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August 29, 2016 / 25 Av, 5776

Posts Tagged ‘museum’

Painter Jonasz Stern’s ‘Landscape after the Holocaust’ in Krakow Museum

Sunday, August 7th, 2016

The recorded testimony of Jonasz Stern at the Yad Vashem digital collection relates: “Testimony of Jonasz Stern, born in Kalusz, Poland, 1904, regarding his experiences in the Lvov Ghetto, his rescue from shooting in killing pits during the liquidation of the Lvov Ghetto, in hiding, in Budapest, in Romania, and in other places.”

The transcribed account follows:

“Escape from Krakow to Lvov with his wife, at the outbreak of the war; move from apartment to apartment, after the occupation of Lvov; deportation to the Lvov Ghetto, November 1941; Lvov Ghetto life including overcrowding, hunger and the lack of means of existence; “Aktion,” August 1942; obtains Aryan documents for his wife, and her move to Stryj; capture of the witness, May 1943; deportation to Janowska camp with 3,000 Jews; concentration of thousands of Jews in a field for two days, without food or water, and shooting into the crowd by the Germans; transfer of 7,000 men, women and children who are naked, in railroad cars to Belzec; escape from the train through a window which he broke when they were 6.5 kilometers from Lvov; return to the Lvov Ghetto for ten days, until the liquidation of the ghetto; deportation of thousands of Jews to Janowska camp, mid-June 1943; transfer of the Jews to the killing site in Hyclowa Gorka, the next day; escape from the shooting pit, after ten hours among the corpses of the dead and the wounded people; hides in fields and in a forest, and receives help from the local farmers, in particular from Poles from Poznan who resided in Sknilow; return to Lvov, and hides with the help of Polish friends; move to Rozniatow by train; walks on foot through the mountains and illegally crosses the border into Hungary; he is attacked by a shepherd before crossing the border, who beats him and steals his belongings; move to the Hungarian side, after wanderings in the mountains for eight days; arrival to Budapest with the help of local people; life under the protection of the Polish Committee, until the German occupation of Hungary; move to Romania, summer 1944; capture by the Gestapo, and release after the intervention of Endre Laszlo, a commander of the Hungarian Gendarmerie in a town near Budapest; life in Budapest; liberation by the Red Army.”

The account concludes with the following heartbreaking lines: “Receives information regarding the return of his wife to Krakow during the war, and that she willingly presented herself to the Gestapo, due to her lack of means of existence and exhaustion.”

Other than that, Painter Jonasz Stern left a permanent mark on the Polish art of the 20th century. Before the war, he was a member of the first Grupa Krakowska (Krakow Group), and in 1957 he co-founded Grupa Krakowska II, with members including Maria Jarema and Tadeusz Kantor. These were the two most significant artistic formations in Poland. The pre-war Group experimented with form and manifested its left-wing stance, the majority of members affiliated to the KPP, the Communist Party of Poland.

After the war had erupted, Stern fled from Krakow to Lvov. Of his paintings only one remains, the Nude Study from 1935, which is now part of the collection of the National Museum in Krakow.

After the war, Stern became a philosopher, reflecting on life, its transience and dignity. In his assemblages, he expressed his thoughts using simple symbols: scrunched-up fabric, animal and fish bones, stones, netting and – occasionally – photographs. The drama of his paintings is entirely devoid of pathos. Stern created a universe of abstract landscapes left by a world annihilated.

Jonasz Stern – Landscape after the Holocaust

Aug. 5 – Sep. 25 2016, Museum of Contemporary Art in Kraków (MOCAK), 4 Lipowa St. 30-702 Kraków, Poland. Tuesday–Sunday 11 AM – 7 PM, Monday – closed. phone +48 12 263 40 00.

JNi.Media

Oregon Jewish Museum and Center for Holocaust Education Buys Permanent Facilities

Sunday, July 10th, 2016

Oregon Jewish Museum and Center for Holocaust Education Executive Director Judy Margles and Board Chair Elaine Coughlin last week announced the signing of a purchase agreement for the facilities at 724 NW Davis in Portland—formerly the home of the Museum of Contemporary Craft. Margles wrote the following announcement:

As our closest circle of friends, I am excited to share something very special with you. OJMCHE is purchasing a new home, a 14,500 square foot unit in the De Soto building at 724 NW Davis Street (formerly the Museum of Contemporary Craft). I am also thrilled to tell you that we achieved the purchase of the building with the hard work of the OJMCHE Board and in particular outgoing chair, David Newman. This is the moment where we have finally fulfilled our vision and secured our mission for generations to come.

How did we get to this momentous possibility? July will already mark the two-year anniversary of the merger with Oregon Holocaust Resource Center. The merger enriched our institution in countless ways – we expanded our education staff to include a Holocaust educator, we are proud stewards of the Oregon Holocaust Memorial, we bring thousands of school children to both the Memorial and museum, and, of course, we continue to be the community repository for the Jewish experience in Oregon. Most importantly, we have deepened our focus on Jewish values and traditions, while working even more strenuously to bring our work to the wider community as a vehicle that can unite all people in their common humanity. In short, the merger has greatly expanded and fundamentally strengthened our core mission.

And now we have the opportunity to take the next step in our evolution. In a stroke of great luck, the fortuitous arrival on the market of this building became the perfect space for our museum. While this was an unexpected opportunity, we were ready to receive it because of the long-range feasibility planning that we undertook this last year. This space—purpose-built as a contemporary museum with ample room for exhibits, programs, school groups, collections and archives—perfectly matches the needs detailed in our feasibility report.

I am also thrilled to tell you that we achieved the purchase of the building with the tremendous support of three lead gifts from Renee and Irwin Holzman, Lois and Leonard Schnitzer Family and The Harold & Arlene Schnitzer CARE Foundation/Arlene Schnitzer & Jordan Schnitzer. To date we have received a total of 33 gifts to make this phase of the campaign possible. For this generosity and sign of confidence, we are immensely grateful. Our community campaign, to raise funds for operating reserves and move-in costs, will commence shortly and I look forward to engaging each and every one of you in our endeavors.

Now that our dreams are becoming reality, we shall start to focus on the use of the space. I can share with you our basic conception: we will have state-of-the art storage for our archives and collection; a café; a gift shop; a multi-purpose auditorium for public programs and school groups; two floors of exhibit galleries with temporary exhibits on the first floor; and on the second space for core exhibits about the Oregon Jewish experience, discrimination in Oregon and the history of the Holocaust using stories of local survivors.

The coming months may prove to be the most significant in our history. An exciting consensus is emerging among museum professionals. We see successful museums of the future as places where people can hang out and engage in real and diverse social issues to make a genuine difference in their lives: these museums of the future will blur boundaries between the inside of the museum walls and what occurs outside, where programs will address a rich variety of living community concerns, while always recognizing, remembering and honoring the past. These museums will link historical experiences of the past with needs of the living present.

I want our museum to be such a museum: a broker and filter of perspectives and shared wisdom, a repository for traditional learning and historical scholarship, and also a stimulus for creative thinking on the way forward for our community. I want us to represent the full plurality of voices in our community and I want our programs to address a full range of community concerns.

We, this circle of friends, now share a magically rare opportunity: to help each other make our beloved Oregon Jewish Museum and Center for Holocaust Education thrive, in all these many and varied ways, for many, many years to come.

Warmly,

Judy Margles

Executive Director

JNi.Media

Pushkin Museum Exhibition Celebrating Leon Bakst’s 150th Birthday

Tuesday, June 14th, 2016

The Pushkin State Museum of Arts in Moscow is featuring an exhibition dedicated to the 150th birthday of Léon Bakst (1866–1924). Bakst was a Russian theatrical designer, painter, portraitist, book illustrator, interior designer and fashion designer in the 1910s and 20s. He published numerous articles on contemporary design and dance, was also interested in photography and the cinema, and wrote an autobiographical novel. Being fond of the art of Ancient Greece and the Orient, Bakst’s art merged classical motifs with the eccentricity of Art Nouveau.

Bakst was born in Grodno (today Belarus), to a middle-class Jewish family. His grandfather was an exceptional tailor, good enough to receive a special post from the Czar, and owned a large mansion in Saint Petersburg. After his parents had moved to Moscow, Léon would visit his grandfather’s house every Saturday, later reporting how impressed by it he had been as a youngster and how much pleasure he experienced there. At the age of twelve, Léon won a drawing contest and decided to become a painter, but his parents did not support his decision. He nevertheless studied at the St. Petersburg Academy of Arts as a noncredit student, because he had failed the entry exams, working part-time as a book illustrator. He was eventually admitted in 1883, at the tender age of 17.

Bakst's Self-portrait, 1893

Bakst’s Self-portrait, 1893

At the time of his first exhibition (1889) Léon took the surname Bakst, derived from his mother’s maiden name, seeing as his father’s surname, Rosenberg, wasn’t helping his career in Russia’s art world. In 1893 he moved to Paris, studying at the Académie Julian, but still visiting his grandfather in Saint Petersburg often. In 1899, he co-founded with Sergei Diaghilev the influential periodical Mir Iskusstva, or World of Art. His graphics for this publication brought him great fame.

Bakst preferred to live in western Europe because, as a Jew, he did not have the right to live permanently outside the Pale of Settlement. During his visits to Saint Petersburg he taught in Zvantseva’s school, where one of his students was Marc Chagall.

Beginning in 1909, Bakst worked mostly as stage-designer, designing sets for Greek tragedies, and, in 1908, he made a name for himself as a scene-painter for Diaghilev with the Ballets Russes. In 1914, Bakst was elected a member of the Imperial Academy of Arts. In 1922, Bakst broke off his relationship with Diaghilev and the Ballets Russes.

Girl in kokoshnik - Léon Bakst

Girl in kokoshnik – Léon Bakst

Bakst visited Baltimore in 1922, staying with his friend and patron, art philanthropist Alice Warder Garrett. Having met in Paris in 1914, when Mrs. Garrett was accompanying her diplomat husband in Europe, Bakst soon depended on his new American friend as both a confidante and an agent. Alice Garrett became Bakst’s representative in the United States, organizing two exhibitions of the artist’s work at New York’s Knoedler Gallery, as well as subsequent traveling shows. When in Baltimore, Bakst re-designed Garrett’s dining room in a shocking acidic yellow and ‘Chinese’ red confection. The artist subsequently went on to transform a small gymnasium on the grounds into a colorfully Modernist private theater.

This first retrospective exhibition of the artist to be shown in Russia includes more than 200 paintings, drawings, theatrical costumes and archive photos of Léon Bakst from Russian and Western state and private collections, gathered together by an international group of curators..

In late 2010, the Victoria and Albert Museum in London presented an exhibit of Bakst’s costumes and prints.

JNi.Media

Guggenheim Museum Website Calls Israel “Racist,” Falsely Claims it Censors Art

Thursday, May 26th, 2016

{Originally posted to the Elder of Ziyon website}

The famous Guggenheim Museum in New York has a blog that says it “tells the Guggenheim’s evolving story, and offers insights on visual culture, urbanism, and the global art world, along with regular discoveries from the archives.”

It recently posted this outrageous piece by Chen Tamir, called “Censorship in Israel:

Over the past two years, the arts in Israel have been increasingly threatened by censorship and draconian government funding proposals. Some see this as the beginning of a culture war not unlike the one endured by the United States during the 1990s, when politicians used arts funding reform as a political tool to curry favor with conservative constituents. Freedom of speech is not treated with the same reverence in Israel as it is in the States; the country was not founded on a constitution that privileges such liberty. (Indeed, there is no Israeli constitution, a fact that some would consider a root cause of its racist and lopsided legal system and civic infrastructure.) The state of stagnation and worsening division in Israel/Palestine further entrenches the occupation, allowing more settlements to be built and inflicting further oppression on Palestinians. The metanarrative in Israel is one of continuous existential fear and victimization, which leads to the increased justification of insularity and nationalism, and the silencing of opposition.

Tamir includes many half-truths and absurd exaggerations as well as a complete disregard for the definition of “censorship.”

The calls for and instances of censorship over the past two years have been both top-down (from government officials) and grassroots (by private citizens calling for the removal of artworks). Some individuals have taken matters into their own hands and established paramilitary organizations that spy on human rights activists and organizations, most notably the extra-political group Im Tirtzu, which recently published a blacklist of “moles”—cultural producers of all stripes who support leftist organizations that they perceive as anti-Zionist.

Im Tirtzu is paramilitary?

And why is art that defames a nation free speech, but compiling a list of people behind that art is “censorship?”

Here’s another example of “censorship”:

Artist-choreographer Arkadi Zaides was criticized for a video and dance work incorporating footage from B’Tselem’s Camera Project (through which cameras are given to Palestinians to document conflicts with the army and neighboring settlers). The Museum of Petach Tikva, which presented the work, was asked by the municipality to close the exhibition early following pressure from a “concerned citizen,” while the Ministry of Culture withdrew its funding from the show (although the exhibition remained open until its scheduled end date a few days after this incident).

So, not a single person was deprived of seeing the show. How is that censorship?

Further examples include the redirection of arts funding to things like the Zionist Art Prize, and right-wing Prime Minister Benjamin Netanyahu, acting as temporary Minister of Education, vetoing the 2015 candidate for the Ministry’s annual literature prize.

That is not censorship either.

Minister of Education Naftali Bennett and Minister of Culture and Sport Miri Regev have been responsible for a string of incidents of or attempts at censorship, ranging from the banning of books and plays to a withdrawal of state funding from Jaffa’s Elmina Theater unless its director, Norman Issa, reversed his refusal to perform in a settlement in the West Bank. Regev, who previously served as the chief censor of the Israeli army, recently treated the director of the Tel Aviv Museum of Art, Suzanne Landau (herself recently accused of self-censorship) to a surprise Friday-night phone call to ask about a work of art in a recent exhibition by Uri Katzenstein.

The only thing in this list that is actual censorship is the supposed “banning of books and plays.” Curiously, Tamir doesn’t mention their names, but almost certainly he is referring to the Education Ministry taking an anti-Israel novel off of its reading list as “banning,” which it isn’t. Almost certainly there has been no banning of any play as well.

It takes a while before we find out how Tamir defines “censorship”:  the refusal of a nation to fund art that directly attacks it.

Herein lies the crux of contemporary censorship: funding. As in the American Culture Wars, public funding is being manipulated to become a mechanism of censorship.

That is not censorship by any definition. Making it somewhat more difficult for an artist to make a living from public money is not censorship. I can make art if I want, but if the Guggenheim decides not to make an exhibition of my artwork and the government doesn’t fund me I am not being “censored.” If publishers aren’t interested in my poetry and the BBC refuses to air my play and MTV doesn’t want to air my music videos, I am not being “censored.”

The entire article is a string of lies that simply misuses the meaning of the word “censorship” to falsely paint Israel as a racist society.

The Guggenheim Museum should remove this article. Not because I support censorship – I emphatically do not – but because I do not believe that the museum should publish lies, fabrications and slander. Tamir has the full right to post her lies on her own website and the Guggenheim has the full right to reject publishing a litany of her lies and half-truths.

If supporters of the Guggenheim decide to withhold their funding to show their displeasure for the museum becoming a mouthpiece for anti-Israel propaganda, that isn’t censorship either.

Elder of Ziyon

What If They Built a $24 Million ‘Palestinian Museum’ and There Was Nothing to Show?

Monday, May 16th, 2016

The $24 million Palestinian Museum is slated to open on Wednesday this week in Bir Zeit, about 15 miles north of Jerusalem, a dream that has come true after it had been first initiated in 1997 by the London-based Welfare Association to commemorate the “Nakba,” that fateful gamble local Arabs have taken against the 1947 UN partition resolution, which ended up with them getting nothing at all. But, as the NY Times put it on Monday, the new museum has a stunning, contemporary new building; soaring ambitions as a space for “Palestinian” art, history and culture; an outdoor amphitheater; a terraced garden — and no exhibits.

There was going to be an inaugural exhibit, named “Never Part,” about artifacts belonging to Arab refugees, but it will not be happening, because there was a disagreement between the museum’s board and its director, Jack Persekian, and the director was sacked. Or, as a spokeswoman announced on Sunday: “There will not be any artwork exhibited in the museum at all.”

The NY Times commented that the fate of the exhibition says more about the realities of Arab society than any art collection could have done. The defunct exhibition “Never Part” was going to feature artistic interpretations of keys and photographs that Arab refugees around the world have kept from their old homes in Israel.

The ousted director Persekian told the NY Times the museum’s senior management informed him they no longer liked his project, but never explained why. Persekian said he had collected images of countless artifacts from “Palestinians” around the world for “Never Part,” which he intended to make available to artists who could have interpreted the objects as they saw fit. But the folks in charge of the museum were uneasy about his plan. “Maybe they didn’t want to take a risk with something that is so unpredictable and so uncontrollable,” he said.

All the museum people would say is, “We didn’t feel that what was delivered was up to scratch.”

Now, without any exhibition at all, other than a virtual show starting May 25, which it borrowed from a museum in Beirut, the Palestinian Museum building, designed by Irish architectural firm Heneghan Peng, will host the Wednesday opening ceremony with nothing to show inside. The official version is that the ceremony will only celebrate the completion of the building.

David Israel

Anti-Zionist Mob Invades Brooklyn Museum to Protest Nuance and Humanism

Tuesday, May 10th, 2016

On Saturday, a Brooklyn Museum exhibition of 11 photographers about the lives of Israelis and Arabs on either side of the “green line” was hijacked by a large group of local leftists, including several Arabs, to protest the museum’s chummy relationship with the real estate industry and to somehow push Arab refugees and displaced NYC tenants into the same metaphorical sack.

The exhibition, “This Place,” at the Brooklyn Museum, explores the complexity of Israel and Judea and Samaria, “as place and metaphor,” through the eyes of twelve internationally acclaimed photographers, none of whom are Israeli or PA Arab. The organizers have all but admitted that while they could have their pick out of hordes of Israeli photographers eager to participate, not one PA Arab photographer agreed to join the project, and so, it appears, the Israelis didn’t get to show their stuff either.

“The exhibition challenges viewers to go beyond the polarizing narratives and familiar images of the region found in mainstream media,” goes the Brooklyn Museum presentation. “The result is a deeply humanistic and nuanced examination that reminds us of the place of art, not as an illustration of conflict, but as a platform for raising questions and engaging viewers in a conversation.”

Settlement / Photograph by Nick Waplington at Brooklyn Museum

Settlement / Photograph by Nick Waplington at Brooklyn Museum

Can’t have that, right? And so, as Rebecca McCarthy reported in Hyperallergenic, a group calling itself the Decolonial Cultural Front and Movement to Protect the People, on Saturday crowded the exhibition space (which is a great way to make fewer than 100 people look like a Bernie Sanders-size crowd), led by one Amin Husain, a part-time lecturer at the New School, an Arab-American lawyer, artist and activist with a BA in Philosophy and Political Science, and a JD from Indiana University Law School – Bloomington. Husain, says his bio, practiced law for 5 years before leaving law for art, and is now an editor of Tidal Occupy Theory magazine and producer of Tidal on the Waves show on WBAI Radio.

Amin Husain enlisted his group of several dozen leftists to stage a protest “in response to displacement — both in Brooklyn and Palestine.”

The protesters say the exhibition is backed by funders who also support the Israeli military (which is code for Jews), and other pro-occupation elements in Israeli society, particularly those that preference Jewish identity over those of the country’s other cultural and ethnic groups. Can’t have that.

The group also targeted the museum’s role in gentrification and displacement of people of color in Brooklyn. And protested the fact that the museum stands on Native American land. The Nanticoke Lenni-Lenape people, who mostly lived in New Jersey, also used to hunt in the forests of Flatbush Avenue. Bridge and Tunnel folks.

Isn’t it fascinating that the left recognizes the right of Native Americans to lands they were displaced from two centuries ago, but is deaf to the plight of the Jews who have returned to lands from which they had been displaced two millennia ago? One woman, standing in front of a banner that read “Decolonize This Place,” cried out: “We stand with our comrades to amass indigenous resurgence and fight for decolonization.” But wasn’t the Zionist endeavor, in essence, the decolonization and liberation from centuries of Arab and Ottoman occupation?

When white people decolonize their oppressors, does it count as liberation, or does it automatically constitute an occupation?

Jamila — Prepared to receive their released relatives outside, Ofra Prison Office of Social Affairs, eastern Jerusalem / Photograph by Wendy Ewald at Brooklyn Museum

Jamila — Prepared to receive their released relatives outside, Ofra Prison Office of Social Affairs, eastern Jerusalem / Photograph by Wendy Ewald at Brooklyn Museum

The protesters also expressed their concerns with the “artwashing” with nice photographs what Israel is doing to the Arabs. The term is reminiscent of “pinkwashing,” which is what the gay left is accusing gays who praise Israel’s stellar record in the treatment of LGBT people. Sure, they’re nice to their homos, but that don’t mean they don’t drink the blood of Arab children, now, does it? Never mind that the life expectancy of an openly gay person in Arab society is until dinnertime.

The group also came prepared with stickers bearing the Arab names of locations covered in the photographs, which shouldn’t have been difficult to Google, and they posted those stickers over the labels for each photograph, because only one culture matters when it comes to Israel, the culture that invaded the area back in the seventh century.

Amin Husain used the “human microphone” shtick, the most annoying gimmick ever, to declare that “the days in which art and artists are instrumentalized to normalize oppression, displacement and dispossession of any people are over. We are watching you.”

Mob censorship is the most effective tool of repression, which enables relatively small groups to temporarily dictate to others what is proper and improper for them to do, say, or experience. It works with every kind of mob, on the left, with well-organized pro-Palestinian students drowning out Israeli speakers on campus; with Donald Trump supporters who drown out the opposition, including poor Senator Ted Cruz who couldn’t put in a word edgewise in such an encounter; in talkbacks, in Facebook conversations. We are in the era of the activist mob, and our civilization is a lot like the ocean that keeps absorbing billions of tons of poisonous human refuse, until, at some point, it will surely die.

Now, there’s a tortured analogy we could support.

JNi.Media

Brilliant Landscape Architect Roberto Burle Marx at the Jewish Museum

Wednesday, May 4th, 2016

Roberto Burle Marx (1909–1994) was one of the most influential landscape architects of the twentieth century, yet he is not a familiar figure outside of his native Brazil. He is best known for his iconic seaside pavements on Rio de Janeiro’s Copacabana Beach, and for his abstract, geometric garden designs. But his work encompasses an enormous range of artistic forms and styles: Burle Marx was a painter and sculptor; a designer of textiles, jewelry, theater sets, and costumes; a ceramicist and stained-glass artist. He was an avid art collector, a talented baritone, a consummate cook, and a visionary self-taught botanist and ecologist. For him, all these endeavors were equally important, facets of one another.

Avenida Atlântica, Copacabana, Rio de Janeiro / Source: http://burlemarx.com.br

Avenida Atlântica, Copacabana, Rio de Janeiro / Source: http://burlemarx.com.br

Marx was born in São Paulo, the fourth son of Cecilia Burle, an upper class Brazilian Catholic woman whose family came from Pernambuco and France, and Wilhelm Marx, a German Jew, born in Stuttgart and raised in Trier. The family moved to Rio de Janeiro in 1913.

The artist embraced modernism in the early 1930s, as the movement was taking hold in Brazil. He revolutionized garden design by using abstraction and grand colorful sweeps of local vegetation, abolishing symmetry and rejecting imported flora and European models. He viewed the role of the landscape architect in ideal terms: to mitigate the loss of the primeval garden and repair the rift between humanity and nature.

Mineral roof garden, Banco Safra headquarters, São Paulo, designed by Roberto Burle Marx, 1983. / The Jewish Museum

Mineral roof garden, Banco Safra headquarters, São Paulo, designed by Roberto Burle Marx, 1983. / The Jewish Museum

Burle Marx’s art inhabits a rare space between the rational and the lyrical. Nature’s variability was for him a liberating force: in a sixty-year career he designed more than two thousand gardens worldwide, discovered close to fifty plant species, advocated passionately for the environment, and made paintings and objects of exuberant, rare beauty. The artist who called himself “the poet of his own life,” left the world a poetic legacy.

Victoria amazonica water lilies, garden of the Fazenda Vargem Grande, Clemente Gomes residence, Areias, designed by Roberto Burle Marx, 1979. © Burle Marx Landscape Studio, Rio de Janeiro. / The Jewish Museum

Victoria amazonica water lilies, garden of the Fazenda Vargem Grande, Clemente Gomes residence, Areias, designed by Roberto Burle Marx, 1979. © Burle Marx Landscape Studio, Rio de Janeiro. / The Jewish Museum

Burle Marx’s gardens are works of modern art, not only because they make use of flat planes, abstract shapes, and bold color, but because of the way they behave: they prompt awareness of oneself in relation to the built environment. Burle Marx was an early practitioner of a contemporary way of working: crossing genres fluidly, integrating art with political concerns such as ecology, and disregarding the traditional separation of fields of practice. It is therefore no surprise that artists of today find him a fruitful source of inspiration. In this Jewish Museum exhibition, seven artists with ties to Latin America, all born after 1950: Juan Araujo, Paloma Bosquê, Dominique Gonzalez-Foerster, Luisa Lambri, Arto Lindsay, Nick Mauss, and Beatriz Milhazes — provide a sampling of his influence.

The exhibition Roberto Burle Marx: Brazilian Modernist, will be at the Jewish Museum, 1109 5th Ave at 92nd St, May 6 – September 18, 2016.

Source: the Jewish Museum website

JNi.Media

Printed from: http://www.jewishpress.com/news/breaking-news/brilliant-landscape-architect-roberto-burle-marx-at-the-jewish-museum/2016/05/04/

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