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Gisela and Philipp Kozower with their daughter Eva in August of 1932
© Friends of the Jewish Museum New York, Princeton; photographer: unknown, donated by Klaus M. Zwilsky

Lawyer Philipp Kozower was 37 when he married the 23-year-old medical student Gisela in 1931. A year later she gave birth to their first child, a daughter called Eva. The new parents had their picture taken with their baby in Berlin’s Monbijou Park: wearing a bright dress and straw hat, Gisela holds the baby towards the camera somewhat awkwardly, as if the picture should document that Eva exists.

By the time Eva’s sister Alice was born in 1934, the National Socialists had already enacted numerous laws against Jews as well as taken measures to exclude them from public life. Our online project “1933: The beginning of the end of German Jewry” presents a variety of source materials from the Jewish Museum Berlin’s archives that bear witness to the disenfranchisement of German Jews. A display case with photographs and letters in our permanent exhibition details the Kozower family’s story: → continue reading

Opening this Friday at the Eric F. Ross Gallery

Fred Stein is a photographer whose work and biography leave no one unmoved. Some of his portraits are famous—those of Albert Einstein and Hannah Arendt for example—yet Fred Stein himself is not a household name. The young lawyer was forced to flee Germany in 1933. He went first to Paris, and then in 1941 to New York. In these cities of exile he made photography his new profession, producing numerous street scenes and portraits.

“In An Instant” struck us as an apt title for the exhibition of his extensive oeuvre scheduled to open at the Jewish Museum Berlin on 22 November. This title highlights Fred Stein’s talent for capturing his subjects at the decisive moment, spontaneously, and without elaborate preparations—a natural talent, incidentally, for he was a self-taught amateur.

Fred Stein’s special gift of observation is evident in the photograph “Little Italy” (New York, 1943), one of our many favorites. → continue reading

An Interview with Daniel Laufer

You can buy a wide variety of works of art from our art vending machine. One such piece is a postcard by Daniel Laufer (*1975, Hanover).

The card shows a film still from the video, “The Fourth Wall” (at 08:13 min). The story is based on an Hasidic parable about two men who are supposed to design one half of a house. While the first man does his work with zeal, the second delays, uninspired. The second man, who is certain that he won’t come up with a better idea than his rival, decides to coat his work with black bitumen. The material will reflect the other half of the house like a mirror. Thus he discovers a good solution to avoid defeat.

Postcard with still shot from the film “The Fourth Wall” by Daniel Laufer
© Jewish Museum Berlin, photo: Jens Ziehe

The film was shown this year at the 14th Videonale at the Bonn Art Museum.
In the following interview, Daniel Laufer talks about the genesis and message of his postcard.

Christiane Bauer: Daniel, you work mostly in video form. Yet you produced a postcard for the art vending machine. Why did you choose this format?

Daniel Laufer: A postcard is something mobile that you can take with you. It connects you to something: it provides information and contains a message. It can be a souvenir – but with a statement. And I also like the fact that you can hang it on the wall.

The original work of art is an entire film. Why did you choose this particular shot as a motif for the postcard? → continue reading