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  • Book  (14)
  • Jüdisches Museum  (14)
  • KB Oder-Spree
  • Bilski, Emily D.  (14)
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Virtual Catalogues
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  • 1
    Book
    Book
    London [u.a.] : Scala Books [u.a.]
    UID:
    gbv_277753554
    Format: 128 S , überwiegend Ill
    ISBN: 1857590163 , 1857590155
    Note: Includes index
    Language: English
    Keywords: Jewish Museum ; Bildband
    Author information: Bilski, Emily D. 1956-
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  • 2
    UID:
    almafu_BV000409857
    Format: 96 S.
    ISBN: 0-87334-028-0
    Language: English
    Subjects: Art History
    RVK:
    Keywords: 1904-1944 Nussbaum, Felix ; Ausstellungskatalog ; Biografie ; Ausstellungskatalog ; Biografie
    Author information: Bilski, Emily D. 1956-
    Author information: Nussbaum, Felix 1904-1944
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  • 3
    UID:
    kobvindex_JMB00095677
    Format: 160 Seiten , Illustrationen
    Language: English
    Author information: Bilski, Emily D.
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  • 4
    UID:
    kobvindex_JMB00090490
    Format: 52 Seiten , Illustrationen
    ISBN: 9789081586030
    Series Statement: Essay series in Jewish culture and art 1
    Content: During the Dutch Golden Age in Amsterdam, the engraver Salom Italia, a Ashkenazi Jew born in Mantua in 1619, invented a new style of decoration for the scrolls that told the biblical story of Esther. This tale of Jewish exile in ancient Persia still appeals to the imagination: the salvation of the Jews by the clever Queen Esther is celebrated each year by Jews around the world on the joyous holiday of Purim. Salom Italia's Esther scrolls are lavishly illustrated with triumphal arches, pictures of the main characters, narrative scenes, and vignettes with Dutch landscapes. His original decorations reflect the successful integration of Spanish and Portuguese Jews into their new homeland, the Netherlands. Even today, Italia's Esther scrolls are coveted collectors' items. Now, for the first time, six of these world-class masterpieces have been brought together, accompanied by the work of Dutch contemporaries who inspired Salom Italia.
    Language: English
    Author information: Bilski, Emily D.
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  • 5
  • 6
    UID:
    kobvindex_JMB00104982
    Format: 171, 117 Seiten
    Content: The exhibition brings together the eighteen works selected as finalists for “The Adi Prize for Jewish Expression in Art and Design,” a biennial international competition in the visual arts on a theme related to Jewish thought and tradition, organized by The Adi Foundation. The Foundation, established in 2000 in memory of Adi Dermer, née Blumberg, fosters the connection between art and the spiritual values that are at the heart of Judaism. The current competition theme of “Rupture and Repair” was addressed by artists in a variety of media, including painting, textile, installation, video, jewelry, sculpture, photography, drawing, and performance. These works explore “Rupture and Repair” in Jewish history, homiletics, mysticism, and prayer, as well as in individual biographies, embracing the personal experiences of immigration, family relationships, exile, alienation, loss, and suffering. A number of artists created new objects with which to perform existing Jewish rituals of repentance, mourning, and renewal; others reinvented traditional objects and techniques. Ranging from particularistic Jewish narratives of the Shoah and kibbutz life to universal experiences of coping with crises of faith, dislocation, illness, grief, and death, these eighteen works represent creative investigations of form and content as artists confront rupture and seek repair. Participating Artists: Dov Abramson, Raida Adon, Shai Azoulay, Ofri Cnaani, Benny Elbaz, Ofir Galili, Hadassa Goldvicht, Or Halbrecht, Amram Jacoby, Tobi Kahn, Ruth Kestenbaum Ben-Dov, Sharone Lifschitz, Peter Jacob Maltz, Katya Oicherman, Orit Raff, Zelig Segal, Arik Weiss, Yitzchak Woolf, Inbal Yomtovian, and Maya Zack. The winner of the Adi Prize for Jewish Expression in Art and Design will be announced on May 16, 2010. May 8 – July 10, 2010 in the Artists’ House, Jerusalem
    Language: Hebrew
    Author information: Bilski, Emily D.
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  • 7
    UID:
    kobvindex_JMB00104070
    Format: 182 Seiten, [1] Blatt , Illustrationen
    Content: Mit einer großen Ausstellung über die prominenteste jüdische Legendenfigur, den Golem (hebr. גולם), widmet sich das Jüdische Museum Berlin einem Erzählstoff, der bis heute Künstler*innen, Filmemacher*innen und Autor*innen inspiriert. Das Jüdische Museum Berlin zeigt nun die Fülle der Deutungsmöglichkeiten des Golems – von seiner Erschaffung aus einem Ritual der jüdischen Mystik bis zum künstlichen Wesen der Populärkultur. Im umfassenden Katalog stellen Expert*innen unterschiedlicher Disziplinen ihre Assoziationen zu den Ausstellungsexponaten vor. Auszüge aus literarischen Texten, die das Bild der Legendenfigur geprägt haben, vervollständigen den vorliegenden Band. Künstlerinnen und Künstler: Joshua Abarbanel, David Aronson, Fritz Ascher, Lynne Avadenka, Shai Azoulay, Christian Boltanski, Leonora Carrington, Michael David, Louise Fishman, Yves Gellie, Rimma Gerlovina, Mark Berghash, Valeriy Gerlovin, Jorge Gil, František Hudeček, Tobi Kahn, Anselm Kiefer, Krištof Kintera, Jules Kirschenbaum, R. B. Kitaj, Daniel Laufer, Ktura Manor, Mira Maylor, Marlene Moeschke-Poelzig, David Musgrave, Mark Podwal, Hans Poelzig, Niki de Saint Phalle, Joachim Seinfeld, Charles Simonds, Hugo Steiner-Prag, Jana Sterbak, Max Weber, Gert Heinrich Wollheim.
    Content: Homunkuli, Cyborgs, Roboter, Androide. Der Mythos vom Menschen, der künstliches Leben erschaffen kann, steht im Mittelpunkt einer großen Themenausstellung über den Golem im Jüdischen Museum Berlin. Bis heute inspiriert die prominenteste jüdische Legendenfigur Generationen von Künstler*innen und Autor*innen. Unsere Ausstellung präsentiert den Golem von seiner Erschaffung aus einem Ritual der jüdischen Mystik bis hin zum populären Erzählstoff im Film oder dessen Fortschreibung in künstlerischen und digitalen Welten. Der Golem symbolisiert jeweils Bedrohungsszenarien und Erlösungshoffnungen seiner jeweiligen Zeit. Anhand der Golem-Figur verhandelt die Ausstellung Themen wie Kreativität, Schöpfung, Macht und Erlösung. Was ist ein Golem? Ein Wesen, geformt aus unbelebter Materie wie Staub oder Erde, wird durch rituelle Beschwörung und hebräische Buchstabenkombinationen zum Leben erweckt. Geschaffen von einem menschlichen Schöpfer, wird der Golem zum Helfer, zum Gefährten oder zum Retter einer jüdischen Gemeinde in Gefahr. In vielen Golem-Erzählungen gerät das Geschöpf außer Kontrolle und der Golem selbst wird zur Bedrohung für den Menschen, der ihn geschaffen hat. Die Ausstellung zeigt die thematische Fülle des Stoffes, wie er sich in mittelalterlichen Manuskripten, in vielschichtigen Erzählungen und in Kunstwerken aus den letzten zweihundert Jahren darstellt. Ob in Malerei, Skulptur, Objektkunst, Video, Installation, Fotografie oder Illustration: Der Golem lebt und mit ihm die Frage danach, was es bedeutet ein Mensch zu sein. The myth of artificial life – from homunculi and cyborgs to robots and androids – is the focus of an extensive thematic exhibition about the golem at the Jewish Museum Berlin. This most prominent of Jewish legendary figures has inspired generations of artists and writers to this day. Our exhibition presents the golem from a variety of perspectives, from its inception in a Jewish mystical ritual to its role as a subject of popular storytelling in film and its afterlife in artistic and digital realms. The golem symbolizes each era's dreaded dangers and hopes for redemption. The exhibition uses the golem figure to examine topics like creativity, creation, power, and redemption. A golem is a creature formed out of a lifeless substance such as dust or earth that is brought to life by ritual incantations and sequences of Hebrew letters. The golem, brought into being by a human creator, becomes a helper, a companion, or a rescuer of an imperiled Jewish community. In many golem stories, the creature runs amok and the golem itself becomes a threat to its creator. The exhibition demonstrates the thematic richness of the material, as is apparent from medieval manuscripts, many-layered narratives, and works of art from the last two hundred years. Whether in painting, sculpture, object art, video, installation art, photography, or illustration, the golem is very much alive and, with it, the question of what it means to be human.
    Language: German
    Author information: Bilski, Emily D.
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  • 8
    UID:
    kobvindex_JMB00103646
    Format: 911 Seiten , Illustrationen
    Language: German
    Author information: Bilski, Emily D.
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  • 9
    UID:
    kobvindex_JMB00032480
    Format: XIII, 266 Seiten , Illustrationen
    ISBN: 0300103859
    Content: The power of conversation: Jewish women and their salons examines the significant role played by the salons of Jewish women in the development of art, literature, music, theater, philosophy, and politics in Europe and America from the late 18th century through the 1940's. The salon was an important and radical vehicle for the "democratization of the public sphere, "providing a context in which nobility, artists and thinkers exchanged ideas across barriers of class, gender, nationality, economic standing, and religion, while society was rigidly defined along these lines. Salons enabled women and Jews ̶ whose participation in official public life was restricted ̶ to play a prominent role. The exhibition probes the role that private conversations had in fostering the careers and fame of such celebrities as Felix Mendelssohn, Marcel Proust, Oscar Wilde, Gustav Klimt, Pablo Picasso, Marcel Duchamp, Greta Garbo, and others. Henriette Herz, the first Jewish woman to host a salon; Ada Leverson, who welcomed Oscar Wilde to her salon even after his controversial arrest; Anna Kuliscioff, an activist ardently opposed to the oppression of women; and Margherita Sarfatti, who acted as Mussolini̷s political partner, are just a few of the engaging cast of characters to be introduced in the exhibition. A total of 197 objects will be on view including portraits of the salonières and their guests, as well as letters, manuscripts, musical scores, political treatises, sculpture, paintings, plays, novels, poems, photographs, furniture, fashion, and film. The exhibition examines representative salons from Berlin, Vienna, Paris, London, Milan, New York, and Los Angeles. The Power of Conversation focuses on 14 of the most powerful women who hosted these salons. Included are: the first Jewish salonières, Henriette Herz and Rahel Levin Varnhagen in 1780s Berlin; Fanny von Arnstein and her sister Cäcilie von Eskeles in Vienna; the famed music salons of Amalie Beer and Fanny Mendelssohn Hensel (the sister of Felix) in Berlin; the 1890s literary salons of Ada Leverson in London and Geneviève Straus in Paris; the subversive political salon of Anna Kuliscioff in Milan; the modernist art salons of Berta Szeps Zuckerkandl in Vienna and Margherita Sarfatti in Milan; the avant-garde gatherings of Gertrude Stein in Paris and Florine Stettheimer in New York; and the salon of Salka Viertel in 1930s Los Angeles. Conversation, literature and music play an integral part in the experience of the exhibition through a specially created audio guide/audio theater. Visitors will hear conversations, memoirs, letters and performances of the hostesses and their salon guests. Produced by The Jewish Museum in association with Antenna Audio, the audio theater will be available to exhibition visitors for free.
    Language: English
    Author information: Bilski, Emily D.
    Author information: Botstein, Leon
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  • 10
    UID:
    kobvindex_JMB00051048
    Format: 71 Seiten , Illustrationen
    ISBN: 9783938832271
    Series Statement: Sammelbilder : eine Ausstellungsreihe des Jüdischen Museums München = Collecting images 6
    Content: Die sechste Etappe der Ausstellungsreihe "Sammelbilder" erinnert an Heinrich Thannhauser und die "Moderne Galerie", die vor allem für die "Erste Ausstellung der Redaktion Der blaue Reiter" von 1911 bekannt ist. Heinrich Thannhauser (1859-1935) wurde in einer kleinen Landgemeinde in Bayerisch-Schwaben geboren und kam als Kind nach München. Er arbeitete als Kaufmann und wurde später Mitinhaber einer Kunstgalerie. 1909 eröffnete er seine eigene Galerie, die mit ihrem Oberlichtsaal und den hohen Räumen nach zeitgenössischem Urteil die "schönsten Ausstellungsräume in ganz München" besaß. Häufig in Zusammenarbeit mit deutschen und französischen Kollegen organisierte und betreute Thannhauser eine Reihe bahnbrechender Ausstellungen moderner und avantgardistischer Kunst, darunter Ausstellungen französischer Impressionisten und Post-Impressionisten, die erste Blaue-Reiter-Ausstellung, die italienischen Futuristen sowie die weltweit erste Retrospektive Picassos. Thannhauser wurde so zu einem Vermittler für den Austausch von Ideen und zum Förderer eines kosmopolitischen Modernismus in München. Er bot Münchner Künstlern und der breiten Öffentlichkeit die Gelegenheit, das Beste an internationaler Kunst zu sehen, und schuf für junge Künstler eine Plattform, auf der sie ihre Werke zeigen konnten. Die Ausstellungskataloge, die häufig fundierte Einleitungen führender Kunsthistoriker und Kunstkritiker enthielten, spiegeln das Anliegen der Galerie wider, im Hinblick auf moderne Kunst erzieherisch zu wirken. Thannhausers Sinn für öffentlichkeitswirksame Auftritte lässt sich an den Ausstellungsplakaten, den Werbeanzeigen und den aufwändig gestalteten Bestandskatalogen erkennen. Seine Geschäftsauffassung wird auch in seinem Credo deutlich: ćOberstes Geschäftsprinzip der Modernen Galerie: Mäßigste, ür jedermann gleiche, aber streng feste, unabänderliche Preise." Als sich in den späten 1920er Jahren die Situation in München aufgrund des zunehmend konservativen Kunstgeschmacks und des wachsenden Antisemitismus verschlechterte, schloss der Sohn Heinrichs, Justin K. Thannhauser (1892Ń1976), die Münchner Galerie und verlagerte den Hauptsitz nach Berlin. Nach der Machtergreifung durch die Nationalsozialisten emigrierte Justin K. Thannhauser nach Paris und später nach New York, wo er den Kunsthandel von seinem Wohnhaus aus weiterführte. Heute lebt der Name der Familie im Thannhauser-Flügel des Solomon R. Guggenheim Museums in New York fort, dem Jutin K. Thannhauser seine Sammlung vermacht hat. Kuratorin: Emily D. Bilski Mitarbeit: Juliette Israël Leihgeber: Bayerische Staatsbibliothek, München Bayerische Staatsgemäldesammlungen, München Kunstmuseum Bern Karl-Heinz Meißner, München Münchner Stadtmuseum Die Neue Sammlung, Staatliches Museum für angewandte Kunst, Design in der Pinakothek der Moderne, München Solomon r. Guggenheim Museum, New York Staatliche Graphische Sammlung, München Staatliche Kunsthalle Karlsruhe Staatsgalerie Stuttgart Städtische Galerie im Lenbachhaus, München Zentralarchiv des internationalen Kunsthandels, Köln Zentralinstitut für Kunstgeschichte, München Heinrich Thannhauser (1859-1935) was born in a small southern German village and came to Munich as a boy. He worked as a merchant before becoming a partner in an art gallery. In 1909, Thannhauser established his own gallery in the Arco Palais at Theatinerstrasse 7. With its large atrium and high ceilings, the Moderne Galerie became famous for the "most beautiful exhibition spaces in Munich." Thannhauser organized or hosted̶often in cooperation with colleagues in Germany and France̶an array of groundbreaking exhibitions of modern and avant-garde art, including the French Impressionists and post-Impressionists, the first Blaue Reiter exhibition, the Italian Futurists, and the first Picasso retrospective. Thannhauser was an agent for the exchange of ideas and the nurturing of a cosmopolitan modernism in Munich: he presented to the public the best of international and German art and provided a platform for young artists to show their work. The exhibition catalogues, which featured scholarly texts by leading art historians and critics, reflect the gallery's commitment to educating the public about modern art. Thannhauser's public-relations savvy can be seen in the posters that advertised exhibitions and in the flyers and lavish catalogues with which he publicized his inventory. His integrity was expressed in the motto "Supreme business principle of the Moderne Galerie: reasonable prices, identical for everyone, and strictly nonnegotiable." In response to deteriorating conditions of the late 1920s ̶ which included greater conservatism in artistic tastes and growing anti-Semitism̶Heinrich's son, Justin K. Thannhauser (1892-1976), closed the Munich gallery and shifted the base of operations to Berlin. With the Nazi ascent to power, Justin moved to Paris and eventually to New York, where he ran a private gallery from his home. The family name lives on in the Thannhauser Wing of the Guggenheim Museum in New York, to which Justin bequeathed his collection.
    Language: German
    Author information: Bilski, Emily D.
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