Rachel Stern2022-02-18T07:19:09-05:00January 11th, 2021|Events, Lectures, Past Events|
WATCH THE RECORDING OF THIS EVENT HERE. Visual art during and after the Holocaust, by victims and survivors eloquently contradicts the famous comment by Theodor Adorno that "after the Holocaust to make art is barbaric." On the contrary, it was and is necessary: as part of the record of events as they were transpiring, and as part of the human response to horror--to express anger, to raise questions, to offer healing--in the time after those events. Who creates the art and what kind of art is created? What role does it play in wrestling with the question of what God is and what we humans are? These issues have implications both from within the heart of the Holocaust and from well beyond its particular boundaries. [...]
Rachel Stern2021-02-24T05:46:01-05:00January 10th, 2021|Newsletter|
Dear Friends, Please join us, the Museum of Jewish Heritage and the German Consulate General in New York TOMORROW, January 19 at 2:00pm ET for a stirring performance of Carolyn Enger’s Mischlinge Exposé, which will be live streamed from Edmond J. Safra Hall. The performance will be followed by a discussion. Registration link for the livestream HERE. Carolyn Enger is a pianist based in the greater New York City area, with roots reaching back to Breslau, now Wroclaw, Poland. Her “Mischlinge Exposé” brings to light the stories of Mischlinge—a derogatory term used by the Nazis to describe people with both Jewish and Aryan ancestry—like her father and godmother, interwoven [...]
Rachel Stern2022-02-18T07:13:15-05:00December 3rd, 2020|Events, Lectures, Past Events|
Oskar Nerlinger (1893-1969) was one of the most important artists of the committed art scene in the Weimar Republic. He was a member of the Association of Proletarian Revolutionary Art (ASSO for short), which was founded in 1928 and belonged to the KPD, which cooperated with the Soviet avant-garde artist group Oktober. At that time there was no conflict between positions of aesthetic modernism and KPD politics. In 1932 the political and artistic avant-garde in the Soviet Union fell apart, with serious consequences for left-wing artists in Germany. Almost at the same time, the Nazi system broke with all forms of modernity. With his idea of art suddenly doubly isolated within his own party, which followed Stalin's art verdict, [...]
