Connect with us

Art

Eyewitness to horror: New York museum opens exhibit of art by Holocaust victims – National Post

Published

 on


NEW YORK — Michael Morris, a curator at New York’s Museum of Jewish Heritage, was trying to fulfill a run-of-the mill request when he uncovered a treasure trove of eyewitness depictions of the Holocaust, drawn in pencil, ink and crayon.

“It was a light bulb moment,” said Morris, who put together an exhibit of art created by some of the 6 million Jews killed by the Nazi regime.

“Rendering Witness: Holocaust-Era Art as Testimony,” which opens this week at the lower Manhattan museum, comes at a time when U.S. anti-Semitic hate crimes have spiked and memories of the horrors of the Holocaust are fading.

“This exhibition stands against and educates about the dangers of anti-Semitism, racism, bigotry of any kind,” said Morris, describing the 21 powerful depictions of the Holocaust, mostly by Jewish prisoners.

It all started with another institution’s request to borrow some of the pieces in the museum’s collection. As Morris reviewed the dozens of works in its vaults, he knew immediately that it was high time for the museum to mount an exhibition of its own.

“Behind the statistics, and behind the numbers and behind the scenes where we see hundreds of thousands of people in concentration camps, these are actual people who had multi-faceted lives,” Morris said.

Among them was a 12-year-old girl, Helga Weissova, who brought art supplies with her when she was sent to Terezin Ghetto and concentration camp, about 30 miles (48 km) north of Prague in the Czech Republic, in October 1944. Before Weissova was deported from Terezin to Auschwitz, the infamous slave-labor camp in southern Poland, she gave her drawings to her uncle, a fellow prisoner who hid them behind a wall.

The show features her 1943 work in colored pencil on paper, “Transport Leaving Terezin,” which shows gun-toting guards ushering a huddled group of prisoners carrying suitcases.

Weissova is now in her 90s and living in Prague, but many of the artists never made it out of the deadly camps.

Peter Loewenstein of Czechoslovakia was deported in 1941 to Terezin. He gave the 70 drawings to his mother before he was then deported in 1944 to the notorious Auschwitz camp.

His mother and sister would soon be deported to Auschwitz as well, but not before turning over the art to a family friend.

His sister, the only family member who survived the camp, recovered the portfolio after the war, including “Eight Men in Coats with Stars,” a 1944 ink on paper depiction of Jews forced to wear identification badges.

Equally powerful is a watercolor by Marvin Halye, a member of the 104th Infantry Division of the U.S. Army, who liberated Nordhausen concentration camp in Germany in 1945.

After seeing the few surviving prisoners tending to thousands of bodies, he rushed to paint “Liberation of Nordhausen, Civilians Covering Corpses.”

The show, which runs Jan. 16 through July 5, opens amid a spike in anti-Semitic hate crimes across the United States and particularly in New York City, home to the largest Jewish community outside of Israel.

Anti-Jewish hate crimes in New York in 2019 were at a 28-year high, according to professor Brian Levin, director of the Center for the Study of Hate and Extremism at California State University, San Bernardino.

In the most recent attack, a machete-wielding man wounded five people gathered last month for a Hanukkah celebration at a rabbi’s home in the New York City suburb of Monsey.

Just weeks earlier, a shooting at a kosher supermarket in nearby Jersey City, New Jersey left two Hasidic Jews dead.

Hate crimes are escalating at a time when many American adults lack basic knowledge of the Holocaust.

The greatest gaps in understanding are among U.S. millennials – people in their 20s and 30s. Two-thirds of them do not know what Auschwitz is, said a recent survey by the Conference on Jewish Material Claims Against Germany.

(Reporting by Barbara Goldberg; Editing by Lisa Shumaker)

Let’s block ads! (Why?)



Source link

Continue Reading

Art

From Venus to Medusa, How Art Codifies the Objectification of Women – The New York Times

Published

 on


[unable to retrieve full-text content]

From Venus to Medusa, How Art Codifies the Objectification of Women  The New York Times



Source link

Continue Reading

Art

'The Barge' takes on a second life as a public art installation on social media – Vancouver Sun

Published

 on


The City of Vancouver said Wednesday that Transport Canada has received a plan to move the barge.

Article content

The barge at English Bay shows no end of inspiring Vancouverites.

Advertisement

Article content

One of the memes circulating online is calling the barge — which became grounded at English Bay during a severe storm last month — a public art installation.

On Twitter, Greg @goldenmulletman said Monday after a failed attempt to remove the barge, “Hey @CityofVancouver you should admit defeat and declare this barge an urban art installation.”

Someone who knows about public art is Barrie Mowatt, founder and president of the Vancouver Biennale , the region’s outdoor public art exhibition.

He said the barge isn’t public art, but could be.

“It is in the public and in its current position artful, but it’s not public art in the sense of how we define public art,” he said. “It does certainly draw people’s attention and get them connected with the space. It’s cool in that sense.”

Advertisement

Article content

Mowatt said the barge could become public art if it was incorporated into a narrative about the former industrial heritage of False Creek, for example, and how the city has changed since. As well, he suggested it could be painted and turned into a mural, but in a way that didn’t look like graffiti.

“Yes, it could become an interesting piece of public art,” he said from Palm Springs. “As it is now, with good signage, it could create dialogue and engagement about what is public art.”

Not everyone agrees with the idea the barge is or could be public art.

On Wednesday morning, Jo-Ann Heinz cycled from Yaletown to English Bay and Sunset Beach to see the barge because a friend contacted her to say something was happening. Nothing did, even though a high tide and whitecaps on the water all suggested movement.

Advertisement

Article content

“I’m just kind of curious to see how they get this monstrosity off the seawall,” she said.

Heinz said while the barge could be turned into a restaurant, she questioned the idea that it was already an example of public art just by its position on the rocks.

Heinz is a sailor who has been around the world and seen similar examples of wrecked vessels abandoned on the shore. She called them eyesores.

“This is an eyesore,” she said. “We’re in Vancouver. We should be able to figure out how to get this off the shore.”

It looks like the barge will be at home on English Bay for a few more days.

The City of Vancouver said Wednesday that Transport Canada has received a plan to move the barge from its owner.

“In the coming days, the barge will be assessed and repaired as needed in preparation for its removal,” the city said by email.

Advertisement

Article content

A crane towed by a tugboat leaves English Bay on Wednesday after stormy weather put a halt to the latest effort to free the barge.
A crane towed by a tugboat leaves English Bay on Wednesday after stormy weather put a halt to the latest effort to free the barge. Photo by NICK PROCAYLO /PNG

The homophonic link between “Barge on the Beach” and “Bard on the Beach” has inspired a parody of a famous speech from the play Henry V by William Shakespeare.

Christopher Gaze, founder and artistic director of Bard on the Beach , Vancouver’s summer Shakespeare festival, said he thought of the play’s famous St. Crispin’s Day speech given by the king on the eve of the Battle of Agincourt. The speech was meant to inspire the outnumbered English forces to overcome the French.

In Gaze’s version, the speech is about the failure to float the barge away on the king tide that would have lifted the barge like “Noah’s flood.”

“This day is called the Barge on the Beach day/We that shall live this day and come safe home/Will stand a tiptoe when this day is named/And rouse us at the sight of the Barge on the rocks./West End residents that shall live this day and see old age will/yearly feast their neighbours/And say, tomorrow is the bedevilled Barge Day …”

Gaze said the timing focuses attention on Bard on the Beach, which returns to Vanier Park/Senakw next summer after being cancelled for two years because of the pandemic.

kevingriffin@postmedia.com

Advertisement

Comments

Postmedia is committed to maintaining a lively but civil forum for discussion and encourage all readers to share their views on our articles. Comments may take up to an hour for moderation before appearing on the site. We ask you to keep your comments relevant and respectful. We have enabled email notifications—you will now receive an email if you receive a reply to your comment, there is an update to a comment thread you follow or if a user you follow comments. Visit our Community Guidelines for more information and details on how to adjust your email settings.

Adblock test (Why?)



Source link

Continue Reading

Art

Around Town: Art of Inclusion – Alaska Highway News

Published

 on


Carmella Klassen paints a snowman in the window of the Fort St. John Association for Community Living’s Art of Inclusion studio on 100 Avenue. 

The art program began earlier this year, and recently moved into a standalone studio down the street from the ACL office, where members show up to sessions on Tuesdays and Thursdays to learn how to work with paints and pastels, linocuts and silkscreens, and other mixed-media techniques.

“I love art,” says Klassen, who has been taking part in the program since the beginning. “I make something new every time, and I want to learn how to do different things. Lorna is one of the best teachers I can think of.”

Klassen is referring to Montney artist Lorna Penner, who has been helping out with instruction since August. On Tuesday afternoon, Penner was working with Klassen and others on mixed-media self-evaluations and teaching them how to paint with pastels.

“It’s talking about how they feel when they do art. They’re very determined, they’re unique,” says Penner. 

Penner works with about four students per session, which she says is perfect. “We can really get into things very deep,” says Penner.

The studio recently held a printmaking open house for family and friends, and exhibited a COVID-19 show at Peace Gallery North earlier this year.

The program wraps for the holidays next week and will continue in the new year.

FSJACL-ArtofInclusion
Lily Rogova (left) and Victoria Nichols work on an art piece at the Fort St. John Association for Community Living’s Art of Inclusion studio. Matt Preprost

Email Managing Editor Matt Preprost at editor@ahnfsj.ca

Adblock test (Why?)



Source link

Continue Reading

Trending