Kristallnacht Lecture: Mannheim High School

On Monday, April 28, I was invited (by Summer's teacher) to be a guest speaker in two honor history classes. Summer had told her about my project. I was happy to oblige. If you know me, you know that I rarely turn down an opportunity to have people listen to what I say and look at what I make. Needless to say, I accepted.

The classes, one with about 10 students and the other with about 18, just started reading Elie Wiesel’s, “Night”.  This is a powerful and disturbing account of the Wiesel family’s torture and suffering in the concentration camps of Germany and Poland. Although my project is directly related to the Holocaust, it’s (Kristallnacht) more obscure and less known.

I started by asking definition of words like “anti-Semitism” and “pogrom”. I talked about what I believe caused the world to turn against the Jews and to allow the near annihilation of them. For me, it was important to stress that living in Germany and understanding this history changed how I viewed the world. How living here made an abstract idea, a real life “concrete” event for me.

I quoted Martin Luther King, Jr., "In the end, we will remember not the words of our enemies, but the silence of our friends." I talked about "indifference" and silence - or turning your head when bad things are happening to other people. I referenced this poem by Pastor Martin Niemöller too.

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When the Nazis came for the communists,
I remained silent;
I was not a communist.When they locked up the social democrats,
I remained silent;
I was not a social democrat.When they came for the trade unionists,
I did not speak out;
I was not a trade unionist.When they came for the Jews,
I remained silent;
I wasn't a Jew.When they came for me,
there was no one left to speak out.
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I showed a 6 minute presentation I put together of my work so far and then took questions. It was very rewarding and I look forward to doing it again.

Kristallnacht: The Beginning

I really love this image (it will probably end up on the front of my new web site) - this was the first plate of the day. It's an 8" x 10" black glass Ambrotype shot with a small Jamin-Darlot (c.1864) lens - I like the "keyhole" effect this lens gives the image.

We visited Mainz, Germany today. It's about 45 minutes to the north of us. I made three wet plate collodion images there of the former synagogue. It was perfect weather and a perfect day for it.

The Germans were very friendly in Mainz. We had a paper ready to handout to them explaining what I was doing. There were a few very positive and encouraging responses; I was surprised. There were a few that stayed and watched as I went through the entire process and saw the final plate coming up in the fix. Really great stuff!

I am very excited about this project now; the results were fantastic today and I look forward to going out again in a few days to make more images. Jean and Summer were outstanding! I love you both! Thank you for all of your help - I couldn't do this crazy thing without you!

The memorial plaque - this plate is exquisite in real life. The details are amazing - especially the stones
and the relief of the old synagogue. This is an 8" x 10" Ambrotype on black glass.

 
Quinn exposes a plate as Summer rolls video.

Here's the setup: Toyota 4Runner and a portable darkroom!

When The Concept Is Bigger Than The Craft

It seems that I've been waiting forever for my portable dark box to arrive (here in Germany). It was shipped on February 5, 2008 from Rochester, New York. You wouldn't think it would take a month, but then again one of the biggest and most annoying things about living here is the APO system and the expense of commercial post (like FedEx and DHL). It's outrageous on both ends.

Quinn's darkbox

In hindsight, it's actually been a very good thing. I've been able to gather my thoughts about my approach to working through my Kristallnacht project. At first, I thought I would approach it a stand alone, no interference, straight forward (almost documentary) project.  I simply wanted to photograph the locations I have pre-selected and making 8x10 Black Glass Ambrotypes (wet plate collodion images). That’s not going to happen and, moreover, I don’t want it to happen. You see, I realize that the concept of this project is bigger than the craft of this project. It other words, the idea is much stronger than the images I would or could make of former synagogue sites. It’s a strange problem to have. It’s usually the other way around for an artist; it’s all craft and no concept. Hit a random “fine art photo” site and you’ll see what I mean.

The Mainz Synagogue

Here's my solution: I'm goign to include my portraiture work, landscape work and object work all under the umbrella of the Kristallnacht project. I’ve decided that even though these objects, people or landscape scenes, weren’t (necessarily) here, they all share a common link to either the victims or the perpetrators both in idea and the physical world. And, after all, my message is about the questions surrounding Kristallnacht and ultimately, the Holocaust.

Kristallnacht 2008

This November 9th (and 10th) is the 70th Anniversary of Kristallnacht, or "The Night of Broken Glass." Almost 2000 synagogues were desecrated or destroyed. I'm hoping to have a body of work (wet plate collodion images - photographs on glass plates) to exhibit in Germany on one, or both, of these nights.

I'm well on my way to getting my project started (the actual image making part). For the last several months, I've been doing a lot of research. My point of view and opinion about this event has changed a lot. It's one thing to understand an event like this in the abstract, quite another to walk this land, see these places and, in a lot of ways, feel the misery and hurt of the people murdered here - it changes you.

Viernheim Memorial
This is the Viernheim, Germany memorial. I live in this village. This memorial is a five minute walk from my house. To me, this looks like a tombstone. The wet plate collodion process has also created a visual that looks like fire below it. The background is "spinning" because of the old lens I'm using - it's pregnant with metaphor.

The work that I am creating now will be more "radical" and more conceptual than this. Not that there is anything wrong with "documents," I just want to say more visually. Let's see if I can make it happen.

November 9th & 10th 1938

I find it disturbing that every year November 9th (& 10th) comes and goes as uneventful as any other day. Germans (and Germany) do nothing, or very little, to commomorate or memorialize Kristallnacht (1938), which was the beginning of the Holocaust. However, the Neo-Nazis seem to do something every year on this date.
Last year in Berlin, they destoyed a Kristallnacht memorial and this year (a couple of days ago) they took a bus to Prague and wanted to march in the old Jewish Quarter there. We were there (in Prague) last year and the video footage I saw about this event was haunting. There's something strange about seeing the same places you have been full of Neo-Nazis and police. The Czech people came out in big numbers and said, "No way in hell are the Nazis going to march in the Jewish Quarter here". I wonder why the same thing didn't happen in Germany 70 years ago? This is a big quesiton for me. I'm beginning to explore it through my artwork... stay tuned.


Jewish Synagogue Burns During Kristallnacht - Almost immediately upon assuming the Chancellorship of Germany, Hitler began promulgating legal actions against Germany's Jews. In 1933, he proclaimed a one-day boycott against Jewish shops, a law was passed against kosher butchering and Jewish children began experiencing restrictions in public schools. By 1935, the Nuremberg Laws deprived Jews of German citizenship. By 1936, Jews were prohibited from participation in parliamentary elections and signs reading "Jews Not Welcome" appeared in many German cities. (Incidentally, these signs were taken down in the late summer in preparation for the 1936 Olympic Games in Berlin).