Gaza is not a Nazi concentration camp or ghetto

warsaw-ghetto-children2During this summer’s war in Gaza, I have heard and read otherwise intelligent people making an ignorant comparison of Gaza to Nazi concentration camps.  For example, the author Lawrence Weschler, an old family friend of mine whose grandparents fled the Nazis, accused Israel of “confin[ing] 1.8 million Gazans within what might well be described as a concentration camp.” Not an extermination camp, he explained, but “one cannot help but liken the conditions today in Gaza to the sorts of conditions once faced by . . . Jews and gays and gypsies at Dachau and Theresienstadt in the years before the Nazis themselves settled on their Final Solution. After another friend of his complained about the comparison, he wrote a second piece suggesting thata fitter analogy might be to the Warsaw Ghetto.”

Notwithstanding the fact that there has been a proliferation of Holocaust museums, including the one I helped build in Los Angeles, perhaps the terrible reality of the Nazi period is still evading the consciousness of the world.  The fault may be in how we set up our museums.  Mostly we avoid the real terror, the stench of death, and skirt around the horror of what transpired to instead give a somewhat more palatable, sanitized version of the Holocaust fit for masses of school children and adults who otherwise would be offended. What other explanation could there be for the type of wanton ignorance that would compare Gaza with Dachau, Theresienstadt or the Warsaw Ghetto?

Here are just some of the facts:

Gaza has a population of 1.8m people in a 139 square miles (360 km2, or a density of about 13,000 per square mile (5,000/km2). This is about the same density as Chicago, Boston or San Francisco, and only 25% the density of cities like Paris, Athens, Hanoi or Calcutta.  People are not starving, disease is not rampant and untreated, and mortality rates are not abnormally high. For example, “[t]he infant mortality rate is ranked 104th, at 16.55 deaths per 1,000 births.” There are 640 schools in Gaza serving 441,452 students.

Of course during the month-long war, as many as 2,000 may have been killed and 10,000 injured. Gaza is a war zone and there is no doubt that Gaza faces a humanitarian crisis in the coming months. But it is very thankfully not a Nazi concentration camp or ghetto.

The Warsaw Ghetto held 400,000 Jews in an area of 1.3 sq mi, or a density of 300,000 per square mile, 23 times the density of Gaza. In just two months in 1942, 254,000 were sent to Treblinka and exterminated. But even without counting the extermination, the mortality rate in the ghetto was astronomical, due to overcrowding, malnourishment and rampant disease. During 1941 deaths rose from 898 a month in January, to a peak in August of 5560, and right through to May 1942 where 3,636 died. The average monthly mortality rates for the seventeen months January 1941 – May 1942 was 3882.  That is nearly 1% mortality per month over a period of a year and a half. And again, that is not counting the ongoing deportation and extermination of almost the entire population.

Theresienstadt, the so-called “model ghetto,” at one point reached a population of 58,491 in a fortress built for 7,000, for a density comparable to Gaza, but without the housing to accommodate them. Sickness and malnutrition led to mortality rates comparable to the Warsaw Ghetto. Out of 160,000 prisoners sent to Theresienstadt between 1941 and 1945, 35,409 died in the ghetto due to hunger or disease, 88,129 were deported from there to extermination camps and out of these just 4,136 survived. Infant mortality at Theresienstadt was nearly 100%, because it was forbidden for women to bear children. (Survivor Vera Schiff recounts in her memoirs that as a teenage nurse she was required by a doctor to smother a newborn baby, because if it had lived to the morning, the mother, child, doctor and nurse all would have been executed.) Education of children in Theresienstadt was prohibited and could only be undertaken clandestinely. Men, women and children were housed separately. On November 11, 1943, the Commandant ordered all 40,000 prisoners to stand outside in freezing weather for a census. About 300 prisoners died of hypothermia as a result. This is just a small taste of the terror of being a prisoner in Theresienstadt.

Dachau concentration camp was a prison for men. Prisoners lived in constant fear of brutal treatment and terror detention including standing cells, floggings, the so-called tree or pole hanging, and standing at attention for extremely long periods. There were 32,000 documented deaths at the camp, and thousands that are undocumented. Typhus epidemics and forced death marches killed thousands. At the time of liberation, the death rate was 200 per day.

I have tried to set forth just a few of the terrible facts about the Warsaw Ghetto, Theresienstadt and Dachau, just three of a network of dozens of camps and ghettos the Nazis set up throughout Europe. In our museum in Los Angeles, we have displays for 12 ghettos and 19 concentration camps, in an attempt to give people some perspective on the enormity of the Nazi persecution and extermination of Jews. But what we cannot do is show people exactly what it was like to be in these hellish places, because it is simply too terrible, too disgusting, too unbearable for ordinary people to be confronted with such horror. Still, we need to do a better job, so that people come away from our museums with the perspective necessary to understand the difference between a place like Gaza, where people are living under terrible conditions, and places like the Warsaw Ghetto, Theresienstadt and Dachau under the Nazis, where people were dying and being murdered.

That’s Not Expressionism

I went this week for the second time to the Los Angeles County Museum of Art (LACMA) to see the big new exhibition entitled From Van Gogh to Kandinsky: Expressionism in Germany and France. I had high hopes for this show. Thanks to the Robert Gore Rifkind collection at LACMA and the Galka Scheyer collection at the Norton Simon Museum, Los Angeles can boast the best collection of Expressionist artwork anywhere outside Germany and Austria. A blockbuster international show highlighting the Expressionists would be a welcome antidote to the steady stream of Impressionist and Post-Impressionist exhibits at LACMA and most other American museums.

The show presents a vast array of works by artists associated with the two German Expressionist groups Die Brücke (The Bridge) and Der Blaue Reiter (The Blue Rider). The main argument of the show is that these artists from Germany — Kirchner, Heckel, Nolde, Pechstein, Kandinsky, Marc, Macke, Jawlensky, Schmidt-Rottluff and Feininger — were influenced by the artists in France — Van Gogh, Matisse, Gaugin, Derain, Dufy, Picasso, Rousseau, Signac, Braque, and Cézanne. Indeed, the wall panel introduction asserts the “conversation” between Germany and France was the “most significant” influence on the Expressionists.
While the artworks presented certainly demonstrate that the German artists imitated the Post-Impressionists and Fauves early in their careers, what is almost entirely missing from the show are any actual works that one might call Expressionist. By focusing on only the color palette, and not the actual content of the works, the curators have entirely missed the point of what Expressionism was supposed to be.
Expressionism was not necessarily a new direction in art.  There were many precursors, including, for example, Grünewald, Goya, Turner and Munch, artists whose focus was on the expression of deep, often dark, mysterious emotions. The major French schools — Impressionists, Post-Impressionists, Fauves, and Cubists — studiously avoided this type of heart-on-your-sleeve emotionality.   Perhaps the distinction is best explained, not by words, but by pictures.
Here are three works from 1910 by the Austrian Expressionists — Kokoschka, Schiele, and Schoenberg — all of whom were consciously excluded from this show.  
 kokoschka schiele_standing





These are all undoubtedly works that one would label Expressionist.  Now, what do they have in common with Cézanne’s Still Life with Apples (1893-94)?








What about Gaugin’s Polynesian Woman with Children (1901)?










And can you see a connection with Van Gogh’s Restaurant of the Siren at Asnières?

The Restaurant de la siren in Asniäres by Van Gogh







Ok, last one.  Can you see the influence on the Austrian Expressionists in Matisse’s Still Life with Red Rug (1906)?








The answer is: you can’t.  Of course, if you are trying to make the case that the German Expressionists were mainly influenced by the French, then you have to choose only their works that show that influence, which is what the curators of the show do.  Over and over again, the curators take works that are obviously imitations of the French, rather than the later works that we all have come to know as Expressionism.  The few exceptions in the show stand out like sore thumbs.

So, it is true that Ernst Ludwig Kirchner’s 1909 Dodo at the Table really does look like a Matisse.

Ernst Ludwig Kirchner, «Dodo am Tisch (Interieur mit Dodo)»









But his Street Scene from 1913 really does not.











Wassily Kandinsky’s Arabian Cemetery (1909) really does almost look like a Fauve work by André Derain.








But his Sketch I for Painting with White Border (1913) really does not.










What is missing from this show is anything that shows what German Expressionism really was.  Fortunately, you can walk over to the Ahmanson Building at LACMA and see highlights from the Rifkind collection, including this 1919 Expressionist masterpiece by Otto Dix.

DixLedaSwan1919 LACMA Web







But you won’t find anything like it in the blockbuster Expressionism show.

The truth is that German Expressionism was not chiefly an outgrowth from French art trends. No doubt the Dutch (living in France) were a great influence.  The examples from Van Gogh and Van Dongen in the show really are terrific and certainly do point the way to Expressionism. But Expressionism as a movement was not really about the imitation or appropriation of the French color palette. It was the idea, not the style, that made Expressionism.

In sum, the Post-Impressionists made great innovations in style (palette and technique), which the artists in Germany who later became Expressionists all tried early in their careers to imitate and adopt. But the bottom line is that Post-Impressionist painters for the most part were still painting pretty pictures of pleasant scenes.  The Expressionists, when they finally hit their stride, were emphatically doing something completely different. The LACMA show is just an excuse to once again put together a blockbuster Post-Impressionist show (Van Gogh, Matisse, Cezanne, Gaugin, etc) with some derivative early works by the Die Brücke and Blaue Reiter artists. We’ll have to wait for a truly great show on Expressionism, one that does not limit its focus to just the German artists, but includes the Austrians too. Because you cannot explain works like Kokoschka’s 1913-14 Bride of the Wind by looking to France.