Chinese Street

A frieze-like composition depicting storefronts with mixed English and Chinese language signs, as well as activities of shopkeepers and shoppers.

The Cabbage Field.

The painting represents a figure bending over to attend the plants in a cabbage field, probably the artist's summer house in Wannsee outside Berlin, where he did most of his work after 1922.

Portrait of Benjamin Liebermann

This large ambitious painting is one of Liebermann's earliest. His uncle, the Geheime Kommerzienrat (Privy Councillor) Benjamin Liebermann (1847-1935), is elderly and slim, but erect and proudly wearing his honorary business medals, has his left hand on his hip, while his right hand rests on the back of a red velvet chair. He is wearing long sideburns and whiskers. The background is plain. The style is tight and painstaking, but already exhibits Liebermann's preference for visible, impasto brushstrokes. The emphasis is on the face, with no attempt at idealization of the akward, but strong features. The colors are mainly black and brown.

Portrait of an Old Lady

This waist-length frontal representation shows an old lady with crossed arms wearing a lace bonnet and a white cape over a red dress against a plain greenish background. Her hands seem to be unfinished. The white gouache is applied so as to give the painting textural interest.

Portrait of Samuel Mayer Ehrenberg ( 1773 - 1853 ).

This painting is in dedication " in honor of Meyer Ehrenberg by his students" as stated on a scroll held by the sitter. The scroll is dated October 7, 1820 and is followed by a list of names in two columns: (M.Ehrenberg, P.Ehrenberg, B. Ehrenberg, M.Imanuel M.Balke, B.Meier, L.Franck, M. Cohen, W.Fraenkel, M. Chohns, P.Goldschmidt, J.Lippoa, A. Nathan, M.Kramer, J.Fraenkel, M.Goldschmidt.) Ehrenberg was the founder of the first modern Jewish Day School in Germany, at Wolfenbuettel. Ehrenberg was the great-grandfather of the Jewish Theologian Franz Rosenzweig.

Portrait of Max Boehm ( 1871-1944 ).

The model is seated, facing the viewer and looking straight at him. He is wearing a business suit and holding a cigar. The pose is relaxed abd the color tonalities warm, with the yellow background dominant. Heavy impasto is used for face and hands. Neg. 37599 Signed upper right, also dated

Portrait of Heinrich Stahl (1868-1942 ).

H.Stahl was the last president of the Jewish Community in Berlin. He is seated in a chair with wooden arm supports. He seems a small man, an impression emphasized by a large expanse of plain, tan background. The facial expression is tense, with deeply furrowed brows.

Portrait of Elkan Reutlinger (1767-1818).

This is a half-length view of a dandyish, youthfull man, depcited against a distant landscape. The composition is well coordianted.

To the Mothers of the Twelve Thousand.

The size of the work and the printed title suggests, that this is a poster. It bears the emblem R.J.F., for the sponsoring organization, Reichsbund Juedischer Frontsoldaten or National Organization of the Jewish Front-line Soldiers. The mothers of "The twelve thousand" refers to the Jewish soldiers killed during World War I, when reminding Germans of the patriotism and sacrifices of German Jews, seemed important in view of the discrimination they were confronted with at the time, in 1935.

Terezin: Portrait of Jirina Kanova. (Prague 1938-Auschwitz 1944).

The child is shown in threequarter view, looking into the distance. Her dark head is silhoutted against the background and accented by a whitecolored blouse. Signed L. Buresova, Terezin 15.IX.1943

Brittany

Dr. Hans Cahnmann, Bethesda, MD

Means are the Ends: The Command Issue

Means are the Ends: The Command Issue (2014) was an exhibition of sculptural works exhibited at LEVEL Artist-Run Initiative, Brisbane. The exhibition playfully critiqued the portrayal of women’s desire in cultural production and symbolic discourse through a focus on fetish sensibilities. Developed during a summer residency, the artworks looked to the rituals, materials and iconographies associated with certain divergent subcultures. Employing strategies of sculptural intervention and appropriation, the exhibition consisted of found objects, which had been deconstructed, altered and intervened; a dildo became a faux drawing machine, a butt-plug a makeshift horn. Reconstructing these visual codes through the formal and theoretical language of contemporary sculptural practice, Means are the Ends: The Command Issue spoke to the problematic, humorous and often paradoxical relationship between depictions of the feminine and women’s desire and agency.

Stand and Deliver

'Stand and Deliver' is an installation integrating three elements; a large-scale fabric work, a series of pencil and ink drawings on watercolour paper, and a lecture performance recorded as a digital video. 'Stand and Deliver' offers a feminist perspective on the archival impulse and utilizes the strategy of Revision to open up new critical directions for feminism’s own histories and archives. It is part of a broader practice strategy to re-perform a subjective feminist archive. 'Stand and Deliver' was developed and presented as a solo exhibition for First Draft Gallery, Sydney in 2014. 'Stand and Deliver II' was revised for the exhibition 'Quaternary', curated by Courtney Pedersen, held at the QUT Art Museum, Brisbane in 2015. 'Quaternary' was included as part of the 'Women of the World' (WOW) Festival, Brisbane 2015, at QUT Gardens Point Precinct.

Hannah Ruth London papers, 1919-1990.

The collection consists primarily of research notes for Ms. London's published works on portraits, miniatures and silhouettes of American Jews. The notes contain family histories of the subjects as well as information on the artists, and are arranged both by subject and artist. The collection also contains published articles on the subject by London, and photographs and lantern slides of the artwork that have been removed to the picture collection.

Towards (dis)Satisfaction

Hosted at Blindside Artist-Run Initiative (Melbourne) the exhibition Towards (dis)Satisfaction (2015) was a re-staging of earlier sculptural works from the exhibitions Means are the Ends: The Command Issue and Crude Tools (2014), Feeble Actions (2013). The forms humorously interrogated representations of gender and sexuality via strategies of sculptural intervention. A stripper’s pole oozes grease from its stainless surface, fluted with holes. A dildo vibrates on a glass tabletop; propped up by simulated testicles, the intensity of the dildo’s vibrations makes the form spin. With its continual circling, the phallus drags Vaseline over the table, performing a drawing and redrawing of a smeared circle. In Towards (dis)Satisfaction fetish is used as an instrumental strategy, employed as a mode to work across different theoretical and material discourses. In the works the play between explicit and implicit depiction creates an ambiguity that has suggestive potency, where fragmentation and dysfunction initiate diverse readings. These material dialogues make apparent the anxiety and desire inherent in the viewer and question how the visual conventions of erotica and art history are mutually informative.