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Author: Bruce Thompson

the street paintings of Ernst Ludwig Kirchner, the most famous of which, Der Potsdamer Platz (1914) is set in the milieu of the Wertheim store. Simmel’s famous essays “The Metropolis and Mental Life” and “The Stranger” provide the interpretive keys to Kirchner’s representation of a street life that

Author: Matthew Baigell

entertaining ghetto scenes, as in the paintings of Jerome Myers and George Luks rather than those showing this particular underside of immigrant life. As a result, sweatshop scenes were left to journalist photogra- phers such as Jacob Riis and left-wing artists such as William Gropper whose works evolved from

Author: Natalia Berger

the subjects of persecutions and anti-Semitism. These subjects were given attention for the first time at the Bezalel Museum in Jerusalem. This Conclusion550 museum was founded on Zionist ethos, and its display was therefore based on the Zionist view of life in the Diaspora, a view which was

In: The Jewish Museum
Author: Eugeny Kotlyar

centuries of living the Russian Jewish way of life and held on the eve of the dramatic transformation of the country into a new society—the future Soviet Union. The book’s pictures clearly bore out its didactic approach and introduced the reader to the Jewish artistic tradition, which had by that time taken


in the United States, Remember and Save archivists (who call themselves activists) are volunteer workers, including the Executive Director. A feeling of urgency motivates these activist-archivists, reflected in the remarks posted on the website of Remember and Save: “Time is running out. Many


portraits play a role in the construction of the collective memory of a Hasidic master and promote speci fi c modes of visu- alization. Finally, the social life of pictures—their production, distribution, collection, and the long shadow they cast over future representation—o ff ers insight into the various


not rounded up and sent off to concentration camps, they were killed in their own living quarters turned into a living hell. After the liberation of the Ghetto, the corpses were not transported to any of the cemeteries on the outskirts of the city, but, uniquely, were put to rest in a mass grave in


with the professional art establishment or not. They argued that Israeli art served a special function within American life and that American Jews had a unique mission to fulfi ll as champions of Israeli art. American Jewish Impresarios of Israeli Art As organizers and observers of the fi rst

Author: Jonathan Bordo

). Finally, W.G. Sebald has made ruins and the quest for redemption in ruins, the topic of his literary life work. His last work is a genealogy of the ruins of German cities. Toward the end of that work, Sebald cautions his (German) readers with the following reminder: The majority of Germans today know, or


, especially the crucial importance of companionship in a creative life. “I live one life which is filled with others’ lives,” he admits toward the end. “I feel the feelings of other people . . . I feel their joy and even more so their sadness.” Then, as if to underscore precisely the effect he seeks