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Barnett Newman's Stations and the Memory of the Holocaust**

Barnett Newman's Stations and the Memory of the Holocaust** Barnett Newman’s Stations and the Memory of the Holocaust* MARK GODFREY In January 1965, Barnett Newman attended a symposium at New York’s Jewish Museum, an institution then planning his retrospective. The chair was Dore Ashton, and the speakers were Paul Brach, Arthur A. Cohen, and Peter Selz. The title, arrived at after much discussion, was “What about Jewish Art?” Three days later, Newman wrote to the director to “express my disgust at the Jewish Museum’s sponsorship of the debate ‘What about Jewish Art’ . . . What the Jewish Museum has done is to compromise me as an artist because I am Jewish. Please therefore notify all concerned not to ask me to cooperate ever with any of your shows since you have made it impossible for me to show my work in your Museum.”1 There is no complete record of the talks Newman heard, but the notes for the speeches suggest that even those on the panel resisted the title of the discussion: Cohen began his presentation by stating the symposium’s question “What about Jewish art?” only to answer “Not very much, not very interesting if there is such a confection, and it is doubtful if there http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png October MIT Press

Barnett Newman's Stations and the Memory of the Holocaust**

October , Volume Spring 2004 (108) – Apr 1, 2004

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Publisher
MIT Press
Copyright
© 2004 October Magazine, Ltd. and Massachusetts Institute of Technology
ISSN
0162-2870
eISSN
1536-013X
DOI
10.1162/016228704774115708
Publisher site
See Article on Publisher Site

Abstract

Barnett Newman’s Stations and the Memory of the Holocaust* MARK GODFREY In January 1965, Barnett Newman attended a symposium at New York’s Jewish Museum, an institution then planning his retrospective. The chair was Dore Ashton, and the speakers were Paul Brach, Arthur A. Cohen, and Peter Selz. The title, arrived at after much discussion, was “What about Jewish Art?” Three days later, Newman wrote to the director to “express my disgust at the Jewish Museum’s sponsorship of the debate ‘What about Jewish Art’ . . . What the Jewish Museum has done is to compromise me as an artist because I am Jewish. Please therefore notify all concerned not to ask me to cooperate ever with any of your shows since you have made it impossible for me to show my work in your Museum.”1 There is no complete record of the talks Newman heard, but the notes for the speeches suggest that even those on the panel resisted the title of the discussion: Cohen began his presentation by stating the symposium’s question “What about Jewish art?” only to answer “Not very much, not very interesting if there is such a confection, and it is doubtful if there

Journal

OctoberMIT Press

Published: Apr 1, 2004

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