Suzanne Statland Collection in Holocaust Studies Collection
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Tate Report 2010-11: List of Tate Archive Accessions
Tate Report 10–11 Tate Tate Report 10 –11 It is the exceptional generosity and vision If you would like to find out more about Published 2011 by of individuals, corporations and numerous how you can become involved and help order of the Tate Trustees by Tate private foundations and public-sector bodies support Tate, please contact us at: Publishing, a division of Tate Enterprises that has helped Tate to become what it is Ltd, Millbank, London SW1P 4RG today and enabled us to: Development Office www.tate.org.uk/publishing Tate Offer innovative, landmark exhibitions Millbank © Tate 2011 and Collection displays London SW1P 4RG ISBN 978-1-84976-044-7 Tel +44 (0)20 7887 4900 Develop imaginative learning programmes Fax +44 (0)20 7887 8738 A catalogue record for this book is available from the British Library Strengthen and extend the range of our American Patrons of Tate Collection, and conserve and care for it Every effort has been made to locate the 520 West 27 Street Unit 404 copyright owners of images included in New York, NY 10001 Advance innovative scholarship and research this report and to meet their requirements. USA The publishers apologise for any Tel +1 212 643 2818 Ensure that our galleries are accessible and omissions, which they will be pleased Fax +1 212 643 1001 continue to meet the needs of our visitors. to rectify at the earliest opportunity. Or visit us at Produced, written and edited by www.tate.org.uk/support Helen Beeckmans, Oliver Bennett, Lee Cheshire, Ruth Findlay, Masina Frost, Tate Directors serving in 2010-11 Celeste -
Und Nach Dem Holocaust?
Lea Wohl von Haselberg Und nach dem Holocaust? Jüdische Spielfilmfiguren im (west-)deutschen Film und Fernsehen nach 1945 Neofelis Verlag Die Drucklegung wurde ermöglicht durch die Axel Springer Stiftung, die Ursula Lachnit-Fixson Stiftung und die Ephraim Veitel Stiftung. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. © 2016 Neofelis Verlag GmbH, Berlin www.neofelis-verlag.de Alle Rechte vorbehalten. Umschlaggestaltung: Marija Skara unter Verwendung von Filmstills aus Zeugin aus der Hölle (Artur Brauner-Archiv im Deutschen Filminstitut – DIF e. V., Frankfurt am Main), Lore (Rohfilm GmbH, Berlin) und Alles auf Zucker! (© Alles auf Zucker! X VERLEIH AG). Lektorat & Satz: Neofelis Verlag (mn/ae) Druck: PRESSEL Digitaler Produktionsdruck, Remshalden Gedruckt auf FSC-zertifiziertem Papier. ISBN (Print): 978-3-943414-60-8 ISBN (PDF): 978-3-943414-81-3 Inhalt Dank ․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․ 11 Einleitung ․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․ 13 I. Jüdische Filmfiguren ․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․ 37 1. Realistische jüdische Figuren ․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․42 2. Stereotype und die Darstellung jüdischer Filmfiguren ․․․․․․․․․․․․․․․․․ 47 2.1 Figurenstereotype ․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․․ 47 2.2 Stereotype als Bilder des Anderen ․․․․․․․․․․․․․․․․․․․․․․․․․․․․․ 51 2.3 -
Second-Generation (Jewish) Artists
Migration, Memory and the Visual Arts: Second-Generation (Jewish) Artists 7 May 2021, University of Leicester Online symposium Organisers: Dr Imogen Wiltshire and Dr Fransiska Louwagie Keynote: Dr Glenn Sujo (author and curator of Legacies of Silence: The Visual Arts and Holocaust Memory, Imperial War Museum) Young Blood and the Exterminatory Idea: A Continuum? Abstract As we draw on the survivors’ unassailable witness, can we as artists and scholars also look ahead to a concentrationary imaginary that enlarges the field of representation as a locus of possibility, resisting invisibility? And following from Adorno’s paradoxical proposition, can we still affirm that it is indeed ‘only in art that the enormity of such suffering finds a voice’? In this vein, I ask whether the universal message contained in the graphic cycles of Francisco Goya, Käthe Kollwitz or Otto Dix portend a visual imaginary of terror for the modern era that foreshadows the totalitarian and genocidal impulse to the destruction of a people. How do these images implicate (Rothberg) or make us complicitous (Sontag, Brink) in acts of violence, then and after? What obligations do they bestow on future acts of transmission, poetic misprision or an aesthetic of resistance? Two works, one a foreshadowing from the narrow corridor of exile and clandestinity in Max Beckmann’s Bird’s Hell (1938), the other, a fictional if also factual account of internment in KZ Auschwitz by Tadeusz Borowski (1946), sharpen our response to the subject’s radical and creative as well as destructive and nihilistic potential. Taking a cue from the symposium’s title, we might question whether the assumed model of generational succession — by choice, familial descent, identification with communal or ritual practices of remembrance or artistic affiliation — remains a viable frame for transmission in the enduring imaginary of human suffering, when subject to the erosions of time and memory as well as communal breakdown. -
Gino Bartali
There is a wealth of material available covering the many different aspects of the Holocaust, genocide and discrimination. Listed here are a few of the books – including fact, fiction, drama and poetry – that we think are helpful for those interested in finding out more about the issues raised by Holocaust Memorial Day. The majority of these books are available on commonly used bookselling websites – books which are not have contact details for where you can purchase them. The Holocaust & Nazi Persecution A House Next Door to Trauma: Learning from Holocaust Survivors How to Respond to Atrocity – Judith Hassan A Social History of the Third Reich – Richard Grunberger Address Unknown – Kressman Taylor After Daybreak: The Liberation of Belsen 1945 – Ben Shephard After Such Knowledge – Eva Hoffman After the Holocaust: Jewish Survivors in Germany after 1945 – Eva Kolinsky Aimee & Jaguar – Erica Fischer Auschwitz: A History – Sybille Steinbacher Austerlitz – W.G. Sebald British Jewry and the Holocaust – Richard Bolchover By Trust Betrayed: Patients, Physicians and the License to kill in the Children with a Star: Jewish Youth in Nazi Europe – Deborah Dwork Confronting the ‘Good Death’: Nazi Euthanasia on Trial, 1945 – 1953’ – Michael S. Bryan Deaf People in Hitler’s Europe – Donna F. Ryan Disturbance of the Inner Ear – Joyce Hackett Forgotten Crimes: The Holocaust and People with Disabilities – Suzanne Evans www.hmd.org.uk The Holocaust & Nazi Persecution (cont.) From Prejudice to Genocide: Learning about the Holocaust – Carrie Supple Fugitive -
Modern Art and Politics in Prewar Germany
Stephanie Barron, “Modern Art and Politics in Prewar Germany,” in Barron (ed.), Degenerate Art: The Fate of the Avant-Garde in Nazi Germany (Los Angeles: Los Angeles County Museum of Art, 1991): 9-23. In 1937 the National Socialists staged the most virulent attack ever mounted against modern art with the opening on July 19 in Munich of the Entartete Kunst (Degenerate art) exhibition, in which were brought together more than 650 important paintings, sculptures, prints, and books that had until a few weeks earlier been in the possession of thirty-two German public museum collections. The works were assembled for the purpose of clarifying for the German public by defamation and derision exactly what type of modern art was unacceptable to the Reich, and thus “un-German.” During the four months Entartete Kunst was on view in Munich it attracted more than two million visitors, over the next three years it traveled throughout Germany and Austria and was seen by nearly one million more On most days twenty thousand visitors passed through the exhibition, which was free of charge; records state that on one SundayAugust 2, 1937-thirty- six thousand people saw it.1 The popularity of Entartete Kunst has never been matched by any other exhibition of modern art. According to newspaper accounts, five times as many people visited Entartete Kunst as saw the Grosse Deutsche Kunstaussiellung (Great German art exhibition), an equally large presentation of Nazi-approved art that had opened on the preceding day to inaugurate Munich's Haus der Deutschen Kunst (House of German art), the first official building erected by the National Socialists. -
PDF Findbuch Galerie Des 20. Jahrhunderts
Aktenüberlieferung der Galerie des 20. Jahrhunderts im Zentralarchiv der Staatlichen Museen zu Berlin II/B Galerie des 20. Jahrhunderts – Land Berlin Bestandsgeschichte: Der Aktenbestand der Galerie des 20. Jahrhunderts ist auf drei Standorte verteilt: - Landesarchiv Berlin, in dessen Zuständigkeitsbereich die Akten der Galerie des 20. Jahrhunderts fallen, - Berlinische Galerie und - Zentralarchiv der Staatlichen Museen zu Berlin. Die Schriftgutüberlieferung im Zentralarchiv kann folglich als Teilbestand und somit als Ergänzung zu den anderen beiden Überlieferungen angesehen werden. Im Mai 1996 übernahm das Zentralarchiv Akten aus der Neuen Nationalgalerie. Darunter befanden sich auch Akteneinheiten des damaligen Leiters der Galerie des 20. Jahrhunderts Adolf Jannasch. Die Akten wurden zunächst in den Bestand des Verwaltungsarchivs eingearbeitet, welches dem Zentralarchiv als Zwischenarchiv dient. Im Dezember 2009 wurden die Akten überarbeitet und in einen eigens dafür vorgesehenen Bestand innerhalb der Tektonik des Zentralarchivs überführt. Die Akten sind unter „II/Geschäftsakten der Staatlichen Museen zu Berlin ab 1945, der Museen SMPK ab 1957“ abgelegt. Die Überlieferung des Schriftgutes im Zentralarchiv umfasst 15 Akten, die in der Zeit von 1951 – 1974 entstanden sind. Der überwiegende Teil besteht aus Schriftwechselakten. Die inhaltlichen Schwerpunkte liegen zum einen auf Angeboten von Kunstwerken von Galerien, Kunsthändlern und Privatpersonen und zum anderen ist der Schriftverkehr mit Institutionen und Vereinen überliefert, der die Zusammenarbeit im kulturellen Bereich darlegt. Durch die Korrespondenz zwischen der Galerie des 20. Jahrhunderts und den Senatseinrichtungen des Landes Berlins wird die Verwaltungsarbeit des Museums ersichtlich. Neben den Korrespondenzakten sind drei Akten überliefert, in denen vorwiegend Rechnungsbelege vorzufinden sind. Des Weiteren ist eine Akte überliefert, in der die Protokolle der Ankaufskommission zusammengefasst wurden. -
STUDENT HANDOUT Antisemitism Over Time
ANTISEMITISM OVER TIME THE PROTOCOLS OF THE ELDERS OF ZION BOOK COVERS (1911-2006) The Protocols of the Learned Elders of Zion was first published in 1905. It was said to be the secret minutes of a Jewish council plotting world domination. In reality it was a hoax carried out by the Russian secret police. Over the past century, this forgery has been translated into dozens of languages and spread throughout the world in order to keep alive antisemitic ideas. For instance, Henry Ford (the founder of Ford Motor Company) distributed 500,000 copies throughout the U.S. in the 1920s. In Nazi Germany, teachers were instructed to assign the book to school children. View the Protocols book covers, which span almost a century and a dozen countries. • What stereotypes and beliefs about Jewish people are conveyed through these images? • How have these ideas changed or stayed the same over time? • What conclusion do you come to about how strong the roots of this stereotype are? Original Russian edition, 1911 Poland, 1943 Japan, 2004 Spain, 1930: "The Invisible World Pakistan, 1969 Syria, 2005 Government, or the Jewish Program to Subjugate the World" CONTEMPORARY ANTISEMITISM 1 France, 1934: "The Jewish Danger" Great Britain, 1978 Mexico, 2005 Brazil, 1937 Egypt, 2003: "The Protocols Malaysia, 2006 of the Elders of Zion and their Biblical and Talmudic Origins" CONTEMPORARY ANTISEMITISM 2 THE POISONOUS MUSHROOM (GERMANY, 1938) Der Giftpilz or The Poisonous Mushroom was a book published in 1938 to spread and normalize antisemitic ideas. It was written for children and often used in school settings. -
'The Ohel Centre' in Josef Herman
The Ohel Centre Rachel Dickson ‘Soon after the first refugees from the Continent arrived in London, two philanthropists, the brothers Alexander and Benjamin Margulies, organised a club for Jewish intellectuals in Gower Street, which they named ‘Ohel’. A small number of us used to gather there every Friday afternoon to hold discussions and give lectures. Of the more permanent ‘members’ I recall the two folklorists, Dr J Maitlis and Dr. Olshwanger, the essayist Leo Koening [sic], the short-story writer Leo Fuchs, the writer Joseph Leftwich, and the artists Jankel Adler, Marek Schwartz [Szwarc], Bloch, Meidner, Bomberg, and myself. There was also in our midst the Yiddish poet Itzik Manger – a man of obvious genius.’1 ‘Thousands of Polish Jewish refugees and members of the armed Forces were living a lonely life and were often in need of moral and material sustenance. For these 'Ohel' should become a real home.’2 From 1933 onwards, as more than 10,000 refugee artists, writers and those involved in the creative arts (both Jewish and non-Jewish) fled to Britain from across Europe as a result of Nazi persecution, a significant number of émigré cultural organisations were quickly established within the new homeland. Many were based in north London, particularly around Hampstead, a neighbourhood that welcomed many new émigrés, Jewish and Gentile, to its artistic and intellectual milieu.3 Despite the need for assimilation and integration, a strong impulse remained towards retaining a sense of cultural identity (and, as Monica Bohm Duchen’s essay indicates, in Josef Herman this impulse was especially profound). -
INFORMATION Fssufd SY the Assoaum of JEVUSH REFU^S U OEAT BRITMI
Volume XXXIV No. 5 May 1979 INFORMATION fSSUfD SY THE Assoaum OF JEVUSH REFU^S U OEAT BRITMI %on Larsen peared from the German scene: where and in what personal situation he worked was irrele vant. Even as a fanner he was still a writer. Another recent book on the subject is GERMAN LITERATURE-IN-EXILE Polififc und Literatur im Exil (Christian Ver The Last Chapter? lag, Hamburg) by Alfred Kantorowicz who emigrated to France, fought against Franco in ^ew topics in literary history have been dis- fred Durzak, Bloomington, who is also the Spain, fled to America and retumed, as a Com *^ussed, studied, written about all over the editor of the anthology) the success stories munist of long standing, to East Germany. But *orld as much as that of German Exilliteratur, are also rare, but some of them are quite the GDR tumed out to be the worst "exile" r'er since the buming of the books and the astounding: Vicki Baum, Lion Feuchtwanger, for him, and after a decade of frustration he "**ss exodus of writers from Nazi Gennany. Franz Werfel extended their former mainly left it to settle in the Federal RepubUc. He But the very diversity of attitudes to the German-language readership into a worldwide died in Hamburg two months ago. ^"Dject makes it difficult to define the term one from their American exile; Anna Segher's Kantorowicz starts his work—compiled for , "Winteratur. Does it mean anything produced Das siebte Kreuz achieved a sale of 600,000 the Forschungsstelle fur die Geschichte des J former Gennan writers outside their home- copies in the U.S. -
The Convent Children the Rescue of Jewish Children in Polish Convents
The Convent Children The Rescue of Jewish Children in Polish Convents During the Holocaust1 Nahum Bogner The rescue of Jewish children in convents during the Holocaust is a subject that evokes intense emotions and sensitivities among both Jews and Christians, as it is intertwined with the controversial issue of the attitude of the Church toward the Jews at that time. The Jewish collective consciousness associates the affair with the conversion of many of these children to Christianity—as if their rescuers effected their deliverance in order to stalk innocent souls and exploit their existential distress for missionary motives. Christians, in contrast, consider the very hint of such a suspicion as an expression of ingratitude on the part of people who do not respect the death-defying devotion and Christian conscience of those priests and nuns who risked their lives in order to save Jews. It is a complex issue that penetrates to the depths of the soul. This article examines the case of the children who survived the Holocaust in the convents of Poland. Poland is, of course, one of the largest Catholic countries in Europe and one in which the Church had a special stature and exerted strong influence over its believers. 1 This article is part of a book in progress on the rescue of children with assumed identities in Poland. Convents in Occupied Poland Catholic Poland, flanked by the mostly Orthodox Russia to the east and predominantly Lutheran Germany to the west, was peppered until World War II with sundry types of convents and monasteries. These were mostly tenanted by women, and even the Church establishment was not always well acquainted with all of them. -
Robert Colquhoun and Robert Macbryde
GOLDEN YEARS ROBERT COLQUHOUN AND ROBERT MACBRYDE 3-26 NOVEMBER 2014 WWW.SCOTTISH-GALLERY.CO.UK/GOLDENYEARS a trick ‘There’s we haven’t tr ied, MacBry ’ de.’ ‘We will soon, Colquhoun. FOREWORD ROGER BRISTOW 2 GOLDEN YEARS CHRISTINA JANSEN 4 A BRIEF LOOK DAVY BROWN 8 COLQUHOUN AND MACBRYDE BIOGRAPHICAL NOTES 84 16 Dundas Street, Edinburgh EH3 6HZ TEL 0131 558 1200 EMAIL [email protected] www.scottish-gallery.co.uk Left: Robert Colquhoun, Seated Woman, 1949 (cat 14) 2 FOREWORD ROBERT COLQUHOUN (1914-1962) AND ROBERT MACBRYDE (1913-1966) Colquhoun and MacBryde met shortly after enrolling at Glasgow School of Art and soon began the relationship that lasted until Colquhoun’s early death aged 47. After graduating from the School in 1937 they both applied for the Annual Travelling Scholarship – its most prestigious award. Although not recognising the true nature of their bonding there was such concern when Colquhoun was ultimately awarded the prize that an equal sum was donated to MacBryde enabling them to tour France, Italy, Belgium and Holland together in 1938 and ’39. Two early works from their European trip are included in this exhibition, one, an oil painting of Venice by MacBryde (cat 26) and the other, a rare Colquhoun that does not feature a human figure as its main subject, a drawing of buildings in Foro Romano (cat 3). In 1941, having moved to London, they were loaned a thatched cottage in rural Worcestershire where they produced several oil paintings of landscapes influenced by the Neo-Romantic work of older painters such as Graham Sutherland and John Piper. -
Jacob Bogdani Benedetto Gennari Ronald Moody Jacob Epstein Antonio Verrio Hans Eworth Marcus Gheeraerts II Isaac Oliver Anthony
Kim Lim David Lamelas Avinash Chandra David Medalla F.N. Souza Li Yuan-chia Anwar Jalal Shemza Rasheed Araeen Global Aubrey Williams Global Ronald Moody Frank Bowling Lubiana Himid Benjamin West James Abbott McNeill Whistler Jacob Epstein Mona Hatoum Jacob Kramer Naum Gabo Alfred Wolmark László Moholy-Nagy Antonio Verrio Jacob Bogdani Francesco Zuccarelli John Singer Sargent Peter Peri Keith Piper Giovanni Batista Cipriani Siegfried Charoux Oskar Kokoschka Europe Canaletto Francesco Bartolozzi Marie-Louise Von Motesiczky Jankel Adler Europe Benedetto Gennari Louis Francois Roubiliac Agostino Carlini Angelica Kauffman Gustav Metzger Kurt Schwitters Isaac Oliver Peter Lely Willem van de Velde James Tissot Hans Eworth Anthony van Dyck Simon du Bois Johan Zoffany Alphonse Legros Hans Feibusch Marcus Gheeraerts II Alexander Keirincx Jan Griffier Jan Siberechts Joseph Van Aken Dominic Serres William Rothenstein Piet Mondrian Zineb Sedira Francis Alys Sonia Boyce Britain Isaac Rosenberg Black Audio Film Collective Steve McQueen Britain Cornelius Johnson Nathaniel Dance-Holland David Bomberg Mark Gertler Donald Rodney Rosalind Nashashibi Religious refugees expelled from Catholic Flanders for heresy The Spanish Armada defeated Collapse of Lehman Re-imposition of by the English fleet Nazi Degenerate Art Brothers helps trigger Catholic Habsburg Peace of Westphalia exhibition in Munich global financial crisis Hitler becomes rule in the ends years of European condemns avant-garde United Nations Anglo-Spanish War British victory for Chancellor of Netherlands