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DTSTART;TZID=America/New_York:20250227T120000
DTEND;TZID=America/New_York:20250227T130000
DTSTAMP:20260407T052035
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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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250212T120000
DTEND;TZID=America/New_York:20250212T130000
DTSTAMP:20260407T052036
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
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2025/01/Screenshot-2025-01-26-at-1.50.47 PM-copy-2.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250211T190000
DTEND;TZID=America/New_York:20250211T210000
DTSTAMP:20260407T052036
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250204T190000
DTEND;TZID=America/New_York:20250204T210000
DTSTAMP:20260407T052036
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:20260407T052036
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
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250126
DTEND;VALUE=DATE:20250526
DTSTAMP:20260407T052036
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
ATTACH;FMTTYPE=image/jpeg:https://fritzaschersociety.org/wp-content/uploads/2024/11/IMG_1641-4-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250122T120000
DTEND;TZID=America/New_York:20250122T130000
DTSTAMP:20260407T052036
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250108T120000
DTEND;TZID=America/New_York:20250108T130000
DTSTAMP:20260407T052036
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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241218T120000
DTEND;TZID=America/New_York:20241218T130000
DTSTAMP:20260407T052036
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:20260407T052036
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
ATTACH;FMTTYPE=image/png:https://fritzaschersociety.org/wp-content/uploads/2024/12/678134733.Def_.L.png
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:20260407T052036
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:20260407T052036
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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DTSTART;TZID=America/New_York:20241120T120000
DTEND;TZID=America/New_York:20241120T130000
DTSTAMP:20260407T052036
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:20260407T052036
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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241110T080000
DTEND;TZID=America/New_York:20241110T090000
DTSTAMP:20260407T052036
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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241108T100000
DTEND;TZID=America/New_York:20250302T170000
DTSTAMP:20260407T052036
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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241023T120000
DTEND;TZID=America/New_York:20241023T130000
DTSTAMP:20260407T052036
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:20260407T052036
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:20260407T052036
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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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240919T180000
DTEND;TZID=America/New_York:20240919T193000
DTSTAMP:20260407T052036
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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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240910T120000
DTEND;TZID=America/New_York:20240910T130000
DTSTAMP:20260407T052036
CREATED:20240704T232036Z
LAST-MODIFIED:20240910T191418Z
UID:8304-1725969600-1725973200@fritzaschersociety.org
SUMMARY:Painted Memories of a Jewish Childhood in Poland Before the Holocaust Presentation by Barbara Kirshenblatt-Gimblett
DESCRIPTION:Lest future generations know more about how Jews died than how they lived\, Mayer Kirshenblatt (1916-2009) made it his mission to remember the world of his childhood in images and words. Born in Opatów (Apt in Yiddish)\, Mayer left for Canada in 1934 at the age of 17. \n\n\n\n\nImage above: Mayer Kirshenblatt\, Synagogue interior\, 1991. Acrylic on canvas. Gift of the Kirshenblatt Family. Taube Family Mayer July Art Collection at POLIN Museum of the History of Polish Jews\, Warsaw. \n\n\n\n\n\n\n\n\n\n\n\n\nHe had always told his family stories about growing up in Poland before the Holocaust. After his family begged him to paint what he could remember\, Mayer finally picked up his brush in 1989 at the age of 73. To his amazement\, the town of his childhood emerged in living color. Painting by painting\, story by story\, he had recreated the entire world of his youth. He created hundreds of paintings and drawings during the last 20 years of his life. \n\nThe paintings and stories capture the curiosity of a boy who was fascinated by the world in which he lived\, unaware of the tragedy to come. He passed away in 2009 at the age of 93 and was one of the last to have first-hand experience of Jewish life in Poland before the Holocaust. \n\n\n\n\n\n\n\nMayer Kirshenblatt\, Boy with Herring\, 1992. Acrylic on canvas. Gift of the Kirshenblatt Family. Taube Family Mayer July Art Collection at POLIN Museum of the History of Polish Jews\, Warsaw. \nMayer Kirshenblatt\, Water Carrier\, 1990s. Acrylic on canvas. Gift of the Kirshenblatt Family. Taube Family Mayer July Art Collection at POLIN Museum of the History of Polish Jews\, Warsaw. \n\n\n\n\n\n\nThis lecture by the artist’s daughter Barbara Kirshenblatt-Gimblett\, an acclaimed scholar of East European Jewish culture\, will present the artist and his work in the context of two exhibition\, one at the Jewish Museum in New York (2009) and the second at POLIN Museum (May 17–December 16\, 2024). The exhibition at POLIN Museum of the History of Polish Jews in Warsaw is staged as a dialogue between Mayer’s shtetl as represented in his paintings\, and today’s Opatów as a post-Jewish town. \n\n\n\n\n\n\nMayer Kirshenblatt\, Friday Men’s Day at the Mikve\, 2001. Acrylic on canvas. Gift of the Kirshenblatt Family. Taube Family Mayer July Art Collection at POLIN Museum of the History of Polish Jews\, Warsaw. \nMayer Kirshenblatt\, Synagogue exterior\, 1990. Acrylic on canvas. Gift of the Kirshenblatt Family. Taube Family Mayer July Art Collection at POLIN Museum of the History of Polish Jews\, Warsaw \n\n\n\n\n\n\nBarbara Kirshenblatt-Gimblett is the Ronald S. Lauder Chief Curator of the Core Exhibition at POLIN Museum of the History of Polish Jews in Warsaw and University Professor Emerita of Performance Studies at New York University. Her books include They Called Me Mayer July: Painted Memories of Jewish Life in Poland Before the Holocaust (with Mayer Kirshenblatt)\, and Image Before My Eyes: A Photographic History of Jewish Life in Poland\, 1864–1939 (with Lucjan Dobroszycki)\, among others. She has received honorary doctorates from the Jewish Theological Seminary of America\, University of Haifa\, and Indiana University. She was elected to the American Academy of Arts and Sciences\, was decorated with the Officer’s Cross of the Order of the Republic of Poland for her contribution to the creation of POLIN Museum\, and received the 2020 Dan David Prize. She has served on Advisory Boards for the Council of American Jewish Museums\, Jewish Museum Vienna\, and Jewish Museum Berlin\, and is Vice-Chair of ICMEMOHRI\, the International Committee of Memorial and Human Rights Museums. She advises on museum and exhibition projects in Lithuania\, Belarus\, Albania\, Israel\, New Zealand\, and the United States. \n\n\n\n\n\n\nMayer Kirshenblatt\, Purim Play: The Krakow Wedding\, c. 1994. Acrylic on canvas. Gift of the Kirshenblatt Family. Taube Family Mayer July Art Collection at POLIN Museum of the History of Polish Jews\, Warsaw. \nMayer Kirshenblatt\, Slaughter of the Innocents\, 2\, late 1990s. Acrylic on canvas. Gift of the Kirshenblatt Family. Taube Family Mayer July Art Collection at POLIN Museum of the History of Polish Jews\, Warsaw. \nPOLIN MUSEUM EXHIBITION WEBSITE\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/mayer-kirshenblatt/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240724T120000
DTEND;TZID=America/New_York:20240724T130000
DTSTAMP:20260407T052036
CREATED:20240702T171032Z
LAST-MODIFIED:20240724T184550Z
UID:8276-1721822400-1721826000@fritzaschersociety.org
SUMMARY:George Grosz (1893-1959): The Stick Men Presentation by Karli Wurzelbacher\, PhD\, Huntington (New York)
DESCRIPTION:George Grosz (American\, b. Germany\, 1893–1959) created the “Stick Men” series in Huntington\, where he lived from 1947 until shortly before his death. Featuring hollow figures in an apocalyptic landscape\, this group of watercolors offers a searing indictment of humanity following World War II\, the Holocaust\, and the dropping of atomic bombs on Hiroshima and Nagasaki. Grosz was an internationally renowned German-born artist who remained invested in political art following his immigration to the United States in 1933. In the “Stick Men” series\, he wrestles with the emergence of Abstract Expressionism and reaffirms the ability of painting to impact society. \n\n\n\n\nImage above: Detail of George Grosz (American\, b. Germany\, 1893–1959)\, The Grey Man Dances\, 1949. Oil on canvas. George Grosz Estate © Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS)\, New York \n\n\n\n\n\n\n\n\n\n\nKarli Wurzelbacher\, PhD\, is the Chief Curator of The Heckscher Museum of Art\, where she has curated more than a dozen exhibitions. She has also worked at the Baltimore Museum of Art in Maryland and the Columbus Museum of Art in Ohio. Wurzelbacher has published on artists including Grosz\, Courtney M. Leonard\, Joan Mitchell\, Louise Nevelson\, Joseph Stella\, and Jack Whitten. She earned a PhD in art history from the University of Delaware. \n\n\n\n\n\n\nGeorge Grosz (American\, b. Germany\, 1893–1959)\, Waving the Flag\, 1947-1948. Watercolor on paper\, Sheet (Irregular): 26-1/8 x 19-13/16 in. Whitney Museum of American Art\, New York; Purchase and exchange 54.9 © Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS)\, New York \nGeorge Grosz (American\, b. Germany\, 1893–1959)\, The Enemy of the Rainbow\, 1946. Watercolor and India ink on paper\, 25-3/8 x 18-7/8 in. Collection Judin\, Berlin © Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS)\, New York \nGeorge Grosz (American\, b. Germany\, 1893–1959)\, Eclipse of the Sun\, 1926. Oil on canvas\, 81-5/8 x 71-7/8 in. The Heckscher Museum of Art\, Museum Purchase 1968.1 © Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS)\, New York \n\n\n\n\n Alfredo Valente (American\, b. Italy\, 1899–1973)\, George Grosz in his studio in Huntington\, NY\, with artworks from the “Stick Men” series\, \, c. 1950.  Alfredo Valente papers\, 1941–1978. Archives of American Art\, Smithsonian Institution © Estate of George Grosz / Licensed by VAGA at Artists Rights Society (ARS)\, New York \n\n\n\n\n\n\n\n\n\n\nThis talk is presented on the occasion of the exhibition George Grosz: The Stick Men\, on view at The Heckscher Museum of Art in Huntington\, New York\, from May 11 through September 1\, 2024. It is a collaboration with The Heckscher Museum of Art. \n\n\n\n\n\n\nMUSEUM EXHIBITION PAGE\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/george-grosz/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240710T120000
DTEND;TZID=America/New_York:20240710T130000
DTSTAMP:20260407T052036
CREATED:20240628T111335Z
LAST-MODIFIED:20240710T200715Z
UID:8189-1720612800-1720616400@fritzaschersociety.org
SUMMARY:“My verses are like dynamite”  Curt Bloch's Het Onderwater Cabaret Presentation by Aubrey Pomerance\, Berlin (Germany)
DESCRIPTION:Under threat from Nazi antisemitism\, the young Jewish lawyer Curt Bloch (1908–1975) fled Dortmund for the Netherlands in 1933. He went into hiding there in 1942 and emigrated to the United States after the war. In his hiding place\, from August 1943 to April 1945 Bloch produced a magazine with the telling title Het Onderwater Cabaret – “The Underwater Cabaret.” \n\n\n\n\nImage above: Curt Bloch\, Het Onderwater Cabaret 30 Aug 1943; Jewish Museum Berlin\, Convolute/816\, Curt Bloch collection\, loaned by the Charities Aid Foundation America thanks to the generous support of Curt Blochʼs family \n\n\n\n\n\n\n\n\n\n\n\n\nWeek by week\, Curt Bloch created small-format booklets with artfully designed covers\, containing a total of 483 handwritten poems in German and Dutch\, embellished with artistic collages and photo montages. His cover designs and poems referred to political and military events\, addressing his situation in hiding and the fate of his family. He unmasked Nazi propaganda with caustic irony and sardonic wit\, yet always fully aware that the National Socialists were committing mass murder against the European Jews. \n\n\n\n\n\n\n\n\nCurt Bloch\, Het Onderwater Cabaret\, Magazine cover from 18 December 1943; Jewish Museum Berlin\, Convolute/816\, Curt Bloch collection\, loaned by the Charities Aid Foundation America thanks to the generous support of Curt Blochʼs family \nCurt Bloch\, Het Onderwater Cabaret\, Magazine cover from 03 February 1945; Jewish Museum Berlin\, Convolute/816\, Curt Bloch collection\, loaned by the Charities Aid Foundation America thanks to the generous support of Curt Blochʼs family \n\n\n\n\n\n\nCurt Bloch preserved his unique legacy in his New York home for many decades. Through his daughter\, Simone Bloch\, it has come to the Jewish Museum Berlin\, where it was shown to the public for the first time (February 9 – June 23\, 2024). The unique work is a powerful testimony of creative resistance to war\, disinformation\, and persecution. \n\n\n\n\n\n\nCurt Bloch\, Bevrijd! (Liberated!)\, excerpt\, Het OWC\, issue dated 3 April 1945; Jewish Museum Berlin\, collection/816\, Curt Bloch Collection\, Loan of Charities Aid Foundation America\, thanks to the generous support of the family of Curt Bloch \nCurt Bloch\, undated; Jewish Museum Berlin\, accession 2023/90/5\, gift of Lide Schattenkerk \n\n\n\n\n\n\nAubrey Pomerance has directed the archives of the Jewish Museum Berlin\, and the JMB branches of the archives of the Leo Baeck Institute New York and of the Wiener Holocaust Library\, since 2001. He was born in Canada in 1959 and studied Jewish Studies and East and Southeast European History at the Free University of Berlin. In 1995/96\, he became a research assistant at the Institute for Jewish Studies there. From 1996 to 2001\, Aubrey Pomerance was a research assistant at the Salomon Ludwig Steinheim Institute for German-Jewish History in Duisburg. At the Jewish Museum Berlin\, he curated the exhibitions Roman Vishniac’s Berlin\, Ruth Jacobi: Photographs\, and Shrines\, Papyri\, and Winged Goddesses: The Archaeologist Otto Rubensohn\, and was also one of the curators of the JMB’s new core exhibition\, which opened in 2020. He publishes on German-Jewish commemorative culture\, Jewish lives during the Nazi era\, Jewish photographers in Berlin\, archives\, and archival education. \n\n\n\n\n\n\n\nCURT BLOCH WEBSITECURT BLOCH ON JEWISH MUSEUM BERLIN WEBSITE\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/curt-bloch/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240619T120000
DTEND;TZID=America/New_York:20240619T130000
DTSTAMP:20260407T052036
CREATED:20240602T195325Z
LAST-MODIFIED:20240619T183738Z
UID:8232-1718798400-1718802000@fritzaschersociety.org
SUMMARY:Art and Internment. Heinz Henghes the Stowaway Sculptor  Presentation by Ian Henghes\, London (UK)
DESCRIPTION:Heinz Henghes (1906-1975) was born in Hamburg in 1906\, a ‘Mischling’ of mixed Jewish and German descent. In America for almost 10 years before returning to Europe at a time of great political unrest Heinz spent time in Italy where he enjoyed the patronage of Ezra Pound\, despite Pounds noted anti-semitism. In London at the outbreak of war Heinz was interned and sent to Australia on the notorious ship the Dunera.\n\n\nIan Henghes\, the artist’s son\, presents his father’s extraordinary story and the contact he had with other artists\, writers and thinkers of his time. \n\n\nImage above: Heinz Henghes in Milan studio ca 1935 © Ian Henghes \n\n\n\n\n\n\n\n\n\nIan Henghes is an online communications specialist working primarily in the arts\, education and charitable sectors. Initially trained in photography\, film and television\, Ian founded a video editing company in London’s Soho in the 1980s\, and in the 1990s was project leader for public access systems for the British Museum and the Corporation of London\, as well as websites for Microsoft\, the BBC and many others. A long-term project that is about to be relaunched is historyworld.net\, a major world history website with highly interactive timelines.\nIan is also the son of Heinz Henghes.\n\n\n\n\n\nHeinz Henghes\, Erda\, 1934. Carrara marble  © Ian Henghes \nHeinz Henghes\, The Long Road Back\, 6 Dec 1940. ink on paper  © Ian Henghes \n\n\n\nTo find out more about Heinz Henghes\, check out his website (LINK).\n\n\n\nHeinz Henghes\, Monument to the Unknown Political Prisoner\, 1953 © Ian Henghes \nHeinz Henghes\, Ezra Pound\, 1975. Egg tempera © Ian Henghes \n\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/heinz-henghes/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240605T120000
DTEND;TZID=America/New_York:20240605T130000
DTSTAMP:20260407T052036
CREATED:20240528T133028Z
LAST-MODIFIED:20240606T114623Z
UID:8201-1717588800-1717592400@fritzaschersociety.org
SUMMARY:From Auschwitz to Hollywood: Jack Garfein\, “THE WILD ONE” Film Screening and Conversation with French producer Chantal Perrin
DESCRIPTION:THE WILD ONE illuminates the journey of unsung artist Jack Garfein (1930-2019) – Holocaust survivor\, celebrated Broadway director\, Actors Studio West co-founder\, and controversial filmmaker. The film examines how his experience in Nazi concentration camps shaped his vision of acting as a survival mechanism and propelled his engagement with themes of violence\, power\, and racism in postwar America in two explosive films: THE STRANGE ONE (1957) and SOMETHING WILD (1961).\nTHE WILD ONE explores the importance of his legacy as an artist who confronted censorship and reveals how art can draw on personal memory to better enlighten our present. \n\nImage above: Photo of Jack Garfein. Courtesy of Petite Maison Production \n\n\n\n\n\n\n\n\n\nWATCH THE TRAILER: \n\n\n\n\n\n\n\n\n\n\nSTREAMING LINK (valid through Sunday\, June 9) \n\n\n\n\n\n\n\n\nTHE WILD ONE is produced by Louise-Salomé and Chantal Perrin for Petite Maison Production. It is written by Louise-Salomé and Sarah Contou-Terquem\, in collaboration with Elizabeth Schub Kamir. \nIn a statement\, Louise-Salomé said that “His films addressed critical issues: fascism\, the military\, the functioning of power and its perversity\, the dangers of dogmatism\, racial segregation\, mental manipulation and rape. In other words\, the many ways in which power\, in whatever form it takes\, seizes and appropriates the psychic reality of the individual. His preoccupation with freedom drives both the content of his cinema and his bold way of presenting it. His perception of what constitutes freedom is the secret dimension that animates his work.” (Leo Barraclough\, Variety) \n\n\n\n\n\n\n\n\nWatch the film’s French producer\, Chantal Perrin\, in conversation with Ori Z Soltes from Georgetown University in Washington DC about THE WILD ONE. Moderated by Rachel Stern\, Executive Director of the Fritz Ascher Society. \n\n\n\n\n\n\n\n\nChantal Perrin is a French producer and director and has been the executive of Petite Maison Production since 2006\, supporting filmmakers with a unique voice\, as well as contemporary artists (Sophie Calle\, Terence Koh\, Cindy Sherman) on projects in a wide range of formats. In 1982\, “Atelier Lalanne\,” her first movie as a director about sculptors Claude and François Lalanne\, won first prize at the International Festival of Films on Art (FIFA) in Paris. She then began working as a first assistant director and line producer on films with directors Terry Gilliam\, Adrian Lyne\, Jean-Paul Rappeneau\, Claude Miller\, Maurice Pialat\, and Jean-Jacques Annaud\, among others.\nSince then\, she has produced and directed many documentaries for the TV channels ARTE\, CANAL+\, and France Television and works regularly with various national and international broadcasters. She has focused her efforts on exploring important social issues (i.e. Illegal Love\, Go Green Citizens (Au Vert Citoyens)\, Traditional African Medicine at Keur Massar\, Lyme Disease: A Silent Epidemic) and on depicting the lives and legacies of artists (i.e. Pacific Bluesman\, Sebastien Tellier: Many Lives\, Mr. X: A Vision of Leos Carax\, The People Under the Sea). Currently\, she continues to work for French television on the documentary series Thalassa as a producer and author\, while developing international co-productions and high-quality art films at Petite Maison Production\, which have gone on to screen at Cannes\, CPH:DOX\, Sundance and numerous other international festivals.  More recently\, Lady of the Gobi\,  a documentary shot in Mongolia she wrote and produced\, won the BFI Grierson award. \nOri Z Soltes\, PhD\, teaches at Georgetown University across the disciplines of theology\, art history\, philosophy and politics. He is the former Director and Curator of the B’nai B’rith Klutznick National Jewish Museum where he curated some 80 exhibitions. He is the author of several hundred articles and catalogue essays\, and the author or editor of 25 books\, including The Ashen Rainbow: The Holocaust and the Arts; Symbols of Faith: How Jewish\, Christian\, and Muslim Art Draw from the Same Source; and Tradition and Transformation: Three Millennia of Jewish Art and Architecture. \n\n\n\n\n\n\nJack Garfein’s two films are available online: \nSOMETHING WILD (1961) is on Criterion Collection in the US (LINK) \nTHE STRANGE ONE (1957) is on YouTube: \n\n\n\n\n\n\nBoth Jack Garfein (1930-2019) and his first wife\, the actress Carroll Baker (b. 1931)\, published powerful books: \n\n\n\nLife and Acting: Techniques for the Actor by Jack GarfeinBaby Doll: An Autobiography by Carroll Baker\n\n\nWe thank Jewish Story Partners (JSP) and GOOD DOCS for making THE WILD ONE available. Together they are bringing high-quality films on diverse Jewish subjects to a wide range of audiences in educational settings. \nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nDid you like this program? If you did\, please show us with a generous donation. \nYour donation makes programs like this possible. THANK YOU.  \nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/the-wild-one/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240522T120000
DTEND;TZID=America/New_York:20240522T130000
DTSTAMP:20260407T052036
CREATED:20240402T203600Z
LAST-MODIFIED:20240522T175525Z
UID:8136-1716379200-1716382800@fritzaschersociety.org
SUMMARY:Steinberg before STEINBERG  Lecture by Mario Tedeschini Lalli\, Rome (Italy)
DESCRIPTION:In this presentation Mario Tedeschini Lalli\, Italian journalist and scholar of 20th century history\, tells the story of Saul Steinberg\, before he became STEINBERG\, the majuscules with which he signed his name to the art most people know\, using some of his public art\, some of his clandestine art\, some of his personal art and – yes – some of his top secret art. \n\nImage above: Saul Steinberg\, Seaside\, 1941. © The Saul Steinberg Foundation/Artists Rights Society (ARS) New York \n\n\n\n\n\n\n\n\n\nThe art of Saul Steinberg (1914-1999) was arguably one of the most recognizable for the US public from the mid-1940s until his death in 1999. Much of Steinberg’s best-known work appeared in magazines such as The New Yorker\, but he also produced a larger body of drawings\, paintings\, and sculptures for gallery and museum exhibitions. His work cannot be fixed to one style or school. Though he is sometimes mistakenly called a cartoonist or illustrator\, he was never less than a full-fledged artist. His life was as distinctive as his art\, and as hard to pinpoint and define – it certainly did not help that he considered “autobiography—the last refuge of the scoundrel.” He would never divulge much about his life and what he did say was often misremembered or misrepresented; his tales almost became part of his artistic creations. Instead of self-revelatory disclosures\, he hid details of autobiography in his art\, where the casual observer could not detect them – unless\, of course\, they were already aware of them. An intellectual labyrinth by a master of labyrinths. \n\n\n\n\n\nSaul Steinberg\, Autogeography\, 1966.  Ink\, gouache\, and watercolor\, 29 ½ x 20 ¾ in.\nThe Saul Steinberg Foundation\, New York.\n© The Saul Steinberg Foundation/Artists Rights Society (ARS) New York \nSaul Steinberg in Milan. Unknown Photographer.\n© The Saul Steinberg Foundation/Artists Rights Society (ARS) New York \n\n\n\nSteinberg was especially reserved about his first thirty years: a Romanian Jew who was forced to leave his increasingly anti-Semitic country\, he studied architecture in Italy\, where he began his artistic career\, only to be forced out once more by the racial laws of his adopted country. He ended up in the US and within a few months found himself in the thick of war as a propaganda artist working for Morale Operations division of the Office of Strategic Services (OSS). \n\n\n\nSaul Steinberg\, Arte Pura\, published in Bertoldo\, August 8\, 1937.\n“I told you\, Madam\, that for my watercolors I use eau de Cologne.” © The Saul Steinberg Foundation/Artists Rights Society (ARS) New York \nSaul Steinberg\, Naples OSS.\n© The Saul Steinberg Foundation/Artists Rights Society (ARS) New York \n\n\n\nMario Tedeschini Lalli is a retired professional journalist and a scholar of 20th-century history. He has published several essays on Saul Steinberg’s early life and work\, including “Descent from Paradise: Saul Steinberg’s Italian Years (1933-1941)” (Quest\, no. 2\, October 2011). Previously he wrote extensively about Italian and Fascist policies towards the Arab world and Arab nationalism. His most recent book\, “Nazisti a Cinecittà” (Nutrimenti Editore\, Rome: 2022)\, tells the story of former SS officers who lived in Italy after the war and worked in the booming Italian movie industry of the time. As a journalist he covered international affairs for many years in different newspapers\, then moved into digital journalism\, editing news websites\, teaching and consulting in digital news publishing. \n\nPlease find Mario Tedeschini Lalli’s following publications online: Descent from Paradise: Saul Steinberg’s Italian Years (1933-1941) (2011) and Nazisti a Cinecittà. \n\n\n\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/saul-steinberg/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240508T190000
DTEND;TZID=America/New_York:20240508T200000
DTSTAMP:20260407T052036
CREATED:20240417T095500Z
LAST-MODIFIED:20240509T010706Z
UID:8162-1715194800-1715198400@fritzaschersociety.org
SUMMARY:“Let’s Talk of Interesting People”:  The Story of Erna Friedländer (1890-1979) With Noit Banai\, PhD\, Hong Kong\, and Ketul Arnold\, Boulder (Colorado)
DESCRIPTION:This presentation by Noit Banai\, PhD\, Hong Kong\, and Ketul Arnold\, Boulder (Colorado)\, traces Erna Friedländer‘s unique journey as a German refugee who survived Nazi persecution and World War II in Hong Kong\, and subsequently migrated to England\, Israel\, and the USA. \n\nImage above: Erna Friedländer\, Chinese Landscape. Undated. Monotype. Courtesy The Studio: An Illustrated Magazine of Fine and Applied Art\, London \n\n\n\n\n\n\n\n\nAs a German refugee who survived World War II in Hong Kong\, and subsequently migrated to England\, Israel\, and the USA\, Erna Friedländer’s journey is unique among the many histories of Jewish dispossession. Though few traces remain of Friedländer artistic oeuvre\, she was a thoroughly modernist artist. Painter\, printmaker\, and teacher at the Hong Kong Working Artist Guild\, she studied in Berlin under Eugene Spiro and in Paris under Mela Muter\, André Lhote\, and Othon Friesz before embarking on an artistic career in Milan in 1933. \n\n\n\n\nErna Friedländer. Four Female Nudes\, not dated. Courtesy Ketul Arnold \nErna Friedländer. Italian Landscape. Undated (1930s). Woodblock print. Collection Ketul Arnold\n\n\n\n\nWorking in an expressionist style developed in German avantgarde circles in the early 20th century and referencing modern dance techniques (Laban Movement)\, Friedländer’s paintings\, watercolors\, and monotypes represent a range of genres\, among them\, portraits of refugees as well as Chinese people and landscapes. What did it mean to bring these techniques\, media\, and motifs in this way?  How was her artwork understood in relation to her status as a female German-Jewish refugee in Hong Kong? And\, how can we interpret her monotypes in relation to various European and non-European traditions of printmaking? \n\n\n\n\nErna Friedländer. In Weekly Illustrated Women’s Magazine\, Israel\, March 3\, 1948\nErna Friedländer. Date unknown (1930s). Photographer unknown. Collection Ketul Arnold. \n\n\n\nFriedländer’s legacy did not end in Hong Kong: Established in New York City from the mid-1950s\, she was an important friend and influential mentor for Ketul Arnold\, who knew her between 1973 and 1979\, and will share memories of Erna’s stories and teachings from her American period. \n\n\n\nErna Friedländer. Nude. Undated. Monotype gouache on paper. Collection Ketul Arnold. \nErna Friedländer. Landscape. Undated. Tempera on paper. Collection Ketul Arnold.\n\n\n\nDr Noit Banai is an art historian and critic who specializes in modern and contemporary art in a global context\, with a focus on conditions of migrations\, exile\, diaspora\, border-regimes and statelessness. Before joining Hong Kong Baptist University as Associate Professor\, Art and Theory\, she was Professor of Contemporary Art in the Department of Art History at the University of Vienna and Lecturer of Modern and Contemporary Art at Tufts University/School of the Museum of Fine Arts\, Boston. She is the author of Yves Klein (Reaktion Books\, 2014)\, Being a Border (Paper Visual Arts\, 2021) and articles appearing in journals such as Third Text\, Stedelijk Studies\, Public Culture\, Performing Arts Journal\, and Texte zur Kunst.  She served as assistant editor for the journal RES: Anthropology and Aesthetics and is a regular contributor to Artforum International.  Her current project “Stateless: Jewish Artist Refugees: Shanghai\, Hong Kong\, and Singapore\, 1933-1950\,” develops a trans-national analysis of the artistic production of stateless European Jewish artists who were living under the logic of modernity/ coloniality and the Japanese Occupation in three East Asian cities. \n\nKetul Arnold\, born Wayne Arnold\, studied at the Integral Yoga Institute in New York and was initiated into a yoga lineage as Ketul. He began teaching yoga about the same time he met Erna Friedländer.  While studying Yoga\, he also was mentored in acting by Stella Adler and by Katya Delakova in ‘The Art of Moving’ at Sarah Lawrence College.  Ketul attended a 4-year conservatory training in acting at SUNY Purchase College for the Arts and graduated one month after Erna’s death in 1979. He performed in NYC in several plays written by Daryl Chin\, and in Lenox\, MA with Shakespeare and Company.  There he met his voice mentor\, Kristin Linklater.  In 1985 Ketul moved into the Kripalu Center for Yoga and Health and specialized in teaching yoga and yoga lifestyle to persons with chronic and life-threatening illnesses.  He continued this focus in his own studio\, Rasa Yoga\, in New York from 1990. Ketul studied ayurvedic medicine and became the first graduate of the Wise Earth School of Ayurveda.  In 2004/05\, Ketul moved to Boulder\, CO\, where he teaches yoga classes specifically for persons living with Parkinson’s Disease\, with which he too is living.  Ketul also developed “Yoga of Voice” and teaches voice\, in ayurvedic terms\, as the single most important tool in healing any impingement to the health of the body/mind/spirit.  All of Ketul’s teaching is offered to the public free of charge. \n\n\n\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/erna-friedlaender/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240415T190000
DTEND;TZID=America/New_York:20240415T210000
DTSTAMP:20260407T052036
CREATED:20240326T194011Z
LAST-MODIFIED:20240416T093520Z
UID:8112-1713207600-1713214800@fritzaschersociety.org
SUMMARY:RESISTANCE - THEY FOUGHT BACKNew York Theatrical Release
DESCRIPTION:Told by survivors\, their children\, and expert witnesses from the U.S. Israel\, and Europe\, Resistance: They Fought Back\, is a revelation based on extensive research of how the Jews of Europe fought back. It uncovers evidence of non-violent methods which served as crucial tools of resistance and evolved into Jewish armed revolts in ghettos\, forests and death camps\, even as the odds of success were vanishingly small. \nOn Monday\, April 15\, the 7:00pm film screening will be followed by Q&A with director Paula S. Apsell and Avinoa J. Patt\, Ph.D.\, Professor of Holocaust Studies\, New York University. \n\nWatch the TRAILER here: \n\n\n\n\n\n\n\n\n\n\nWe’ve all heard of the Warsaw Ghetto Uprising\, but most people have no idea how widespread and prevalent Jewish resistance to Nazi barbarism was. Instead\, it’s widely believed “Jews went to their deaths like sheep to the slaughter.” Filmed in Poland\, Lithuania\, Latvia\, Israel\, and the U.S.\, Resistance – They Fought Back provides a much-needed corrective to this myth of Jewish passivity. There were uprisings in ghettos large and small\, rebellions in death camps\, and thousands of Jews fought Nazis in the forests. Everywhere in Eastern Europe\, Jews waged campaigns of non-violent resistance against the Nazis. \nYou can find upcoming film screenings here: \n\n\n\n\n\n\nUPCOMING SCREENINGS\n\n\nRelease date: April 12\, 2024 (USA)\n\n\n\n\n\n\nDirectors: Paula S. Apsell\, Kirk Wolfinger\n\n\n\n\n\n\nExecutive producers: Michael Berenbaum\, Ori Eisen\, Michael J. Bohnen\, Mirit Eisen\n\n\n\n\n\n\nProducers: Owen Palmquist\, Lisa Goodfellow\nRuntime: 1 hour 40 minutes\n\n\n\nProfessor Richard Freund Z”L at Ponari \nProfessor Richard Freund Z”L \n\nPlease donate generously to make our programs possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/resistance/
LOCATION:DCTV Firehouse Cinema for Documentary Film\, 87 Lafayette Street\, New York\, NY\, 10013\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240404T163000
DTEND;TZID=America/New_York:20240404T180000
DTSTAMP:20260407T052036
CREATED:20240326T170524Z
LAST-MODIFIED:20240410T215802Z
UID:8101-1712248200-1712253600@fritzaschersociety.org
SUMMARY:The Vel d’Hiv Round-Up:  The Largest Mass Arrest in Wartime French HistoryA Presentation by Eileen Angelini\, PhD
DESCRIPTION:On July 16-17\, 1942 in Occupied Paris\, more than 13\,000 French Jews were arrested by French Police. The victims were held in deplorable conditions at the Vélodrome  d’Hiver or Vel d’Hiv\, an indoor cycling stadium until they were sent to detainment camps outside of Paris where they either died or were deported to concentration camps. Dr. Eileen Angelini’s presentation will discuss how the Vichy Government planned this round-up and how the French government and people have since dealt with the pain and shame of this traumatic event. \n\nImage above: Entrance to the Vel’ d’Hiv (the Winter Stadium\, or Velodrome d’Hiver)\, where Jews were detained en-masse in preparation for their deportation to concentration camps in France. \n\n\n\n\nEileen Angelini\, PhD\, is Dean of the College of Arts and Sciences at Le Moyne College in Syracuse\, NY. Dr. Angelini holds the international distinction of Chevalier dans l’Ordre des Palmes Académiques\, an honor bestowed by the government of France on distinguished academics. She is a 2010-2011 recipient of a Canada-U.S. Fulbright award as a Fulbright Visiting Research Chair in Globalization and Cultural Studies at McMaster University and was named to the Fulbright Specialist Roster from 2013 to 2017\, enabling her to complete her project “Francophone Culture: Literature\, Pedagogy and Additional Language Acquisition” at the University of Manitoba. She received her B.A. in French from Middlebury College\, having studied abroad in France and Mexico. Her M.A. and Ph.D. in French Studies are from Brown University\, followed by a post-doc year of research and teaching at the Université Lumière Lyon 2 and Université Jean Moulin Lyon 3. \nThis is the only photograph of the Vel d’Hiv Roundup\, July 16 and 17\, 1942: the buses used by French police\, parked rue Nélaton. © Getty – Hulton Archives \nEntrance to the Vel’ d’Hiv (the Winter Stadium\, or Velodrome d’Hiver)\, where Jews were detained en-masse in preparation for their deportation to concentration camps in France. \nThis event was organized by the Keene State College Cohen Center for Holocaust and Genocide Studies and the Holocaust Resource Center of Kean University\, in cooperation with The Fritz Ascher Society for Persecuted\, Ostracized and Banned Art. \nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/vel-dhiv-round-up/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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DTSTART;TZID=America/New_York:20240403T120000
DTEND;TZID=America/New_York:20240403T130000
DTSTAMP:20260407T052036
CREATED:20240328T003415Z
LAST-MODIFIED:20240403T175609Z
UID:8091-1712145600-1712149200@fritzaschersociety.org
SUMMARY:Bruno Schulz (1892-1942):  An Artist\, a Murder\, and the Hijacking of HistoryBenjamin Balint and Ori Z Soltes in Conversation
DESCRIPTION:Benjamin Balint\, author of the National Jewish Book Award winning book\, and Georgetown University professor Ori Z Soltes in conversation. \n\nBruno Schulz is renowned as a master of twentieth-century imaginative fiction. Isaac Bashevis Singer called him “one of the most remarkable writers who ever lived.” But Schulz was also an exceptionally talented graphic artist whose masochistic drawings would catch the eye of a sadistic Nazi officer. Schulz’s art became the currency in which he bought life. \nImage above: Bruno Schulz\, Mural\, 1941-1942. Drohobycz. Discovery Benjamin Geissler\, 2001. \n\n\n\n\n\n\n\n\n\nDrawing on extensive new reporting and archival research\, Benjamin Balint chases the inventive murals Schulz painted on the walls of an SS villa—the last traces of his vanished world—into multiple dimensions of the artist’s life and afterlife. Sixty years after Schulz was murdered\, those murals were miraculously rediscovered\, only to be secretly smuggled by Israeli agents to Jerusalem. The ensuing international furor summoned broader perplexities\, including about who has the right to curate orphaned artworks and to construe their meanings. \n\n\n\n\nBruno Schulz\, ‘Encounter: A Young Jewish Man and Two Women in an Urban Alley\,’ 1920\, oil on cardboard. (Adam Mickiewicz Museum of Literature\, Warsaw) \nBruno Schulz\, ‘The Enchanted Town II\,’ 1920-1922. (Courtesy) \n\n\n\nBenjamin Balint\, a writer living in Jerusalem\, is the author most recently of Bruno Schulz: An Artist\, a Murder\, and the Hijacking of History. The book won this year’s National Jewish Book Award in biography and was named a New York Times Book Review Editors’ Choice. His previous book\, Kafka’s Last Trial\, awarded the 2020 Sami Rohr Prize\, has recently been published in an updated German edition by S. Fischer Verlag. \nOri Z. Soltes teaches at Georgetown University across a range of disciplines\, from art history and theology to philosophy and political history. He is the former Director and Curator of the B’nai B’rith Klutznick National Jewish Museum\, and has curated more than 90 exhibitions there and in other venues across the country and overseas. He is also the author of over 280 books\, articles\, exhibition catalogues\, and essays on diverse topics. Among his books are Fixing the World: Jewish American Painters in the Twentieth Century; The Ashen Rainbow: Essays on the Arts and the Holocaust; Our Sacred Signs: How Jewish\, Christian and Muslim Art Draw from the Same Source; Tradition and Transformation: Three Millennia of Jewish Art and Architecture; and Between Pasts and Future: A Conceptual History of Israeli Art.  \n\n\n\nBruno Schulz in 1935. (Collection of the University of Warsaw Library) \nBook publication by W.W. Norton & Company 2023 \nBUY THE BOOK HERE\n\n\n\n\nThis event is part of the online series “Flight or Fight. stories of artists under repression.” \n\nPlease donate generously to make programs like this possible. Thank you. \n\nThe Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible.\n \n\n\n\n\n\nDONATE HERE
URL:https://fritzaschersociety.org/exhibition-event/bruno-schulz/
LOCATION:ONLINE\, VA\, United States
CATEGORIES:Events,Lectures,Past Events
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