[archive] Sue Coe – From Ambassadress, S
Sue Coe – From Ambassadress, S
From Ambassadress, S #2
Major Retrospective for Groundbreaking Artist and Printmaker Käthe Kollwitz in MoMA
In Sharpening the Scythe, one of Käthe Kollwitz’s most powerful prints, an older peasant woman grips the blade of her farming tool, preparing it not for cutting crops, but to take part in a revolt. In this short animated video, watch how Kollwitz arrived at this potent image using her confidence as a draftsman and printmaker.
From Ambassadress, S #3
The Young Person’s Illustrated Guide to American Fascism
“Prescient … searing social-political art.” —The New York Times
Sue Coe is an artist, animal rights activist, and anti-fascist. She has also peered inside factory farms, zoos, prisons, and refugee camps. Coe’s prints, drawings and paintings are found in many major art museums, and her illustrations have been published in The New York Times, The Nation and many other magazine and books. Read more
Stephen F. Eisenman is Professor Emeritus of Art History at Northwestern University and the author of a dozen books including 19th C, Art – A Critical History (Thames and Hudson, 1994), The Abu Ghraib Effect (Reaktion, 2007), and The Cry of Nature: Art and the Making of Animal Rights (Reaktion, 2015). He is also art critic and columnist for Counterpunch. He’s co-founder of the environmental justice non-profit, Anthropocene Alliance.
From Ambassadress, S #4
Het Onderwater Cabaret
The Underwater Cabaret
For more than two years, home for Curt Bloch was a tiny crawl space below the rafters of a modest brick home in Enschede, a Dutch city near the German border. The attic had a single small window. He shared it with two other adults.
During that time, Bloch, a German Jood, survived in the Nazi-occupied Netherlands by relying on a network of people who gave him food and kept his secrets.
In that respect, he was like at least 10,000 Joden who hid in Holland and managed to live by pretending not to exist. At least 104,000 others — many of whom also sought refuge, but were found — ended up being sent to their deaths.
But Bloch’s experience was different because, in addition to sustenance and care, his helpers brought him pens, glue, newspapers and other printed materials that he used to produce a startling publication: his own weekly, satirische poetry magazine.
From August 1943 until he was liberated in April 1945, Bloch produced 95 issues of Het Onderwater Cabaret, or The Underwater Cabaret.
Each issue included original art, poetry and songs that often took aim at the Nazis and their Dutch collaborators. Bloch, writing in both German and Dutch, mocked Nazi propaganda, responded to war news and offered personal perspectives on wartime deprivations.
