Therese A. Maloney Art Gallery
Shards: Documenting Genocide Exhibition List
October 21 – November 20, 2010
7 Grani
Mauro Settegrani, guitar
Flavio Settegrani, bass
Fabrizio Settegrani, piano and voice
Neve Diventeremo
2009
Music Video/DVD
Collection of the Artists
$ 20
“This song is dedicated to all those people deported to the Nazis’ camps during World War II. This music video was shot inside Buchenwald, the Nazi camp close to Weimar, Germany. We believe in the power of music as a way of to help inform and remind young people about a terrible event in recent history that tried to undermine democracy. We do not want to forget the sacrifice millions of people made; we want to warn people so it will not happen again.”
http://www.youtube.com/watch?v=M7-8ZQN1S2c
www.7grani.com for documentary
Aliza Augustine
I Told You I Would Leave You By The Side Of The Road
2009
Digital photograph, 1/15
20 x 30”
Collection of the Artist
$ 1400
“My grandparents and father escaped the Holocaust, thus making me a second and third generation Holocaust survivor.This series, “Is It Safe?” utilizes photographs of family members who survived or were killed during the Holocaust as narrative backdrops. I use dollhouse size––1-inch to 1-foot scale–– dolls in my art practice to retell visual stories, echoing the way that I was told tales of war and escape as a child on my grandfather’s knee.”
Aliza Augustine
She Cried So Much She Filled Buckets
2009
Digital photograph, 1/15
20 x 30”
Collection of the Artist
$ 1400
Aliza Augustine
The Girl In The Red Coat
2009
Digital photograph, 1/15
20 x 30”
Collection of the Artist
$ 1400
Aliza Augustine
The Handmaid’s Tale
2009
Digital photograph, 1/15
20 x 30”
Collection of the Artist
$ 1400
Gordon Baldwin
A Stone Apart, Safov, Czech Republic
2001
Silver Gelatin print
14 x 18”
Collection of the Artist
$ 200
Gordon Baldwin
Levi Vayolesh, Safov, Czech Republic
2001
Silver Gelatin print
14 x 18”
Collection of the Artist
$ 200
Gordon Baldwin
Stone Silhouettes, Safov, Czech Republic
2001
Silver Gelatin print
14 x 18”
Collection of the Artist
$ 200
“My three photographs are the result of a summer project that I undertook
in July of 2001. I was fortunate to spend two weeks in Safov (Schaffa), Czech Republic, a small town along the Czech/Austrian border that had an active Jewish community from the mid-18th century until 1939. In 1939 the town was emptied of its Jewish population; none of the survivors returned after the war. The project was to help renovate and restore the abandoned Jewish cemetery. My photographs reveal what we found beneath the overgrowth.”
Ula Einstein
Casualty
2005
Mixed media, plaster, blueprints, wire
and paint on vintage spool
Life-size head
Collection of Don Burmeister
$ 2500
Ula Einstein
Brother Shadow
2005
Hawaiian coconut fiber and wool thread on vintage spool
Life size head
Collection of the Artist
$ 2500
Ula Einstein
Sister Shadow
2005
Hawaiian coconut fiber
Life-size head
Collection of the Artist
$ 2500
Ula Einstein
Breathless
2004
Rice paper, fire, coconut fibers and wire on vintage spool
Life-size head
Collection of the Artist
$ 1800
Ula Einstein
A Record of Him
2005
Mixed media
12 x 5 x 2"
Collection of the Artist
$ 2000
This is a plaster cast of my father's arm. He was branded with the number in Auschwitz where he was imprisoned for 3 years.
Ula Einstein
Gesture Missed
2010
Mixed media: plaster cast of two hands, eggshells, branch and metal
20 x 20 x 3"
Collection of the Artist
$ 2500
Ula Einstein
Renewal IV
2009
Mixed media: fire, rice paper, wire, branch and monofilament
18 x 4 x 4"
Collection of the Artist
$ 1600
The subject of genocide and its long term repercussions has deeply influenced me. I am a child of Holocaust survivors; having grown up in the wake of one of the most horrific circumstances of the 20th century. Genocide impacts too many lives throughout the world; its gravity and legacy are a challenge to bear. My works here are part of an exploration that addresses this devastation on a global level. For me, universal knowledge of these events, and their aftermath, is the most important reason to engage with this subject, in my art.
Harold A. Kuskin
Entrance to Auschwitz
2009
Gelatin silver print
16 x 20”
Collection of the Artist
$ 300
Harold A. Kuskin
Majdanek Watch Towers
2009
Gelatin silver print
16 x 20”
Collection of the Artist
$ 300
Harold A. Kuskin
Majdanek Shoes
2009
Gelatin silver print
16 x 20”
Collection of the Artist
$ 300
Harold A. Kuskin
Majdanek Crematorium
2009
Gelatin silver print
16 x 20”
Collection of the Artist
$ 300
Harold A. Kuskin
Majdanek Gas Chamber
2009
Gelatin silver print
16 x 20”
Collection of the Artist
$ 300
“In 1996, I toured the Auschwitz-Birkenau Concentration Camp in Oswiecim, Poland. I found the experience horrifying and overwhelming. As I left the Camp, I sensed a need to return and spend more time there as well as a desire to see the Majdanek Concentration Camp in eastern Poland. In October 2009, I visited both camps, trying to imagine the unimaginable, confinement in either camp, I photographed them in black and white in hopes of capturing not only the physical features of the camps but also the mood and atmosphere of each.”
Stephen Mead
Mercy Excerpt 3
2007/2010
Film still photomerge
8 x 10"
Collection of the Artist
$ 125
Stephen Mead
Mercy Excerpt 8
2007/2010
Film still photomerge
8 x 10"
Collection of the Artist
$ 125
In these works I have incorporated digitally re-imagined images from my own paintings of victims of human rights’ and hate crimes mixed with enhanced footage of Buddhist monks giving alms, whirling dervishes and other similar spiritual ceremonies. By juxtaposing the two I invite the viewer to ask questions such as "How many must die before the deaths can be considered genocide?" or "What will ultimately persevere: mercy or brutality?"
Leonard Merlo and Neal Korn
Prison Industrial Complex
2002
Acrylic and collage on canvas board
17 ½ x 21 ½”
Collection of the Artists
$ 500
“The text on the image reads: “Almost two million people are currently locked up in the immense network of US prisons and jails. More than 70% of the imprisoned population are people of color. The prison has become a looming presence in our society to an extent unprecedented in our history or that of any other industrial democracy.”
Jeremy Newman
Fade
2009
DVD
30 seconds
Collection of the Artist
$ 15
“This Holocaust work centers on the relationship between memory and the moving image. The visuals are layered through superimposition and appear sculptural rather than two-dimensional, permanent rather than transient. Yet, the images fade away. The short form heightens this sense of the ephemeral.”
Carol Rosen
In Memoriam II
2010
Digital print, metal, stone
63 x 28 x 24"
Collection of the Artist
$ 9500
Carol Rosen
In Memoriam III
2010
Digital print, metal, stone
63 x 28 x 24"
Collection of the Artist
$ 9500
“The "In Memoriam" series commemorates the victims of the Holocaust. The use of black granite as the material bearing the photo-etched imagery and the position of these plaques below eye level reference both gravestones and the earth beneath them.”
Carol Rosen
Grim Harvest
2006
Metal, wood, paper and leather
12 x 28 x 29"
Collection of the Artist
$ 950
Carol Rosen
Organizing Death
2010
Digital print
36 x 26"
Collection of the Artist
$ 1200
Carol Rosen
Slaughter of the Innocents II
2010
Digital Print
36 x 40"
Collection of the Artist
$ 1800
Eva Schuster
The Nazi Universe
2010
Oil pastel on gesso on Nepalese paper
42 ¼ x 30 1/2"
Collection of the Artist
$ 1200
With my work, images of Nazi and Jewish faces, I hope to contribute to a felt understanding of the elements in the human psyche that were present during the Holocaust. As a child growing up in post war Germany, any conversation and inquiry into the recent past was suppressed and avoided. Slowly, as the name Hitler and the word Auschwitz entered my awareness, I was confused about the meaning of these words. Seeing pictures of Hitler, I couldn't distinguish between my father and these Hitler images. My father's authority felt dictatorial and not so different from what I thought Hitler must have been like. It was "verboten" to ask questions.
My life's journey has been a search to know the force of goodness and understand the power of evil. My images strive to bring an emotional clarity to the subject, showing the will towards negativity, and the pain of uncontainable suffering. The viewer is called for a deeper response: his or her own humanity. My work consists of drawings and paintings portraying German and Jewish faces of that time period.
Eva Schuster
Agony
2010
Oil pastel on board
7 ½ x 8"
Collection of the Artist
$ 200
Eva Schuster
Suffering #1
Feb 2010
Oil Pastel on board
20 x 15"
Collection of the Artist
$ 450
Katherine Singh
Untitled 101
2009
Graphite and pencil on paper
16 x 16"
Courtesy of Pierogi Art Gallery
$ 1,000
Katherine Singh
Untitled 106
2009
Graphite and pencil on paper
18 x 18"
Courtesy of Pierogi Art Gallery
$ 1,100
Katherine Singh
Untitled107
2009
Graphite and pencil on paper
12 x 12"
Courtesy of Pierogi Art Gallery
$ 800
“In 1939, WWII began and Lomza, Poland, where my family lived, was the site of the German Front and was under German air attack. My great-grandmother’s two sons were arrested and taken by the Germans to a concentration camp. They lost their lives there in the gas chambers and were burned in the ovens like countless others. My grandfather was arrested by the Germans and taken to Stalag 1. He managed to escape the road to the concentration camp because his last
name was German and he spoke German fluently. He convinced the German soldier that he could labor on a farm and so escaped death. My father was five years old during WWII and remembers running from gunfire and playing with hand grenades he found on the road. He recalls flights in the middle of the night in the dead of winter with nothing on but pajamas and hiding in barns from the Germans.”
Ariela Steif
Wire 7
2009
Encaustic
12 x 12”
Collection of the Artist
$ 500
Ariela Steif
Wire 17
2009
Encaustic
12 x 12”
Collection of the Artist
$ 500
Situated in the charged and unstable space between representation and abstraction, my work gathers fragments of dreams and memories that are layered together, and negotiates the ever-changing boundary between isolation and community. I am interested in looking at the interstices of things, at sites of liminality. In medieval folklore the spaces in the margins, those which are betwixt and between – the edge of the sea, between night and day, doorways and thresholds – were thought to be dangerous places of power and transformation. These marginal spaces are reflected in the region that my paintings occupy: the no-man’s land between representation and non-representation.
Ani Volkan
Altar of Art
2009
Enamel on copper in stained wood frame
13 x 8 x 1”
Collection of the Artist
$ 1050
Ani Volkan
Sojourner’s Prayer
2009
Enamel on copper in stained wood frame
6 x 10 x 1”
Collection of the Artist
$ 950
Ani Volkan
The Door in the Threshold
2009
Enameled copper in stainedwood frame
5 x 7 1/2 x 1”
Collection of the Artist
$ 850
Ani Volkan
Number 8
2010
Intaglio on cotton and chair batting
22 x 12"
Collection of the Artist
$ 1200
The Armenian Genocide is still central in the lives of the Armenians today. Its memory remains vivid as the stories of those who are lost are passed down from generation to generation. Because the world has forgotten the Armenians, we must be the keepers of our once rich and vibrant homeland and we are taught never to forget. The Armenian Genocide had also come to be a defining point for me in terms of creating my artwork. Because so many Armenians are in exile, no longer having a common land, their strongest connection comes from their shared history and tradition. The physical homeland is gone but the memory still remains and memory is valued above all else.
Florence Weisz
Sanguinary/Sanguine
2007
Seven digital collages
10 x 10" each
Collection of the Artist
$ 2100 set
Florence Weisz
StelaePath Pentych
2007
Five digital and alcohol ink collages
24 x 24” each
Collection of the Artist
$ 2500
“These artworks were inspired by the indelible experience I had while visiting the “Memorial to the Murdered Jews of Europe” in Berlin, Germany. The five acre memorial, composed of ˆa grid of 2711 concrete stelae, was designed by American architect, Peter Eisenman, and is located outdoors in the center of Berlin near the Brandenburg Gate.
I spent hours walking alone among these stones, drawn initially to the aesthetics of the grid pattern formed by the rectangular slabs and to the small square pavers of the walkways. I felt a powerful identification with these harsh shapes that echoed the square grid format I have used for years in my own art. Although devoid of overt symbolism, Eisenman's stark design elicited in me a powerful emotional reaction. As I entered deeper and deeper into the immense labyrinth, the forms towered fifteen feet over my head, blocking out my awareness of other people and the city around me. I felt profound isolation and sorrow.
While immersed in this dense gray environment, I used my camera in a kind of meditative state, photographing the corridors of pillars forming acute perspectives [“StelaePath Pentych”]. I took close-up shots of gravel textures underfoot and of the concrete slabs around me ["SteleSurface"]. I was also struck by the ironic exceptions to oppressive grey stones: the bright red petals of an abandoned flower ["Sanquinary/Sanguine"]. The collages are composed of digitally printed parts of these photo images, often combined with my alcohol-ink infused papers.
Never before had I felt capable of producing art appropriate to the enormity of the Nazi atrocities, but this transforming experience at the Berlin Memorial had finally compelled me to express my own vision through these artworks.”
