Theresia Ziehe, curator of the exhibition “In an Instant. Photographs by Fred Stein,” explains in the following video clip why she especially likes Fred Stein’s photograph “Newspaper Hat” (New York, 1946):
The Festival of Liberation at the Front
Yesterday evening, Monday, 14 April 2014, was the start of the eight-day Passover festivities. These kick off each year with the first Seder, the name of which derives from the Hebrew word seder, meaning order, because a particular ritual sequence is observed the entire evening.
The ritual Seder program is laid down in the Haggadah, an often beautifully illustrated book. (Incidentally, some especially precious Haggadot are currently on display in our special exhibition “The Creation of the World” and our director of archives recently described in his blog why even a nondescript Haggadah might be of great value to a museum.) Traditional texts and songs are recited from the Haggadah. Symbolic dishes and drinks deck the tables, ready to be consumed at specific moments during the evening.
But why is this night different from all other nights? This is a question that Jews all over the world ask themselves year after year at the Seder dinner. The answer is: it is the festival of liberation, for it commemorates the Israelites’ exodus from slavery in ancient Egypt. Everyone is supposed to feel, each year, as if she or he personally is about to leave Egypt. As a token of tribute to this new-won freedom, people comfortably recline while eating and drinking—for to take this position was the prerogative solely of free individuals in antiquity, not of slaves. → continue reading
My Week of Intensive Research into Fred Stein’s Archives
In June of 2012 I had the opportunity to delve into the estate of Fred Stein. During the preparation for our then-upcoming exhibition “In an Instant,” I travelled to the little town of Stanfordville, NY to visit Peter Stein, the photographer’s son and archive administrator. For a week, I studied the voluminous and multi-faceted material stored in various rooms of the private residence. It was an unforgettable immersion into the life and work of Fred Stein.
Hundreds of negatives, kept in fireproof cabinets, make up the core of the collection. Their differing formats point to the two cameras Stein photographed with: coiled strips of Leica negatives and individually packaged 2 1/4 x 2 1/4 inches negatives in pergamin sheets from the Rolleiflex. The cameras themselves unfortunately didn’t survive. Among these negatives, you can see Stein’s first shots of Dresden shortly before he emigrated to Paris in 1933. → continue reading