"Every photo I took was an event for me. It seemed to me that I was
just beginning to gain sight. I saw everything in a new light."
Born into a family in the business of photography for three
generations, Ruth Jacobi began her photographic career in Berlin of the
1920s. Exhibited here for the first time, her recently rediscovered
works not only bear witness to the revival of interest photography was
experiencing during this epoch, but also to the photographer's
intuition and her "ability to read people's faces."
Ruth Jacobi's memories describing her family's history can be found alongside the photographs, painting a very personal picture of the photographer, as sensitive as she was emancipated.
Born in Posen, Ruth Jacobi (1899-1995) received her photographic training at the Lette Photographic Academy in Berlin. Following five years employment at the Berlin family studio, she moved to New York in 1928. An impressive photographic series from this period shows the streets and markets of the Lower East Side, proof as much of the photographer's considerable talent as of her social conscience. At the beginning of the1930s, Ruth Jacobi returned to Berlin before emigrating permanently to the USA in 1935, where she settled with her husband in New York's Queens district.
Throughout her lifetime, Ruth Jacobi walked in her famous sister Lotte's shadow, as her memories published in the book as well as those of her niece Beatrice Trum Hunter testify. This is perhaps why Ruth Jacobi never exhibited her work and why it was forgotten for so long. This book shows a selection of her works - portraits, reportage, travel, and botanical photography - allowing insight into her mastery.
The well-illustrated exhibition book provides extensive information on the historical background to the looting of cultural artifacts and how their loss through persecution is handled today.
Two essays by Dan Diner and Constantin Goschler explore the historical, political, and moral dimensions of confiscation. Seventeen authors, among them experts of international renown such as Michael Bazyler, Patricia Grimsted, Jürgen Lillteicher, and Frank Kuitenbrouwer examine the procedures used by Nazi looting organizations and the often disreputable role of museums, libraries, and art dealers. The first restitutions of cultural artifacts by the Allies just after the war and the restitution procedures of the 1950s and 60s are described, as is the revival of the theme in Europe since the collapse of the Eastern bloc and the Washington conference in 1998. These articles present the facts of the 15 case stories described in detail in the book. They tell of the often intricate paths from "looting" to "restitution." Involved parties such as heirs, lawyers, museum representatives, and politicians have their say in interviews.hide content
The 49 illustrations were created over a period of four years since 2002. Pavel Schmidt worked on the picture cycle on trips to Munich, Paris, Vienna, Berlin, Bern, Venice, Florence, New York, Strasbourg, and Prague, in hotels, cafés, interstate service areas, restaurants, and parks.
He sketched with pencil, ink, and oil on writing paper and card. The
Franz Kafka series which emerged is structured in its content: The
first section focuses on characters from Franz Kafka's work, the second
on people who were close to the author such as his father Hermann
Kafka, his fellow author and friend Max Brod, and his fiancée Felice
Bauer. Pavel Schmidt devotes the final section to encounters and
feelings of people featuring in Kafka's stories and novels.
"Pavel Schmidt: f.k." publishes hitherto unpublished texts from Franz Kafka's bequest. The combination of these texts with an art book by Pavel Schmidt, the facets of Schmidt's associative method of visualization and the poetic force of Kafka's language, are astoundingly atmospheric.
Are black athletes better than white athletes? Do homosexuals have a particular appreciation for art? Are pipe smokers easygoing and do Jews have long noses?
Stereotypes shape our image of ourselves and of "others" and provide
material for racist and anti-Semitic ideologies. In three essays with
over 150 illustrations, this book takes a look at clichés and
prejudices, how they come about, the function they serve, and how
politics and art can break them down.
Characterizations, classifications, and generalizations provide us with reference points which help us find our feet in the world. But at what point do they turn into stereotyped thinking, senseless prejudices, and resentments? When do they become nationalistic, anti-Semitic or racist?
This book explores the emphatically caricature-like characterization of other nationalities prevalent in the 19th century, the continuing struggle of the African-Americans against racism, and the question of why often malevolent accounts of others are relished. The exhibits demonstrate how bizarre and shocking objects can emerge when they are an expression of stereotypical thinking; these are presented once more here in context.