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Sandi Slone

Oct 8, 2021

Remembering Friedel:
An Intimate View of Friedel Dzubas (1915-1994)
Featuring Karen Wilkin and Sandi Slone

2022-08-26T05:20:00-04:00October 8th, 2021|, , |Comments Off on Remembering Friedel:
An Intimate View of Friedel Dzubas (1915-1994)
Featuring Karen Wilkin and Sandi Slone

In a prolific career that spanned nearly five decades, Friedel Dzubas (b. Berlin, 1915–d. 1994, Newton, Mass.) articulated his mature style by the 1970s, creating a striking visual language from counterpoised abstract shapes of brushed color that he juxtaposed, overlapped, and opened to reveal his gessoed grounds. Yet, in prior years, Dzubas’s early work in Berlin were influenced by Expressionist artist of the two primary groups known as Die Brücke and Die Blaue Reiter. As Dzubas told curator Charles Millard in 1982, “Their unheard-of brashness of color; that was really brave. That was very exciting. Color’s an emotional thing. These people not only spoke directly; they felt deeply. There was passion.” His early pen and ink watercolors embed the [...]

Sep 14, 2021

Boris Lurie:
Searching for Truth in Holocaust Images
Featuring Eckhart Gillen, PhD, Berlin (Germany)

2022-02-06T07:18:15-05:00September 14th, 2021|, , |Comments Off on Boris Lurie:
Searching for Truth in Holocaust Images
Featuring Eckhart Gillen, PhD, Berlin (Germany)

In Claude Lanzmann’s seminal nine-and-a-half-hour film SHOAH, he chose not to use any images of the Holocaust, telling the story instead solely through the words of witnesses. By contrast, art historian Georges Didi-Huberman and contemporary artist Gerhard Richter have both emphasized the power of images to reflect and educate—the former in his book Images in Spite of All: Four Photographs from Auschwitz, and the latter in a series of paintings titled “Birkenau.” Join the Museum of Jewish Heritage and the Fritz Ascher Society for a lecture exploring the tension between these different perspectives on images, words, and the Holocaust with German art historian and curator Eckhart Gillen. Gillen grounds the discussion in the example of Boris Lurie, the subject [...]

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