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A small man with glasses with a gentle gaze stands in the left corner of a photograph. He is holding a banjo. His name is Jakub Glatstein. He is a composer and conductor as well as a preserver of the songs and music of the Jewish proletariat. His life is embraced by music and embraces her. To his right there are children from one of the orphanages in the Ghetto. Their heads are shaved, their big eyes are directed straight at the photographer. Some children smile, others have a little serious post-performance look. They are hungry and some of them might be sick, but they would never have missed their concert. Their faces are brief as photos, but everything about them encourages remembrance. Jakub’s daily visits and classes, as well as his love of music, let his students find themselves in a world of floating dreams and allowed his students to even catch them sometimes. Jakub and his children were murdered in Treblinka death camp in 1942. His wife died of typhus in the Ghetto. Gela Seksztajn was trained as a painter before the war. In the Ghetto where she became a dedicated teacher, she taught art classes to many children at the clandestine school at 68 Nowolipki Street. She donated many of her works to Oyneg Shabbes and some of them were discovered with other hidden documents. In the Ghetto she worked mostly with watercolours, painting children and still lives. In a photograph of Gela taken before the war her face radiates with a smile, intelligent, bright eyes . . . Gela Seksztajn, her husband Izrael Lichtensztajn, and their 20-month old daughter Margalit, most likely died during the first night of the Ghetto Uprising in April, 1943. In August 1942 she wrote in her last will and testament, “Poised on the border between life and death, more certain that I won’t live than that I shall.” 12 Seksztajn hoped that her artworks would become part of a collection of a “ . . . Jewish museum that will be established in the future in order to recreate prewar Jewish cultural life.” 13 She also wrote in her wish “that some trace (remain) of my name and the name of my daughter, the talented little girl Margalit Lichtensztajn” 14 Night falls. In his book, Night, Elie Wiesel recalls talking to his friend after their torturous race from one concentration camp to another. The prisoners were forced to run for hours to reach their destination of horror: “How do you feel, Juliek?” I asked, less to know the answer than to hear that he could speak, that he was alive. “Alright, Elizer . . . I am getting on alright . . . hardly any air . . . worn out. My feet are swollen. It’s good to rest, but my violin . . . ” “What, your violin?” He gasped, “I am afraid . . . I am afraid . . . that they’ll break my violin . . . I’ve brought it with me.” I could not answer him. Someone was lying full length on top of me, covering my face. I was unable to breathe . . . 15 The journey into the night continues and Wiesel writes: I heard the sound of a violin. The sound of a violin, in this dark shed, where the dead were heaped on the living. What madman could be playing violin here, at the brink of his own grave? Or was it really an hallucination? It must have been Juliek. He played a fragment from Beethoven’s concerto. I had never heard sounds so pure. In such silence . . . . He was playing his life. The whole of his life was gliding on the strings—his lost hopes, his charred past, his extinguished future. He played as he would never play again. 16 10
NOTES 1 Lynn H. Nicholas, The Rape of Europa, (New York: Vintage Books, 1995), 61. 2 Ibid., 62. 3 Eleonora Bergman, “Oyneg Shabbes—Joy of Sabbath Meetings” in Scream the Truth at the World, (New York: Museum of Jewish Heritage and Zydowski Instytut Historyczny, 2001), 11. 4 Ruta Sakowska, “Emanuel Ringelblum and the Underground Archive of the Warsaw Ghetto” in Scream the Truth at the World, (New York: Museum of Jewish Heritage and Zydowski Instytut Historyczny, 2001), 5. 5 Emanuel Ringelblum in Scream the Truth at the World, (New York: Museum of Jewish Heritage and Zydowski Instytut Historyczny, 2001), 17. 6 Ruta Sakowska , “Emanuel Ringelblum and the Underground Archive of the Warsaw Ghetto” in Scream the Truth at the World, (New York: Museum of Jewish Heritage and Zydowski Instytut Historyczny, 2001), 9. 7 Ibid. 8 Wislawa Szymborska, “A Moment in Troy” in Sounds, Feelings, Thoughts: Seventy Poems by Wislawa Szymborska, (New Jersey: Princeton University Press, 1995), 39. 9 Christopher Hewat, “Object Lessons” remarks at The Hotchkiss School/Feb. 25, 1996. 10 Ben Okri, “Lament of Images” in Debra Bricker Balken Alfredo Jaar Lament of Images, (M.I.T. List Visual Arts Center, 1999), 7. 11 Bozenna Wisniewska’s translation of Ruta Sakowska’s Ludzie z Zamknietej Dzielnicy-Z dzejow Zydow w Warszawie w latach okupacji hitlerowskiej: pazdziernik 1939-marzec 1943, (Warszawa: Wydawnictwo Naukowe PWN, 1993), 126. 12 Gela Seksztajn in Scream the Truth at the World, (New York: Museum of Jewish Heritage and Zydowski Instytut Historyczny, 2001), 53. 13 Ibid. 14 Ibid. 15 Elie Wiesel, Night (New York: Bantam Books, 1996), 89. 16 Ibid. 90. BIBLIOGRAPHY Bricker Balken, Debra. Alfredo Jaar-Lament of Images. M.I.T. List Visual Arts Center, 1999. Engelking, Barbara., Jacek Leociak. Getto Warszawskie-Przewodnik po Nieistniejacym Miescie. Warszawa: Wydawnictwo IFiS PAN, 2001. Fater, Isachar. Muzyka Zydowska w Polsce w Okresie Miedzywojennym. Warszawa: Oficyna Wydawnicza rytm, 1997. Museum of Jewish Heritage and Zydowski Instytut Historyczny. Scream the Truth at the World-Emanuel Ringelblum and the Hidden Archive of the Warsaw Ghetto. New York: Museum of Jewish Heritage and Zydowski Instytut Historyczny, 2001. Nicholas, Lynn H. The Rape of Europa. New York: Vintage Books, 1995. Sakowska Ruta. Ludzie z Zamknietej Dzielnicy-Z dziejow Zydow w Warszawie w latach okupacji hitlerowskiej-pazdziernik 1939-marzec 1943. Warszawa: Wydawnictwo Naukowe PWN, 1993. Sakowska Ruta, eds. Listy o Zagladzie. Warszawa: Wydawnictwo Naukowe PWN, 1997. Archiwum Ringelbluma-Listy o Zagladzie, edited by R. Sakowska, Wydawnictwo Naukowe PWN, Warszawa 1997. Szymborska Wislawa. Sounds, Feelings, Thoughts:Seventy Poems by Wislawa Szymborska. New Jersey: Princeton University Press, 1981. 11
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SECTION 1: Keynote Address Undoing
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THE SCHOOL OF VISUAL ARTS NATIONAL
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[Both please.] There’s another pa
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actually this mountain on top is an
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detail. This is from a digital high
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that those religious mysteries whic
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scream into clarity and the effect
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a nutshell our conflicted attitude
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Dr. Stafford: Well, I’m trying re
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CROSS DISCIPLINARY STRATEGIES TO RE
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layering of dissonant imagery of th
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TRANSLATIONS OF MEMORY: PERSONAL ES
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When I asked my students to write p
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FACE VALUE: PORTRAITS AND MEMORY Da
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emotional expression in the human f
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A first step might be a rejection i
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THE ART OF THE NAME OR THE NAME OF
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“ST. JOHN THE EVANGELIST,” OR
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elationship with Jesus than does Pe
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There are several different philoso
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has not been explicitly named by th
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THE ROLE OF MEMORY IN CULTURE Rapha
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Dreaming without lucidity of any ki
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MONUMENTS IN MINIMALISM: SAFELY UNI
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font, in tight grid-like formation,
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At the height of the Minimalist mov
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horribly immediate manner. There is
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ead. 8 Only when the beautiful soul
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Brâncu_i, too, preferred to carve
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(1912, 1913, 1920, 1931), among oth
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10. On Easter Monday, for example,
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47. Women who are menstruating or i
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MOURNING, ABSENCE, AND TRAUMA: REPR
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(1991) is an extended meditation on
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a storm of controversy for its univ
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1938, completed in 1991, includes w
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fan shaped forms; these images are
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The only way out of the building is
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WITH A PEN AS HIS WORD AND ME AS HI
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FROM IDEALISM TO TOTALITARIANISM: T
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embodiment of the age of enlightenm
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Yale University Press, 1986), p. 10
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“yes well, to be sure they all mi
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characterized various ancient civil
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(whichever “them” is most handy
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There are those who would dismiss s
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TEACHING ART EDUCATION IN A STUDIO
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artworks motivate and inspire stude
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VERS COLLAGE: THE REMEMBRANCE WORK
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On that day when the wall is breach
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often enough to become a social tru
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define his identity and function in
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