The heirs of a German-Jewish banker who claim the famous painting "The Scream" was looted from him by the Nazis want a New York museum to explain its history in its new display.
An artist who recently appeared on Palestinian Authority TV described one of his paintings that featured an ogre—wearing a skullcap with the Star of David—killing children on a bayonet before eating them, Palestinian Media Watch reported.
A 16th-century painting that was stolen from its Italian-Jewish owner, sold by France's Vichy government and recently returned to his heirs is being auctioned off.
The victims of the Holocaust are most often recalled at their moments of agony and death. But it is also our duty to recall the richness of their lives before Europe fell under the shadow of Nazi Germany. What Hitler sought to destroy, after all, was not merely 6 million human lives but also the whole vibrant culture that they created and sustained.
I have a pretty open sense of humor, except when it comes to artists utilizing the imagery used to kill more than 6 million of of my Jewish ancestors. Especially since I’ve volunteered with and met many Holocaust survivors who still have numbers tattooed on their arms, from when they were branded like dogs in concentration camps.
A painting sold under duress by its Jewish owners during World War II was restituted to his heirs.
For 30 years, Michael Schwartz has owned and operated Galerie Michael, an art gallery on Rodeo Drive in Beverly Hills, building, in his own words, “museum-quality collections, one work at a time.” Works by Picasso, Dali, Goya and Miró adorn the walls for the current exhibition on Spanish masters.
The walls of Ora Tamir’s home are covered with color-soaked landscapes, masked faces and dystopian, dreamlike structures. Just don’t ask her what any of it means.
The Getty Museum in Los Angeles will return a 17th-century Dutch painting looted by the Nazis to the heir of the Jewish art dealer. Jewish art dealer Jacques Goudstikker left 1,400 works of art in his Amsterdam gallery when he fled the Nazis in 1940. He died during the escape. His gallery was looted by Hermann Goering shortly afterward. In 2006, the Dutch government returned 202 paintings from its national collection to Goudstikker’s sole heir, Marei von Saher.
From the small religious village of Beit Yatir, just south of Jerusalem, to the far more secular beach city of Santa Monica, Judith Margolis made quite a journey to become Hebrew Union College-Jewish Institute of Religion's artist-in-residence.
There are many ways to celebrate Israel's 60th anniversary, and the Skirball Cultural Center is leading with its strength by offering a series of wide-ranging programs of art shows, music, film and lectures.
There's a 1,000-year-old haggadah, there's an Internet haggadah, and now there is a new $15,000 Arthur Szyk Haggadah.
Loyola Marymount University (LMU), a Jesuit school, will be the surprising venue for an exhibition of Midrash-inspired paintings this weekend.
R.B. Kitaj -- an appreciation
Kirshenblatt's canvasses, together with a stunningly vivid text -- the product of four decades' worth of interviews with his daughter, noted New York University folklorist Barbara Kirshenblatt-Gimblett -- have now been reproduced in a handsome volume by the University of California Press, and the result is a marvel: With his scrupulously recalled images, Kirshenblatt has managed to do no less than create a new visual language for describing pre-war Eastern European life. In stark contrast to the black-and-white record that has made up our vision heretofore, Kirshenblatt's paintings are untainted by the horrors to come. They offer a picture not of Polish Jewish life as it was before tragedy struck, but simply as it was. If Chagall was the shtetl's mythmaker, then Kirshenblatt is his antithesis: a shtetl anthropologist.
Amir Bar-Lev began his documentary, "My Kid Could Paint That," after he tired of creating television programs about pop culture for networks such as VH-1.
The Nazi regime was not only the world's greatest murderer, but the biggest thief as well. High on the list of loot were Europe's master paintings and sculptures
Early in the last century, when film was a newer medium, many artists were intrigued by its kinetic visual possibilities, and for a fantasist like Dali, the opportunities must have seemed especially rich.
Fifteen years since it was last exhibited at the Spertus Museum in Chicago, Ruth Weisberg's "The Scroll," a 94-foot mixed-media painting that encompasses the Jewish feminist narrative in mural form, will be displayed at the Skirball Cultural Center as part of a mid-career retrospective of her work titled "Ruth Weisberg: Unfurled," opening Tuesday, May 8.
Esther Netter, CEO of the Zimmer Children's Museum, speaks with infectious enthusiasm about her museum's upcoming exhibition, "Show & Tell: The Art of Harmony," which opens Sunday, May 6.
Like many people of my generation, I first grooved on Mark Rothko's paintings at Washington, D.C.'s Phillips Collection in the 1960s.Despite my long interest in those points at which "art" and "Jewish" intersect, and plenty of immersion in the meditative qualities of Rothko's work, I considered my admiration for Rothko's art to be at some distance from my Jewish sensibilities.
The paintings of Philip Guston and Giorgio de Chirico.
Based upon Edward Hopper's famous painting of a late-night coffee shop on a desolate city street corner, Douglas Steinberg's new play, "Nighthawks," which is having its world premiere at the Kirk Douglas Theater, features a painter who says only one word in the entire first act.
Paul Schimmel, the Museum of Contemporary Art's (MOCA) chief curator, wants us to spend our summer looking back -- 50 or so years to around the time of his birth, and to the city where he grew up, New York, to focus on the remarkable work of a young, poor and not-yet-famous Robert Rauschenberg, who was gathering junk and detritus from his life (clothes, family photos, fabric) and incorporating them into paintings that then became three-dimensional constructs, which Rauschenberg called "Combines."
7 Days in the Arts
My senior students suffer from short-term memory loss, a condition less severe than Alzheimer's and dementia but nonetheless frightening. They can recall exact moments from decades past, but in the present, from one moment to the next, many don't remember who or where they are. Sort of like elected officials.
7 Days in the Arts
Museums, like movie studios, prefer to open big.
The high cost of museum management, from health care to advertising, has forced institutions to reach for blockbuster exhibits -- Tutmania! -- market them like summer movies, and pray for long lines and lasting buzz on opening day.
Then there's Max Liebermann.
Skirball Cultural Center founder and director Uri Herscher was in Jerusalem several years ago, visiting a friend's small, art-filled apartment. His eye caught an attractive painting, a Liebermann, his friend said, and Herscher responded, "Who?"
Virtually unknown today, Max Liebermann was the most famous German painter of his time. He died at age 87 in 1935, just as Adolf Hitler rose to power. As he watched the Nazis march through the Brandenburg Gate celebrating the takeover of Hitler, Liebermann famously remarked, "One cannot eat as much as one would like to vomit."
7 Days in the Arts
There is something raw about the rough brush strokes in the work of native Israeli artist Rhea Carmi, and about her textured materials, such as sand and stone. But then, there also was a rawness to the tragedy that originally informed and inspired her work.
"The black-and-white snapshots revealed little worlds and scenes I wanted to bring alive in color," said Shelley Adler, whose "Shades of Time: The Extended Family of Shelley Adler" runs through July 1 at the Workmen's Circle.
7 days in the Arts.
In another development in this complex and contentious legacy of the Hitler regime, California courts are also dealing with a demand that actress Elizabeth Taylor return a prized van Gogh painting.
"I want to create a place of wonder," said Lindy Lane-Epstein, who spent the summer attempting to animate her vision for a scaled-down preschool and kindergarten for members of Santa Ana's Temple Beth Sholom.
7 Days In The Arts
In contemporary artist Gottfried Helnwein's painting, "Epiphany I," an Aryan Madonna-like figure sits holding a naked, uncircumcised new born boy, while some SS officers stand around her, critically sizing up mother and child. The painting is a reproduction of a Nazi propaganda photograph in which Hitler was the central figure; here in the painting, the mother is.
"Epiphany I: Adoration of the Magi," one of five works by Helnwein currently on exhibit at the Schmeidler-Goetz gallery in West Hollywood, is not the first work of art to explore an uncomfortable subject like the Holocaust.
The eight stark photographs show scenes from a decaying mansion in West Adams, where a homeless parent and child "squat" amid dust and detritus. A microwave oven sits on a peeling bureau; a wall has crumbled between the toilet and living room.
The images -- featured in "Still Listening: 150 Years of Jewish Family Service" -- are photographer Albert Winn's present-day response to an old Jewish Family Service (JFS) case history. The 1934 report describes an impoverished family living in squalor behind a tin shop.
A newly religious female artist came to Chana Rochel Shusterman and told the Orthodox counselor that she was torn between her artistic drive and her religious sensibilities.
It may seem an auspicious time to bring Israeli artists over to America, as Israel has been in a virtual state of war since the beginning of the second intifada, and America is on the brink of war as well; but in a way, the timing could not have been better to discover what role museums play amid chaos.
Alexander Deutsch secretly painted watercolors in an Argentinian political prison after he was kidnapped, tortured and incarcerated by the paramilitary regime in the late 1970s.
When Pavel Vogler left Krakow for Southern California in 1992, he brought almost 100 of his favorite paintings.
The Holocaust, impossible to grasp in its entirety, has been depicted, in part, through every conceivable format and medium. Two joint exhibitions, now at The Jewish Federation's Los Angeles Museum of the Holocaust, surprise with new and affecting insights into the measureless catastrophe.
When Pavel Vogler left Krakow for Southern California in 1992, he brought almost 100 of his favorite paintings. The darkly shaded oil works in blue, black and purple show Vogler's vision of his hometown and its medieval Jewish quarter, Kazimierz, filled with empty synagogues. Moonlight, twilight and the glow of streetlamps illuminate Vogler's Polish works, where ghosts of a Jewish history haunt cobblestone streets.
Artist Tobi Kahn is obsessed with memories of the Holocaust. His abstract landscapes depict recollections of a haunted time and place he never experienced. Simple shapes conjure rivers and roads that snake through still valleys, serene at first glance, disturbing upon reflection. Mountain peaks thrust from brooding waters, in a palette of muted browns, golds and blues. Almost always, the paintings are devoid of people. "Sky and water always stay the same," Kahn says, "no matter how well- or ill-behaved we are."
Spring erupted with a startling beauty in New York this June, bathing young and old, rich and poor alike in a luxurious halo of sunlight and hope. There's more bounce than usual in the shoppers' stride, more glee in the schoolchildren's shrieks, more color in the dress (and undress) of young lovers strolling the concrete canyons
Letters to Deborah Berger.
Paintings from Terezin are on exhibit at the Jewish Federation Building