Women's Image in a Polish Magazine: Midrash
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Marcin Gizycki's CV
Marcin Giżycki • Art and Film Historian, Critic, Filmmaker, Curator. • Recipient of the Award for the Outstanding Contribution to Animation Studies at Animafest, the World Festival of Animated Film in Zagreb, Croatia, 2016 Education 2008 Postdoctoral degree, Film Studies, Jagiellonian University, Krakow, Poland 1995 Ph.D., Art History, University of Warsaw, Poland 1976 M.A., Art History, University of Warsaw, Poland Professional Experience 2015-present Associate Professor, Polish-Japanese Academy of Information Technology, Warszawa, PL 2007-present Artistic Director, International Animated Film Festival “Animator,” Poznan, PL 2005-present Expert, Polish Film Institute, Warsaw, PL 1988-present Senior Lecturer, Rhode Island School of Design, Providence, RI, USA 2012-2015 Associate Professor, Katowice School of Technology, Katowice, PL 1987-1988 Assistant Director, "Akademia Ruchu" Theater Center, Warsaw, PL 1984-1987 Researcher, Institute of Art, Warsaw, PL 1979-1983 Editor, "Projekt" Art Magazine, Warsaw, PL 1979-1981 Editor-in-Chief, "Animafilm" Magazine, Warsaw, PL 1979-1982 Columnist, Art Critic, "Literatura" Weekly, Warsaw, PL 1976-1978 Free Lance Art & Film Critic, PL 1974-1975 Assistant Curator, Contemporary Print Department, National Museum, Warsaw, PL 1969-1970 Archivist, Central Film Archive, Warsaw, PL Guest Lecturer 2014 Polish-Japanese Academy of Information Technology, Warsaw, Poland 2013 University College West, Trollhättan, Sweden 2013 Moholy-Nagy University, Budapest, Hungary 2012 Yale University, New Haven, CT. US 2009 -
Franciszka Themerson Lines and Thoughts Paintings, Drawings, Calligrammes
! 44a Charlotte Road, London, EC2A 3PD Franciszka Themerson Lines and Thoughts paintings, drawings, calligrammes 4 November - 16 December 2016 ____________________ Private View: 3 November 6.30 - 8.30 pm Calligramme XXIII (‘fossil’),1961 (?), Black, gold and red paint on paper, 52 x 63.5cm, © Themerson Estate, courtesy of l’étrangère. " It seemed to me that the interrelation between these two sides: order in nature on the one side, and the human condition on the other, was the undefinable drama to be grasped, dealt with and communicated by me. - Franciszka Themerson, Bi-abstract Pictures, 1957 l’étrangère is delighted to present a solo exhibition of paintings, drawings and calligrammes by Franciszka Themerson - a seminal figure in the Polish pre-war avant-garde. She developed her unique pictorial language during the shifting years of pre- and post-war Europe, having settled in Britain in 1943. Together with her husband, writer, poet and filmmaker, Stefan Themerson, she was involved with experimental film and avant-garde publishing. Her personal domain, however, focused on painting, drawing, theatre sets and costume design. This exhibition brings together Franciszka’s three paintings completed in 1972 and a selection of drawings, dated from 1955 to 1986, which demonstrate the breadth of her work. ! The paintings: Piétons Apocalypse, A Person I Know and Coil Totem, act as anchors in the exhibition, while the drawings demonstrate the variety of motifs recurring throughout her work. The act of drawing and the key role of the line remain a constant throughout her practice. The images are characterised by a fluidity of line, rhythmic composition and the humorous depiction of everyday life. -
1 THEMERSONOWIE [Ath T]
THEMERSONOWIE [ATh T] A Festiwal of Contemporary Art., Music, Poetry & Exhibitions; Brington May 8111 - June 17 Program; Stefan Themerson - 17 maja Almansi Guido Introduction / Guido Almansi Maszynopis dwustronny, s. 1 – 7 Themerson Franciszka Weinles Katalogi, zaproszenia na wystawy, ect. a) Franciszka Themerson; [Paintings]; September lllh - October 8lh 1951: Watergate Theatre Club, London: Catalogue exhibition. - Arkusz 25x35 cm, druk jednostronny b) Recent paintings by Franciszka Themerson at Gallery One, lsl-20lh February 1957, London. - Arkusz 28x37 cm, druk jednostronny c) Paintings by Franciszka Themerson: Gallery One, 12lh May - 7lh June 1959, London. - Arkusz 23x39 cm d) A Retrospective exhibition (1943-1963) of paintings and drawings by Franciszka Themerson: September 10th - October 7lh 1963 at The Drian Galleries, London. - 40 s., il.; 17x23 cm e) Franciszka Themerson: Drawings: 8lh-28ltl April 1965: Marjore Parr Gallery, Chelsea. - Karton 12x30 cm f) Franciszka Themerson: Drawings: Gardner Centre, University of Sussex, lsl-28lh October 1992. - Karton 21x29 cm g) Franciszka Themerson: Drawings: Gardner Centre, University of Sussex, 6th October 1992. - Zaproszenie, karton 10x21 cm h) Lines from life: The art of Franciszka Themerson: 27th September 1993, 5.30 - 7 pm, wine: Foyer Galleries, Royal Festival Hall, London. - karton 21x30 cm Lines from life: The art of Franciszka Themerson: 28lh September - 7th November 1993: Foyer Galleries, Royal Festival Hall, London. - karton 21x30 cm i) j. - Franciszka Themerson: Unposted Letters 1940-42: 15lh February - 8lh April 1996: Imperial War Museum. - 30x83 cm k. - Franciszka Themerson (1907-1988): Why is the mind in the head?: 13lh Jan. - 1 llh Febr. 1999: Art First, London. - karton 21x45 cm 1 Themerson Franciszka Weinles Kung Ubu: Marionetteatem, Stckholm, Premiar lordagen den 17 Oktober 1964 / Figurek och dekor Franciszka Themerson Plakat dwustronny Themerson Stefan Apollinaire’s Lyrical Ideograms / Stefan Themerson. -
Prunella-Clough-Cv.-2021.Pdf
Annely Juda Fine Art 23 Dering Street London W1S 1AW T +44 (0) 20 7629 7578 F +44 (0) 20 7491 2139 www.annelyjudafineart.co.uk [email protected] Prunella Clough ( 1919-1999 ) Forthcoming Exhibitions 2021 Prunella Clough & Alan Reynolds, Annely Juda Fine Art, London Solo Exhibitions 2019-20 Prunella Clough: A Centenary, Pallant House Gallery, Chichester, UK 2019 Prunella Clough: Blast, P.P.O.W, New York, USA 2017 Annely Juda Fine Art, London 2016 Prunella Clough: Unknown Countries, Jerwood Gallery, Hastings 2015 Prunella Clough, Unconsidered Wasteland:Osborne Samuel, London 2012 Austin Desmond Fine Art, London Annely Juda Fine Art, London 2011 Annely Juda Fine Art, London 2008 Annely Juda Fine Art, London 2007-08 Tate Britain, London: touring to Norwich Castle Museum & Art Gallery, Norwich; Abbot Hall Art Gallery, Kendal 2003 Annely Juda Fine Art, London 2000 Annely Juda Fine Art, London 1999-2001 University of Essex, Colchester. Arts Council exhibition touring to Peter Muni Arts Centre, Pontypridd; Glynn Vivien Art Gallery, Swansea; Peter Scott Gallery, Lancaster; Ropewalk Contemporary Art and Craft Centre, Barton upon Humber; Plymouth City Museum and Art Gallery, Plymouth; Ruthin Gallery, Buckley Library Gallery and Heritage Centre, Buckley; Denbigh Museum and Art Gallery, Denbigh; Gainsborough's House, Sudbury Annely Juda Fine Art 23 Dering Street London W1S 1AW T +44 (0) 20 7629 7578 F +44 (0) 20 7491 2139 www.annelyjudafineart.co.uk [email protected] 1999 Kettle's Yard, Cambridge: travelling to Graves Art Gallery, -
HOPE IS the LAST to DAI This Page Intentionally Left Blank HOPE IS the LAST to DAI
HOPE IS THE LAST TO DAI This page intentionally left blank HOPE IS THE LAST TO DAI A COMING OF AGE UNDER NAZI TERROR A CLASSIC OF HOLOCAUST LITERATURE EXPANDED WITH A NEW POSTSCRIPT HALINA BIRENBAUM Translated from the Polish by David Welsh ROUTLEDGE Routledge Taylor & Francis Group LONDON AND NEW YORK First published 1971 by M.E. Sharpe Published 2015 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint ofthe Taylor & Francis Group, an informa business Copyright © 1971 by Halina Birenbaum, 1996 Taylor & Francis. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. First published in Polish under the title Nadzieja umiera ostatnia byCzytelnik, Warsaw, 1967. First English edition, Hope Is the Last to Die: A Personal Documentation ofNazi Terror, published by Twayne Publishers, New York, 1971. Hebrew edition, Life as Hope, published by Hakibutz Hameuhad, Tel Aviv, 1983. German editions, Die Hoffnung Stirbt Zuletzt, published by Rainer Padligur Verlag, Hagen, 1989, and Fischer Taschenbuch Verlag, Frankfurt am Main, 1995. Auschwitz editions published by Publishing House of the State Museum, Auschwitz, 1993 (German, Die Hoffnung Stirbt Zuletzt), 1994 (English, Hope Is the Last to Die), and 1996 (with Paro I Publishing, Polish, Nadzieja umiera ostatnia). Hope Dies Last, in Polish with English subtitles, an oral record of the events in this book, was produced by Film Production, Studio WIR, Warsaw, Poland. -
Anatol Stern and Stefan Themerson. on Europa And
Anatol Stern and Stefan Themerson and Stefan Anatol Stern Janusz Lachowski ANATOL STERN AND STEFAN THEMERSON. ON EUROPA AND THE FRIENDSHIP BETWEEN THE TWO AVANT-GARDE ARTISTS ON THE BASIS OF THEIR MUTUAL CORRESPONDENCE FROM THE YEARS 1959–1968 Anatol Stern (1899–1968) was a poet, one of the founders of Polish futur- ism, a prose and drama writer, literary critic, essayist and author of memo- rial sketches1 as well as a prolific scriptwriter and film journalist of the Pol- ish interwar period. His wife Alicja (1905–1993) was a translator of Russian literature, theatre critic, and columnist, also participating in film script writing. Towards the end of her life, she wrote a children’s book. Following her husband’s death, she took care of his manuscript collection, preparing previously unedited texts2 for publication and making their home archive available to literary researchers interested in Stern’s writing. Stefan Themerson (1910–1988) was a novelist, poet, essayist, philoso- pher, author of children’s literature, and composer; together with his wife Franciszka (1907–1988), he made experimental short films in interwar 4 Vol. 2016 Libraries Polish 1 Cf. i.a. A. Stern, Legendy naszych dni [The Legends of Our Days], Kraków 1969; idem, Poezja zbuntowana. Szkice i wspomnienia [Rebellious Poetry. Essays and Memories], revised and expanded edition, Warszawa 1970; idem, Głód jednoznaczności i inne szkice [The Craving for Unambiguity and Other Essays], Warszawa 1972. 2 Cf. A. Stern, Dom Appolinaire’a. Rzecz o polskości i rodzinie poety [Appolinaire’s Home. On the Poet’s Polishness and His Family], prepared for printing by A. -
Franciszka Themerson Lines and Thoughts Paintings, Drawings, Calligrammes
! 44a Charlotte Road, London, EC2A 3PD Franciszka Themerson Lines and Thoughts paintings, drawings, calligrammes 4 November - 16 December 2016 ____________________ Private View: 3 November 6.30 - 8.30 pm Calligramme XXIII (‘fossil’),1961 (?), Black, gold and red paint on paper, 52 x 63.5cm" It seemed to me that the interrelation between these two sides: order in nature on the one side, and the human condition on the other, was the undefinable drama to be grasped, dealt with and communicated by me. - Franciszka Themerson, Bi-abstract Pictures, 1957 l’étrangère is delighted to present a solo exhibition of paintings, drawings and calligrammes by Franciszka Themerson - a seminal figure in the Polish pre-war avant-garde. She developed her unique pictorial language during the shifting years of pre- and post-war Europe, having settled in Britain in 1943. Together with her husband, writer, poet and filmmaker, Stefan Themerson, she was involved with experimental film and avant-garde publishing. Her personal domain, however, focused on painting, drawing, theatre sets and costume design. This exhibition brings together Franciszka’s three paintings completed in 1972 and a selection of drawings, dated from 1955 to 1986, which demonstrate the breadth of her work. ! The paintings: Pietons Apocalypse, A Person I Know and Coil Totem, act as anchors in the exhibition, while the drawings demonstrate the variety of motifs recurring throughout her work. The act of drawing and the key role of the line remain a constant throughout her practice. The images are characterised by a fluidity of line, rhythmic composition and the humorous depiction of everyday life. -
Stefan Themerson
Stefan Themerson A Few Letters from the 1950s A FEW LETTERS FROM THE 19505 Copyright 2009 by Estate of Stefan Themerson. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photo-copy, recording or any information storage and retrieval system, without permission in writing from the copyright holder, except for quotes in reviews. The cover photograph, a self-portrait by Stefan Themerson, circa 1950, is used with permission of Jasia Reichardt. Jasia also provided invaluable guidance and assistance in the preparation of this publication. First Edition OBSCURE PUBLICATIONS Paul Rosheim, Series Editor 307 River Street, Apt. 18 Black River Falls, Wisconsin 54615 "Watch Out for Obscure Publications" Stefan Themer50n A FEW LETTERS FROM THE 19505: Selected Correspondence with Lars Gustav Hellstrom and Bertrand Russell Obscure Publications - 2009 Stefan Themerson on Semantic Poetry correspondence with Lars Gustav Hellstrom References to pages which appear throughout the correspondence are those to the first edition of Bayamus published by Poetry London in 1949 On the 4th July 1950 Franciszka wrote to Stefan who was staying with friends in Cheshire: 'Hugo Manning telephoned a minute ago. That Swedish critic that he once told us about, is in London. [i.e. Lars Gustav Hellstrom] He has a copy of Bayamus and has read it, and he very much wants to meet you. It seems that he wants to write about you, or to translate Bayamus into Swedish. Anyway, he is not a phoney, as Manning says, and he absolutely must see you. -
EUI Working Papers
MAX WEBER PROGRAMME EUI Working Papers MWP 2009/09 MAX WEBER PROGRAMME AFTER LIBERATION: THE JOURNEY HOME OF JE WISH SURVIVORS IN POLAND AND SLOVAKIA, 1944-46 Anna Cichopek EUROPEAN UNIVERSITY INSTITUTE , FLORENCE MAX WEBER PROGRAMME After Liberation: the Journey Home of Jewish Survivors in Poland and Slovakia, 1944-46 ANNA CICHOPEK EUI W orking Paper MWP 2009/09 This text may be downloaded for personal research purposes only. Any additional reproduction for other purposes, whether in hard copy or electronically, requires the consent of the author(s), editor(s). If cited or quoted, reference should be made to the full name of the author(s), editor(s), the title, the working paper or other series, the year, and the publisher. The author(s)/editor(s) should inform the Max Weber Programme of the EUI if the paper is to be published elsewhere, and should also assume responsibility for any consequent obligation(s). ISSN 1830-7728 © 2009 Anna Cichopek Printed in Italy European University Institute Badia Fiesolana I – 50014 San Domenico di Fiesole (FI) Italy www.eui.eu cadmus.eui.eu Abstract In this paper, I tell the stories of Jewish survivors who made their way to their hometowns in Poland and Slovakia between the fall of 1944 and summer 1948. I describe liberation by the Soviet Army and attitudes toward the liberators in Poland and Slovakia. I ask what the Jewish position was in the complex matrix of Polish-Russian relations in 1944 and 1945. Then I follow the survivors during the first hours, days, and weeks after liberation. -
Electronic Superhighway (2016-1966) 29 Jan - 15 May 2016 Large Print Labels and Interpretation Gallery 8
Electronic Superhighway (2016-1966) 29 Jan - 15 May 2016 Large print labels and interpretation Gallery 8 1 From left, clockwise Front Room Rafael Lozano-Hemmer (b. 1967, Mexico City, Mexico) Surface Tension 1992 Plasma screen, computerised surveillance system, custom- made software Courtesy the artist and Carroll/Fletcher, London 2 Nam June Paik (b. 1932, Seoul, Korea; d. 2006, Miami, USA) Internet Dream 1994 Video sculpture Courtesy ZKM Center for Art and Media Karlsruhe. Dubbed the ‘Father of Video Art’, Paik created videos, sculptures, installations, performances and television productions and was part of the experimental group Fluxus along with composer John Cage and artist George Maciunas, among others. Internet Dream consists of a video-wall of 52 monitors that form a large unified shifting collage of electronically processed images, originally commissioned by the German television broadcaster RTL for its Cologne headquarters. Paik believed that the medium of television could elicit viewer participation, as well as foster intercultural understanding. The work’s title demonstrates Paik’s interest in what was then the relatively new medium of the Internet and the possibilities it offered. The title of this exhibition, Electronic Superhighway, is borrowed from a term Paik coined in relation to the potential of telecommunication systems in 1974. 3 Jill Magid (b. 1973, Bridgeport, CT, USA) Surveillance Shoe 2000 Video 6 mins. Courtesy the artist and Galerie Untilthen Paris 4 Continuing on this journey back in time, the potential of networked technology is explored in one of the first ever major interactive art installations, Lorna (1979–82) by Lynn Hershman Leeson. Here the artist presents a fictional female character that stays indoors all day watching TV, anticipating the mediated culture of virtual avatars. -
PDF EPUB} Hope Is the Last to Die a Coming of Age Under Nazi Terror by Halina Birenbaum Search All 1 Records in Our Collections
Read Ebook {PDF EPUB} Hope Is the Last to Die A Coming of Age Under Nazi Terror by Halina Birenbaum Search All 1 Records in Our Collections. The Museum’s Collections document the fate of Holocaust victims, survivors, rescuers, liberators, and others through artifacts, documents, photos, films, books, personal stories , and more. Search below to view digital records and find material that you can access at our library and at the Shapell Center. Hope is the last to die : a coming of age under Nazi terror / Halina Birenbaum ; translated from the Polish by David Welsh. About This Publication. Keywords and Subjects. Availability. Availability. Digitized Available for Research. Librarian View Give Feedback. Learn About the Holocaust. These additional online resources from the U.S. Holocaust Memorial Museum will help you learn more about the Holocaust and research your family history. Holocaust Encyclopedia. The Holocaust Encyclopedia provides an overview of the Holocaust using text, photographs, maps, artifacts, and personal histories. Holocaust Survivors and Victims Resource Center. Research family history relating to the Holocaust and explore the Museum's collections about individual survivors and victims of the Holocaust and Nazi persecution. Encyclopedia of Camps and Ghettos. Learn about over 1,000 camps and ghettos in Volume I and II of this encyclopedia, which are available as a free PDF download. This reference provides text, photographs, charts, maps, and extensive indexes. HOPE IS THE LAST TO DIE: A COMING OF AGE UNDER NAZI TERROR (Nadzieja umiera ostatnia) Hope Is the Last To Die, published in English translation in 1996, is the autobiographical account of Polish-Jewish writer Halina Birenbaum's adolescent journey through the horrors of the Holocaust. -
Jews, Poles, and Slovaks: a Story of Encounters, 1944-48
JEWS, POLES, AND SLOVAKS: A STORY OF ENCOUNTERS, 1944-48 by Anna Cichopek-Gajraj A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History) in The University of Michigan 2008 Doctoral Committee: Professor Todd M. Endelman, Co-Chair Associate Professor Brian A. Porter-Sz űcs, Co-Chair Professor Zvi Y. Gitelman Professor Piotr J. Wróbel, University of Toronto This dissertation is dedicated to my parents and Ari ii ACKNOWLEDGMENTS I am greatly appreciative of the help and encouragement I have received during the last seven years at the University of Michigan. I have been fortunate to learn from the best scholars in the field. Particular gratitude goes to my supervisors Todd M. Endelman and Brian A. Porter-Sz űcs without whom this dissertation could not have been written. I am also thankful to my advisor Zvi Y. Gitelman who encouraged me to apply to the University of Michigan graduate program in the first place and who supported me in my scholarly endeavors ever since. I am also grateful to Piotr J. Wróbel from the University of Toronto for his invaluable revisions and suggestions. Special thanks go to the Department of History, the Frankel Center for Judaic Studies, and the Center of Russian and East European Studies at the University of Michigan. Without their financial support, I would not have been able to complete the program. I also want to thank the Memorial Foundation for Jewish Culture in New York, the Ronald and Eileen Weiser Foundation in Ann Arbor, the YIVO Institute for Jewish Research in New York, and the Center for Advanced Holocaust Studies at the United States Holocaust Memorial Museum in Washington DC for their grants.