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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

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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

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Maya Balakirsky Katz

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

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Maya Balakirsky Katz

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

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Zsuzsanna Toronyi

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

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Emily Alice Katz

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

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Shimshon Ayzenberg

, 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

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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

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Galit Hasan-Rokem

violent developments of relations between Palestinians and Jews from 1929 onwards, especially in Jerusalem, that motivated his separation from his idealistic Brit Shalom colleagues, may not have fostered in him a greater trust for the Zionist political establishment—quite the contrary. 23 The

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Robert S. Nelson

father was a photographer of no particular distinction save for the fact that he made two portraits of a young Illinois politician who would soon do well— Abraham Lincoln. 11 He had an early life of deprivation—his father died when Alfred was five. 12 From this immigrant background, Alfred made