In “Rendering Witness” at the Museum of Heritage, we see the work of artists who drew to save themselves.
Created 100 years ago, Paul Klee’s “Angelus Novus” was Walter Benjamin’s prize possession. But where he saw an “Angel of History,” others saw Hitler.
Rachel Feinstein’s art focuses on limbo points as shame, abjection and decay mingle with recovery, fertility and wisdom.
In the era of Trump, the reemergence of the work of Käthe Kollwitz could hardly be more timely.
The artist Käthe Kollwitz has influenced everyone from an African American collector to a feminist activist to a puppet pioneer to a Chinese artist.
Halpert really does seem like a 21st-century figure: unimpeachably “woke” before the term existed, tireless in her defense of the marginalized.
“Being Jewish and having the privilege to exhibit in Jerusalem is powerful.”
Hesse barely survived World War II — she was sent from her Hamburg home to Holland via the Kindertransport with her older sister Helen.
How did Dr. Richard Simms, an African-American dentist, become the world’s foremost collector of the art of Käthe Kollwitz?
Here’s how Marc Chagall’s stained glass windows found their way to a church in New York.
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