Leben und Wirken Fritz Aschers. Und damit in die Ausstellung „Liebe und Verrat“ im Haus der Graphischen Sammlung in Freiburg (bis 2. März 2025)\, die sie zusammen mit Jutta Götzmann\, Leitende Direktorin der Städtischen Museen Freiburg\, kuratiert hat. \nDas Gespräch mit ihr führt Erik Riedel\, Kurator für den Bereich Bildende Kunst einschließlich des Ludwig Meidner-Archivs des Jüdischen Museums. \n\n\n\n\nImage above: Jüdisches Museum Frankfurt (Germany) \n\n\n\n\nFritz Ascher\, Il Pagliaccio (Der Clown)\, 1916. White gouache over pencil\, black ink and watercolor on paper\, 43\,8 x 31\,3 cm. © Bianca Stock \nFritz Ascher\, Female Nude (Windsbraut?)\, 1916. White gouache over pencil\, black ink and watercolor on paper\, 44 x 31 cm. © Bianca Stock \n\n\n\n\n\n\nThe painter\, graphic artist and poet Fritz Ascher (1893-1970) was recommended to the academy in Königsberg by Max Liebermann when he was just 16 years old. From 1913 he was a sought-after painter in Berlin. He was a keen observer of his time; the catastrophe of the First World War and the revolutionary unrest in Berlin led him to Christian and mystical themes\, which he radically reinterpreted. After 1933\, Ascher was banned from working as a Jew. During the pogroms on November 9/10\, 1938\, he was arrested and interned in the Sachsenhausen concentration camp and the Potsdam Gestapo prison. \nHe survived the Shoah from 1942 onwards\, hiding in a cellar in Berlin-Grunewald. During these lonely years he wrote poems. As an artist\, Ascher found his very own style after 1945. Inspired by the nearby Grunewald\, he created a late work that focused on landscapes while remaining true to his expressionist visual language. He lived a secluded life until his death on March 26\, 1970. \nRachel Stern\, art historian and founding director and managing director of the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, will give an insight into the life and work of Fritz Ascher this evening. And thus into the exhibition “Love and Betrayal” in the House of the Graphic Collection in Freiburg (until March 2\, 2025)\, which she curated together with Jutta Götzmann\, Managing Director of the Freiburg Municipal Museums. \nThe conversation with her will be conducted by Erik Riedel\, curator for the Fine Arts department including the Ludwig Meidner Archive of the Jewish Museum. \n\n\n\n\n\n\nJÜDISCHES MUSEUM FRANKFURT\n\n\n\n\n\nThe exhibition “Love and Betrayal – The Expressionist Fritz Ascher from New York Private Collections” can be seen from November 8\, 2024 to March 2\, 2025 in the Haus der Graphische Sammlung at Augustinermuseum\, Salzstrasse 32/34\, 79098 Freiburg im Breisgau. \nIt was curated by Dr. Jutta Götzmann\, Managing Director of the Freiburg Municipal Museums\, and Rachel Stern\, Director of the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. \nThe exhibition catalogue\, published by Michael Imhof Verlag\, costs EUR 23.90 in the online shop and in-house\, and is available in bookstores for EUR 34.95. \n\n\n\n\n\n\nHAUS DER GRAPHISCHEN SAMMLUNG FREIBURG\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/liebe-und-verrat-frankfurt/
LOCATION:Jewish Museum Frankfurt\, Bertha-Pappenheim-Platz 1\, Frankfurt am Main\, 60311\, Germany
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/10/2020-10-15.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241110T080000
DTEND;TZID=America/New_York:20241110T090000
DTSTAMP:20260407T101356
CREATED:20241022T120118Z
LAST-MODIFIED:20241124T194053Z
UID:8511-1731225600-1731229200@fritzaschersociety.org
SUMMARY:Fritz Ascher in Berlin – eine Spurensuche Kurzvortrag und Führung von Rachel Stern\, New YorkAugustinermuseum\, Haus der Graphischen Sammlung\, Freiburg
DESCRIPTION:Der spätexpressionistische Künstler Fritz Ascher (1893-1970) überlebte zwei Weltkriege und die Verfolgung durch das nationalsozialistische Regime. Als aufmerksamer Beobachter der Schrecken des Ersten Weltkriegs und der revolutionären Unruhen wandte er sich christlich-spirituellen Themen zu\, die er radikal neu interpretierte. In intimen Zeichnungen beschäftigte er sich ab 1916 mit dem Thema Liebe und Verrat\, sowohl in seiner Auseinandersetzung mit dem Kreuzigungsthema als auch mit der Figur des Bajazzo in der tragikomischen Oper „I Pagliacci“. \nKurzvortrag und Führung von Rachel Stern zeigen den Künstler in seinem sozialen und politischen Umfeld. \n\n\n\n\nImage above: Fritz Ascher\, Im Wald\, um 1919. Weisse Gouache und schwarze Tusche über Aquarell und Bleistift auf Papier\, 34 x 32\,2 cm © Bianca Stock \n\n\n\n\n\n\n\n\n\n\n\n\nThe late expressionist artist Fritz Ascher (1893-1970) survived two world wars and persecution by the National Socialist regime. As an attentive observer of the horrors of the First World War and the revolutionary unrest\, he turned to Christian-spiritual themes\, which he radically reinterpreted. From 1916 onwards\, he dealt with the theme of love and betrayal in intimate drawings\, both in his exploration of the crucifixion theme and in the figure of Bajazzo in the tragicomic opera “I Pagliacci”. \nA short lecture and guided tour by Rachel Stern show the artist in his social and political environment. \n\n\n\n\n\n\n\n\nBUY TICKETS HEREFritz Ascher\, Il Pagliaccio (Der Clown)\, 1916. White gouache over pencil\, black ink and watercolor on paper\, 43\,8 x 31\,3 cm. © Bianca Stock \nFritz Ascher\, Theseus and Antiope\, ca. 1916. White gouache over pencil\, black ink and watercolor on paper\, 39\,6 x 30\,6 cm. © Bianca Stock \n\n\n\n\n\n\nRachel Stern studierte Kunstgeschichte und Wirtschaftswissenschaften an der Georg-August-Universität Göttingen. Sie leitet als Gründungsdirektorin die Fritz Ascher Society for Persecuted\, Ostracized and Banned Art in New York. Sie wanderte 1994 in die USA aus\, schrieb für den AUFBAU und arbeitete zehn Jahre lang in der Abteilung für Zeichnungen und Drucke am Metropolitan Museum of Art in New York. Zuletzt veröffentlichte sie eine Auswahl von Gedichten von Fritz Ascher\, Poesiealbum 357 (Wilhelmshorst: Märkischer Verlag 2020) und gab zusammen mit Ori Z Soltes Welcoming the Stranger. Abrahamic Traditions and Its Contemporary Implications\, (New York: Fordham University Press 2024) heraus\, und mit Jutta Götzmann den Ausstellungskatalog Liebe und Verrat. Der Expressionist Fritz Ascher aus New Yorker Privatsammlungen heraus\, der in diesem Monat erschienen ist (Petersberg: Michael Imhof Publishers 2024). \n\nDie Ausstellung “Liebe und Verrat – Der Expressionist Fritz Ascher aus New Yorker Privatsammlungen“ ist zu sehen vom 8. November 2024 bis zum 2. März 2025 im Haus der Graphischen Sammlung im Augustinermuseum\, Salzstrasse 32/34\, 79098 Freiburg im Breisgau. \nKuratorinnen der Ausstellung sind Jutta Götzmann\, Leitende Direktorin der Städtischen Museen Freiburg\, und Rachel Stern\, Direktorin und CEO Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. \nDer Katalog zur Ausstellung\, erschienen im Michael Imhof Verlag\, kostet im Online-Shop und im Haus 23\,90 Euro\, im Buchhandel ist er für 34\,95 Euro erhältlich. \n\n\n\n\n\n\n\n\n\n\n\nRachel Stern studied art history and economics at the Georg August University in Göttingen. She is the founding director of the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art in New York. She emigrated to the USA in 1994\, wrote for AUFBAU and worked between 2000 and 2010 in the Department of Drawings and Prints at the Metropolitan Museum of Art in New York. In 2014\, she founded the Fritz Ascher Society in New York\, and in 2019 the Fritz Ascher Foundation in the Stadtmuseum Berlin. Recent publications include a selection of poems by Fritz Ascher\, Poesiealbum 357 (Wilhelmshorst: Märkischer Verlag 2020) and  Welcoming the Stranger. Abrahamic Traditions and Its Contemporary Implications\, (New York: Fordham University Press 2024) with Ori Z Soltes\, and with Jutta Götzmann the exhibition catalogue Love and Betrayal: The Expressionist Fritz Ascher from New York Private Collections\, which was published this month (Petersberg: Michael Imhof Publishers 2024). \nThe exhibition “Love and Betrayal – The Expressionist Fritz Ascher from New York Private Collections” can be seen from November 8\, 2024 to March 2\, 2025 in the Haus der Graphische Sammlung at Augustinermuseum\, Salzstrasse 32/34\, 79098 Freiburg im Breisgau. \nIt was curated by Dr. Jutta Götzmann\, Managing Director of the Freiburg Municipal Museums\, and Rachel Stern\, Director of the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. \nThe exhibition catalogue\, published by Michael Imhof Verlag\, costs EUR 23.90 in the online shop and in-house\, and is available in bookstores for EUR 34.95. \n\n\n\n\n\n\nAusstellung Liebe und Verrat – Der Expressionist Fritz Ascher aus New Yorker Privatsammlungen\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/fritz-ascher-in-berlin/
LOCATION:Augustinermuseum\, Augustinerplatz\, Freiburg im Breisgau\, 79098
CATEGORIES:Events,Lectures,Past Events
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/10/20241106_104941-copy.jpeg
ORGANIZER;CN="Augustinermuseum":MAILTO:augustinermuseum@stadt.freiburg.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241108T100000
DTEND;TZID=America/New_York:20250302T170000
DTSTAMP:20260407T101356
CREATED:20240812T101646Z
LAST-MODIFIED:20250303T170854Z
UID:8337-1731060000-1740934800@fritzaschersociety.org
SUMMARY:LOVE AND BETRAYAL – The Expressionist Fritz Ascher from New York Private CollectionsNovember 8\, 2024 – March 2\, 2025Haus der Graphischen Sammlung\, Freiburg\, Germany
DESCRIPTION:The late Expressionist artist Fritz Ascher (1893-1970) survived two world wars and persecution by the National Socialist regime. A close observer of the horrors of World War I and revolutionary unrest\, he turned to Christian spiritual themes\, which he radically reinterpreted. In intimate drawings\, he dealt with the theme of love and betrayal from 1916 onward\, both in his exploration of the crucifixion theme and with the figure of Bajazzo in the tragicomic opera “I Pagliacci.” \nAscher’s strong and unique artistic voice is evident not only in his artwork\, but also in his poems. These were written when he was no longer allowed to work under National Socialism because of his Jewish roots and as a representative of modernism\, and had to go into hiding for years to avoid deportation. \nThe exhibition is curated by Jutta Götzmann\, Managing Director of the Freiburg Municipal Museums\, and Rachel Stern\, Director of the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. \nBUY TICKETSWatch Martha Martin-Humpert in Baden TV Süd (German language)Listen to David Dambitsch in German radio DeutschlandfunkThe exhibition catalogue\, published by Michael Imhof Verlag\, can be ordered in the online shop: \nORDER EXHIBITION CATALOGUE\nAn extensive programme accompanies the exhibition\, and up-to-date information on all events is available at freiburg.de/museen-kalender. \n\n\nAn exhibition by Augustinermuseum and Museum für Neue Kunst\, Freiburg im Breisgau (Germany). In cooperation with Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\, New York. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/fritz-ascher-freiburg/
LOCATION:Haus der Graphischen Sammlung\, Salzstraße 34\, Freiburg im Breisgau\, 79098\, Germany
CATEGORIES:Exhibitions,Past Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/08/1200px-Salzstrase_32_Freiburg_im_Breisgau_jm59254.jpg
ORGANIZER;CN="Augustinermuseum":MAILTO:augustinermuseum@stadt.freiburg.de
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241023T120000
DTEND;TZID=America/New_York:20241023T130000
DTSTAMP:20260407T101356
CREATED:20240930T122030Z
LAST-MODIFIED:20241023T175417Z
UID:8463-1729684800-1729688400@fritzaschersociety.org
SUMMARY:Sculpting a Life: Chana Orloff during Occupation\, Escape\, Exile\, Return (1938-1949) Presentation by Paula J. Birnbaum\, San Francisco (CA)
DESCRIPTION:This talk analyzes the Ukrainian born French sculptor Chana Orloff’s (1888-1968) perseverance and tremendous sacrifices during World War II\, when the Nazis came to her studio\, stole much of her work\, and brutally vandalized what they left behind. Her tenacity led to her narrow and difficult escape from Paris first to the south of France and then on to Geneva with her young adult son\, who was disabled. The presentation explores how Orloff managed her life and career under Nazi Occupation in Paris for two years\, when she was among the many French and foreign-born Jews banned from public spaces\, forced to observe a curfew and wear the yellow armband with the Star of David and the word “Juif” written on it. Professionally stifled and prohibited from exhibiting or selling her work\, Orloff strategically created what she called sculptures de poches or “pocket sculptures\,” that could easily fit in her pocket. Following a dramatic escape through the Alps\, Orloff lived over two years in forced exile in Geneva\, where remarkably she was able to rebuild her life and career\, producing more than fifty sculptures and holding a successful exhibition in 1945 at the Moos Gallery. \n\n\n\n\nImage above: Installation photograph\, February 1945. Moos Gallery\, Geneva. Courtesy of Ateliers Chana Orloff \n\n\n\n\nWhen she returned to Paris\, Orloff reclaimed her ransacked studio and home which had been officially occupied during the War years. The talk explores how she began to rebuild her professional life with incredible determination\, creating powerful works\, notable among them\, a large sculpture entitled The Return that confronted the horrors of war and dislocation of the Jewish people. Orloff’s tenacity and perseverance in the face of adversity led to her international success\, with several important exhibitions in the late 1940s in the United States (New York\, Boston\, Chicago\, and San Francisco. Orloff’s cosmopolitan modernism is contextualized in light of her relationships with international patrons and relationships with museums in France\, the United States and Israel that regularly purchased her works. \nChana Orloff\, Self-Portrait\, 1940. Plaster. Courtesy of Ateliers Chana Orloff \nChana Orloff\, Grasshopper\, 1939. Bronze. Courtesy of Ateliers Chana Orloff \n\n\nChana Orloff. Study for The Return\, 1944. Courtesy of Ateliers Chana Orloff\n\n\nChana Orloff\, The Return\, 1945. Bronze. Courtesy of Ateliers Chana Orloff \n\n\n\n\n\n\nPaula J. Birnbaum is the inaugural Ann Getty Endowed Chair and Professor of Arts History and Museum Studies and the founding director of at the Museum Studies Master of Arts Program and  University of San Francisco. She is a specialist in modern and contemporary art and holds a doctorate in Art History from Bryn Mawr College. Birnbaum is a former Fulbright Scholar in France and fellow at the Institute for Research on Women and Gender at Stanford University.\nHer research focuses on modern and contemporary art in relationship to gender and sexuality\, as well as institutional and social politics in museum exhibitions. She is the author of\, among other works\, Sculpting a Life: Chana Orloff between Paris and Tel Aviv (Brandeis University Press\, 2023)\, Women Artists in Interwar France (Routledge\, 2011; 2016) and the co-edited anthology Essays on Women’s Artistic and Cultural Contributions 1919-1939 (Edwin Mellen\, 2009). Paula is a regular contributor to scholarly journals and museum exhibition catalogs exploring the role of gender and sexuality in modernism. \n\n\n\n\n\n\nORDER THE BOOK HERE\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/chana-orloff/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20241009T120000
DTEND;TZID=America/New_York:20241009T130000
DTSTAMP:20260407T101356
CREATED:20241001T130353Z
LAST-MODIFIED:20241009T182507Z
UID:8473-1728475200-1728478800@fritzaschersociety.org
SUMMARY:Otto Antoine (1865-1951): “The Painter of Berlin” between Compliance and Defiance  Presentation by Kathleen Langone and Q&A with Jacquelyn Delin McDonald
DESCRIPTION:Kathleen Langone speaks about the German born painter Otto Antoine (1865-1951)\, followed by a conversation with Jacquelyn Delin McDonald from the University of Texas at Dallas. \n\n\n\n\nImage above: Otto Antoine\, Brandenburg Gate\, 1928. Oil on cardboard \n\n\n\n\n\n\n\n\n\n\n\n\nAntoine displayed an early artistic talent but\, due to economic circumstances\, started a long-term career as a civil servant\, initially as a clerk at a local post office. His drawing abilities were soon recognized\, and he increasingly was used as a painter\, engraver and designer of stamps for the German postal service. They also sent him to many far-flung places outside of Germany (such as Africa) to paint bucolic landscapes of those countries\, which were used to promote their international services. \nIn 1891\, he had been enrolled at the Prussian Academy of Art to receive formal art training. There\, he was strongly influenced by Franz Skarbina\, co-founder of the Berlin Secession\, who exposed Antoine to Impressionism. Antoine’s oil paintings soon reflected this style. The stability of his job allowed him to spend considerable time creating his art. He became a member of the Association of Berlin Artists. \n\n\n\n\n\n\n\n\nOtto Antoine\, New Year 1900 Reich Post Museum\, 1900. Todd Barrowcliff Collection \nOtto Antoine\, Self Portrait\, c. 1920. Todd Barrowcliff Collection \n\n\n\n\n\n\nAntoine officially retired from civil service in 1930. To continue creating art\, he became a member of the Nazi controlled Reich Chamber of Culture in 1933. According to his family\, Antoine hated the Nazis and painted Hitler as the devil. These artworks were found by the SS\, he was beat up and the paintings destroyed. Antoine increasingly depicted landscapes and Berlin cityscapes. His artwork was displayed at Große Deutsche Kunstausstellung (“Great German Art Exhibition”) at Haus der Deutschen Kunst in Munich\, which displayed Nazi-supported art between 1937 and 1944. \nThis presentation will present the full arc of Otto Antoine’s career and pose questions around both his defiance and compliance with the Nazi art edicts. \n\n\n\n\n\n\n\n\nOtto Antoine\, Forest and Church\, c. 1915. Todd Barrowcliff Collection\n\n\nOtto Antoine\, Country Side and Church\, not dated. Todd Barrowcliff Collection \n\n\n\n\n\n\nKathleen Langone is a researcher and freelance writer. Prior to 2000\, she worked part-time as a researcher for state government agencies\, providing records on natural history. Recently she has produced a podcast series\, People Hidden in History\, with 22 episodes covering profiles of lesser known but fascinating persons in America from the 1600’s through to the early 1960’s. One of most popular episodes\, chronicles the life and times of William Shirer in 1930’s Berlin and his first-hand account of the rise of Nazism. She has had an active speaking career being well received at museums\, historical societies and has been interviewed on TV and radio. Most recently she did extensive research on two artist who were also relatives\, Otto Antoine and Amalia Kussner. Her biography on Kussner\, a Gilded Age artist\, will be published in spring of 2025. \n\nDr. Jacquelyn Delin McDonald is an art historian whose research focuses on art and its historicity from German-speaking countries\, sculptural types\, American art\, and women artists during the long nineteenth and twentieth centuries. Her current book project involves the study of German-American sculptor Elisabet Ney. She has published on Ney as well as the ‘sculptress phenomenon’ of the late-nineteenth century. She is currently a Lecturer at the University of Texas at Dallas and adjunct professor for the University of North Texas\, where she designed and taught a course on Nazi-Looting\, Provenance\, and Restitution. She has held fellowships with the U.S. Capitol as well as the Edith O’Donnell Institute of Art History. \n\n\n\n\n\n\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/otto-antoine/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240925T120000
DTEND;TZID=America/New_York:20240925T130000
DTSTAMP:20260407T101356
CREATED:20240901T120429Z
LAST-MODIFIED:20240925T174220Z
UID:8425-1727265600-1727269200@fritzaschersociety.org
SUMMARY:Misunderstandings and Contradictions:The Art and Life of Jacqueline de Jong (1939-2024) Presentation by Curator Ariella Wolens\, Fort Lauderdale (FL)
DESCRIPTION:In this virtual talk\, curator Ariella Wolens presents the late Dutch artist\, Situationist\, and Pataphysician Jacqueline de Jong (1939-2024). Born into a Jewish family in Enschede\, Netherlands\, De Jong’s infancy was spent in exile in Switzerland; she and her mother narrowly escaped deportation to Sobibor after being taken in by the resistance. For the rest of her life\, she remained universally empathic\, and chose art as her own form of resistance. \n\n\n\n\nImage above: Jacqueline de Jong\, Naufrage en Mediterranée (Border Line)\, 2020. Oil and nepheline gel on canvas\, 35 3/8 x 47 1/4 in / 90 x 120 cm. BPS22\, Musée d’art de la Province de Hainaut\, Belgium. Courtesy the artist’s estate and Ortuzar Projects\, New York. © 2024 Jacqueline de Jong estate \n\n\n\n\nDe Jong was a central figure within the 1960s avant-garde of Paris\, however\, she remained a forward-facing figure all her life\, fully engaged in contemporary discourse until her last days. She defied categorization\, engaging in painting\, printmaking\, sculpture\, graphic design\, typography\, jewelry and ceaseless experimentation. \nJacqueline de Jong\, Mr. Homme attaque Mr. Mutant\, 1962. Oil on canvas\, 24 x 19.6 in / 61 x 50 cm. Ambassade Hotel London. Courtesy the artist’s estate and Pippy Houldsworth Gallery\, London. © 2024 Jacqueline de Jong estate \nJacqueline de Jong in front of her TV Drawings at Cité Prost in Paris\, 1968. Courtesy of the Jacqueline de Jong estate. © 2024 Jacqueline de Jong estate \n\n\n\n\n\n\nDe Jong has historically long been recognized for her role as co-founder\, editor\, publisher and designer of the 1960s artist-led periodical\, The Situationist Times—a radical counter-cultural publication that remains a touchstone for independent publishing. Despite this legacy\, her formal practice has been long overlooked\, and it was only towards the end of her life that cultural critics began to sincerely acknowledge the rich and vital contribution of her oeuvre\, one that spanned over sixty years. \n\n\n\n\n\n\n\n\nJacqueline de Jong\, Playboy No. 1\, 1964. Oil on canvas\, 76 x 51.2 inches. Collection of Cobra Museum of Modern Art\, Amstelveen. © 2024 Jacqueline de Jong estate \n\n\nJacqueline de Jong\, Le carambole inspiré par un burin de J. Minne\, 1976. Oil on canvas\, 76.7 x 51.1 in / 195 x 130 cm. Courtesy the artist’s estate and Pippy Houldsworth Gallery\, London. Photo: Gert Jan van Rooij \n\n\n\n\n\n\nMisunderstandings and Contradictions will accompany the forthcoming exhibition Jacqueline de Jong: Vicious Circles\, the first U.S. museum survey dedicated to this monumental artist. Curated by Ariella Wolens\, the exhibition will open at the NSU Art Museum Fort Lauderdale on November 17\, 2024. Both events will explore De Jong’s legacy through the recurring theme of conflict\, a concept the artist believed to be the foundation of all creative and human activity. \nAriella Wolens is the Bryant Taylor Curator of NSU Art Museum Fort Lauderdale\, where she has organized over a dozen exhibitions including\, Walasse Ting: Parrot Jungle\, Confrontation: Pierre Alechinsky & Keith Haring\, and Scott Covert: I Had a Wonderful Life. In November\, she will present Jacqueline de Jong: Vicious Circles\, the first exhibition dedicated to Jacqueline de Jong to take place at an American institution. Wolens received a master’s from Columbia University\, and her undergraduate degree from University College London. She has written for publications such as Art in America\, Elephant\, Flash Art and Spike Magazine. \n\n\n\n\n\n\nNSU ART MUSEUM WEBSITEJacqueline de Jong\, Tournevicieux cosmonautique (les âmes les plus confuses se retrouvent un matin conditionnés par un peu de pesanteur)\, 1966. Acrylic on canvas\, 114 x 162 cm. Private Collection\, Amsterdam © 2024 Jacqueline de Jong estate \nJacqueline de Jong\, Ocean Viking (Border Line)\, 2021. Oil and nepheline gel and gold leaf on canvas\, 35 3/8 x 47 1/4 in / 90 x 120 cm. Private Collection. Courtesy the artist’s estate and Ortuzar Projects\, New York © 2024 Jacqueline de Jong estate \n\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/jacqueline-de-jong/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240919T180000
DTEND;TZID=America/New_York:20240919T193000
DTSTAMP:20260407T101356
CREATED:20240809T191029Z
LAST-MODIFIED:20240920T111528Z
UID:8333-1726768800-1726774200@fritzaschersociety.org
SUMMARY:BOOK TALK: Welcoming the Stranger. Abrahamic Hospitality and Its Contemporary ImplicationsGeorgetown University\, Washington (DC)
DESCRIPTION:Welcoming the Stranger\, a collection of essays\, explores hospitality and inclusion in Abrahamic traditions from historical\, theoretical\, theological\, and practical perspectives. It offers an enlightening and compelling discussion of what the Abrahamic traditions teach us regarding welcoming people we don’t know. Join the Center for Jewish Civilization and Mortara Center for International Studies for a conversation with editors Ori Soltes and Rachel Stern\, refreshments\, and a book signing. \n\nImage above: David Stern\, Snow Crash (Lost Agency)\, 2018-19. Acrylics and pigments on paper\, 27 x 35 inches. © David Stern / Artists Rights Society (ARS)\, New York \n\nThis timely book offers theoretical and practical reflections on ‘welcoming the stranger.’ From the theological analysis of Abraham to the legal and political discussion of immigration and refugees\, the volume explores how hospitality—welcoming the ‘other’ into our tents—leads to peace and improving the world.—Mehnaz Afridi\, Director\, Holocaust\, Genocide & Interfaith Education Center and Professor\, Religious Studies\, Manhattan College \nEnter 25% off plus free shipping discount code at checkout: WELCOME25-FI  \nORDER THE BOOK HERE WELCOMING THE STRANGER\nABRAHAMIC HOSPITALITY AND ITS CONTEMPORARY IMPLICATIONS \nEdited by Ori Z Soltes and Rachel Stern\nForeword by Endy Moraes\nPublication Date: April 2\, 2024\nISBN: 9781531507329\n224 pages\, 30 color illustrations\nPaperback\, $35.00 (SDT)\, £29.99\nSimultaneous electronic edition available\nPublished by The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art\nand the Fordham University Institute on Religion\, Law and Lawyer’s Work\nDistributed by Fordham University Press \nBook Contributors: \nLindsay Balfour\, PhD\, Assistant Professor\, Coventry University\, London (UK)\nThomas Massaro\, S.J.\, Professor of Moral Theology at Fordham University in New York\nEndy Moraes\, LLM\, Director of the Institute on Religion\, Law\, and Lawyer’s Work at Fordham Law School\nRev Craig B. Mousin\, DePaul University; Refugee and Forced Migration Studies\, Grace School of Applied Diplomacy\nCarol Prendergast\, Senior Advisor to Alfanar Venture Philanthropy\nZeki Saritoprak\, PhD\, Bediuzzaman Said Nursi Chair in Islamic Studies and a Professor in the Department of Theology and Religious Studies at John Carroll University in Cleveland\, Ohio\nOri Z Soltes\, PhD\, Teaching Professor at Georgetown University in Washington\, DC\nRachel Stern\, Director of the Fritz Ascher Society for Persecuted\, Ostracized and Banned Art in New York\nMohsin Mohi Ud Din\, artist\, activist\, and founder of the global nonprofit #MeWe International Inc. (#MeWeIntl) \nDONATE HEREThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\nYOUR SUPPORT MAKES OUR WORK POSSIBLE. THANK YOU.
URL:https://fritzaschersociety.org/exhibition-event/welcoming-the-stranger-georgetown-university/
LOCATION:Mortara Center for International Studies  at Georgetown University\, 36th Street Northwest\, Washington\, DC\, 20007
CATEGORIES:Events,Lectures,Past Events
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ORGANIZER;CN="Center for Jewish Civilization":MAILTO:cjcinfo@georgetown.edu
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