Arts and Culture

Paula Fass Comes Out of Retirement to Become The Magnes’ New Faculty Director

Published

6 years ago

June 13, 2019

When the powers that be came to Paula Fass to ask her to take over as the faculty director at UC Berkeley’s The Magnes Collection of Jewish Life and Art, it was a bit of a tough sell.

She’d retired in 2010 after 36 years teaching history at UC Berkeley, and while helping to steer the course at the campus’s Jewish archive, library and museum was tempting for the daughter of Holocaust survivors, she was looking forward to writing more books and spending much more time seeing her daughter and son and their families, all on the East Coast.

“Being retired, it was much easier to find the time to see my kids more, so that was a consideration,” Fass says. “And if I took the job, it was likely I wouldn’t be able to write any books for a while. I thought about it very hard.”

And Fass, who has published three books since retiring, thought maybe the job at The Magnes would be better off in someone else’s hands.

“That (outgoing faculty director) George Breslauer even approached me was a bit of a surprise. I thought there were others more qualified,” she says, “But after I was approached, the job seemed more and more appetizing. I wouldn’t have come out of retirement to do this if I didn’t think it was so important.”

Since taking over on May 3, she’s wound her way through a major conference — In Global Transit: Forced Migration of Jews and Other Refugees (1940s-1960s) — while learning the inner workings of the place from the curatorial staff. She’s met with donors and viewed the collection’s photos, paintings, writings, music and more.

“I won’t say I’m overwhelmed, but this is a very different experience from the retirement I had been experiencing,” Fass says. “This is a lush and spectacular collection, and trying to take it in all at once has been breathtaking.”

In taking over for Breslauer, Fass is facing some new challenges. Much of the job is about fundraising. She’s never done that, “But I’m ready to learn on the job,” she says.

“Paula has a great personal story to tell and a passion for our story,” Breslauer says. “I think she has a devotion to the mission. I have great confidence in her. I’m passing the reins, but I’m still here as an advisor if she needs that.”

Fass is the daughter of Holocaust survivors Bluma and Harry Fass. Both entered concentration camps with families; both emerged as sole survivors. Born in West Germany in a displaced person’s camp, Fass grew up in New York and taught at Rutgers before making her way to Berkeley four decades ago. Her 2009 book, Inheriting the Holocaust: a Second-Generation Memoir, is an exploration of how the daughter of concentration camp survivors came to understand her world.

She hasn’t spent her entire career in Judaica, however. She’s written about education, immigration and globalization and spent much of her career working on children’s history and children’s policy.

“Being the daughter of Holocaust survivors is a part of me, but not in any overt way,” Fass says. “Coming to The Magnes now gives me the opportunity to join in at a very important moment, when the resurgence of overt anti-Semitic voices is out there.

“The Magnes can become a very important instrument of counteraction to give a better, fuller picture of Jewish life. Judaism is a multiethnic community. There are Jews in India, South America and North Africa. There is a multiculturalism about the Jewish population that the U.S. should know more about. I’d like to give the public a better sense of Jewish life, the vitality and the continuity. Jews have been highly successful in the United States, but wrongfully have been seen as a symbol of colonialism.”

Francesco Spagnolo, curator at The Magnes, says “the time is right” for Fass to be making this move.

“Paula has a fantastic profile as a scholar and as a member of the UC Berkeley community,” Spagnolo, who collaborated with Fass on a lecture at The Magnes in 2017, says. “Because of her passions and her interest, she has a formidable record as a scholar, and her expectations are very good.”

“I’m genuinely looking forward to working with Francesco and with George,” Fass says. “I’m expecting to put a lot of effort and time into learning the ropes, and I know I’ll be able to depend on both of them a lot.”

And she expects to work closely with Chancellor Carol Christ, who was one of the first people Fass met at Berkeley in the mid-1970s.

Fass, with her history in children’s education, says she’d like to see The Magnes become “a spearhead for education.”

“I’d like to take The Magnes out into the schools,” Fass says. “When my son (Charles) was in second grade, he brought me and my family menorah in to (class for me to) explain what it meant in my life. Kids are fascinated with objects. When I passed it around, they were rapt.

“Holding it and hearing the personal stories and seeing the artifacts opened these kids’ eyes. I believe we can reach out and work with others at local museums. I’d like to see a joint effort with the Oakland Museum, say for Black History Month, because there are black Jews.”

John Hickey

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Activism

Butler, Lee Celebrate Passage of Bill to Honor Congresswoman Shirley Chisholm with Congressional Gold Medal

“Shirley Chisholm lived an honorable life of service and was a trailblazer who opened doors for generations of Black women and opened the imagination of what leadership looked like for our entire nation,” said Butler. “Her extraordinary contributions to American history and progress deserve recognition, and today I am proud to stand with my colleagues in both chambers and on both sides of the aisle to have taken this step to celebrate her legacy, ensuring that future generation of leaders never forget her courage, sacrifice, and patriotism.

Published

2 days ago

December 10, 2024

Oakland Post

By U.S. Senator Laphonza Butler
Special to The Post

U.S. Senator Laphonza Butler (D-Calif.) and U.S. Representative Barbara Lee (D-Calif.-12) celebrated the passage of bipartisan legislation to honor the life and work of the late Congresswoman Shirley Chisholm, the first Black woman elected to Congress in 1968.

The Shirley Chisholm Congressional Gold Medal Act would instruct Congress to posthumously endow Chisholm with a Congressional Gold Medal – the highest award Congress can bestow – in commemoration of her accomplishments, activism, and legacy.

The Shirley Chisholm Congressional Gold Medal Act was led in the House by Congresswoman Lee, Congressman Byron Donalds, Leader Hakeem Jeffries, Congresswoman Maxine Waters, and Congresswoman Yvette Clarke. The Senate companion to the bill was introduced by Butler and Georgia Senator Raphael Warnock.

The Congressional Gold Medal serves as the nation’s highest expression of gratitude for distinguished service and achievements, and I see no one more deserving than Shirley Chisholm,” said Lee. “It is critical for the next generation of leaders to see the first Black woman elected to Congress get the recognition that she deserves.

“Congresswoman Chisholm made history as the first Black woman elected to the United States Congress and the first Black woman to run for President of the United States. To Mrs. C, thank you for being unbought and unbossed, for paving the way, and for being a catalyst for change,” Lee said.

During her seven terms in the U.S. House of Representatives, “Fighting Shirley” introduced 50 pieces of legislation and was a champion for racial and gender equity, low-income communities, and the end of the Vietnam War.

In 1972, Chisholm became the first woman and Black candidate to seek the nomination for president of the United States from one of the two major political parties.

After a lifetime of service, Shirley Chisholm died at the age of 80 in Ormond Beach, Florida, on New Year’s Day 2005. Nov. 30, 2024, would have marked Chisholm’s 100th birthday. Chisholm’s motto, “Unbought and Unbossed,” embodies her unwavering advocacy for women and minorities, which defined her remarkable career and inspired future generations of leaders.

After passing the House and Senate with significant bipartisan support, the Shirley Chisholm Congressional Gold Medal Act will head to President Biden’s desk for a signature.

“Congresswoman Shirley Chisholm broke barriers for Black women, Black Americans, and anyone who refuses to be confined by injustice. As an educator, trailblazing public servant, and presidential candidate, she fought for an inclusive democracy that lives up to our nation’s highest ideals of equity and justice under law,” said Warnock. “I am proud to have passed this bill alongside Senator Butler to honor Chisholm’s legacy with a Congressional Gold Medal, and I will continue working to carry on her fight through my work in the Senate.”

“Shirley Chisholm was a pioneering figure in American politics, serving as a source of inspiration for millions throughout our country,” said Senator Susan Collins. “I am proud to join this effort to recognize her historic contributions to our nation.”

“Shirley Chisholm broke barriers as the first African American woman elected to Congress, paving the way for future generations of women leaders,” said Nevada Senator Cortez Masto. “I’m proud I helped pass this bill in the Senate to honor her legacy and continue the fight for representation and opportunity for everyone across the country.”

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Arts and Culture

MacArthur Fellow Jennifer Morgan’s Work Focuses on Slavery’s Impact on Black Women

When grants were announced Oct. 1, it was noted that seven of the 22 fellows were African American. Among them are scholars, visual and media artists a poet/writer, historian, and dancer/choreographer who each receive $800,000 over a five-year period to spend as they see fit.

Published

1 month ago

November 6, 2024

Oakland Post

Photo courtesy of the John D. and Catherine T. MacArthur Foundation.

Special to The Post

Their names are Ruha Benjamin, Jericho Brown, Tony Cokes, Jennifer L. Morgan, Ebony G. Patterson, Shamel Pitts, Jason Reynolds, and Dorothy Roberts. This is the fourth in the series highlighting the Black awardees. The report below is excerpted from the MacArthur Fellows web site.

Jennifer L. Morgan is a historian deepening understanding of how the system of race-based slavery developed in early America.

A life-long New Yorker, professor Morgan, 59, is currently on leave from New York University as a fellow at the Cullman Center for Scholars and Writers at the New York Public Library.

She is a 1986 graduate of Oberlin College where she majored in Africana studies and received her PhD in history from Duke University in 1995.

Using a range of archival materials—and what is missing from them—Morgan brings to light enslaved African women’s experiences during the 16th and 17th centuries. She shows that exploitation of enslaved women was central to the economic and ideological foundations of slavery in the Atlantic world.

Morgan has established gender as pivotal to slavery’s institutionalization in colonial America, and her attention to the full ramifications of slavery for Black women sheds light on the origins of harmful stereotypes about Black kinship and families that endure to this day.

Morgan wrote her groundbreaking first book, “Laboring Women: Reproduction and Gender in New World Slavery” (2004), at a time when most scholarship focused on the transport, labor, and resistance of enslaved men.

In Laboring Women, Morgan argues that enslavement was fundamentally different for women because of their reproductive potential. Enslaved women were expected to both perform agricultural fieldwork and produce children, who were born into enslavement.

Morgan’s analysis of wills, probate proceedings, and purchasing records reveals how slaveowners understood forced procreation as a strategy to maintain their labor supply (rather than importing more people to enslave as laborers from Africa).

In her second book, “Reckoning with Slavery: Gender, Kinship, and Capitalism in the Early Black Atlantic” (2021), Morgan examines the development of accounting practices that transformed enslaved people into commodities within a system of trade.

She argues that such data obscured and justified the violence enslavers inflicted upon human beings. Record-keepers largely left gender and parentage out of demographic and accounting records. By refusing to acknowledge kinship among enslaved people, enslavers could rationalize family separation.

Morgan links the so-called neutral data of the slave trade to the consolidation of a hierarchy of race, based on false narratives about the difference and inferiority of enslaved Africans. At the same time, Morgan recovers the humanity and agency of enslaved women.

She demonstrates that enslaved women understood that their captors exploited their ability to produce children to create wealth. Morgan also charts their efforts to resist the commodification of their motherhood.

Morgan is currently at work on “The Eve of Slavery”—a book about African women in 17th-century North America. It is organized around the life of Elizabeth Key, a woman of color who sued for freedom in 1656 on the grounds that her father was a free white man.

The lives of Key and other Black women who tried to protect themselves and their children offer an intimate window into the development of American slavery.

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Art

Brown University Professor and Media Artist Tony Cokes Among MacArthur Awardees

When grants were announced earlier this month, it was noted that seven of the 22 fellows were African American. Among them are scholars, visual and media artists a poet/writer, historian, and dancer/choreographer who each receive $800,000 over a five-year period to spend as they see fit. Their names are Ruha Benjamin, Jericho Brown, Tony Cokes, Jennifer L. Morgan, Ebony G. Patterson, Shamel Pitts, Jason Reynolds, and Dorothy Roberts. This is the third in the series highlighting the Black awardees.

Published

1 month ago

November 4, 2024

Oakland Post

Tony Cokes. Photo courtesy of the John D. and Catherine T. MacArthur Foundation

Special to The Post

Tony Cokes

Tony Cokes, 68, is a media artist creating video works that recontextualize historical and cultural moments. Cokes’s signature style is deceptively simple: changing frames of text against backgrounds of solid bright colors or images, accompanied by musical soundtracks.

Cokes was born in Richmond, Va., and received a BA in creative writing and photography from Goddard College in 1979 and an MFA from Virginia Commonwealth University in 1985. He joined the faculty of Brown University in 1993 and is currently a professor in the Department of Modern Culture and Media.

According to Wikipedia, Cokes and Renee Cox, and Fo Wilson, created the Negro Art Collective (NAC) in 1995 to fight cultural misrepresentations about Black Americans.^[^5]

His work has been exhibited at national and international venues, including Haus Der Kunst and Kunstverein (Munich); Dia Bridgehampton (New York); Memorial Art Gallery University of Rochester; MACRO Contemporary Art Museum (Rome); and the Carpenter Center for the Visual Arts (Harvard University), among others.

Like a DJ, he samples and recombines textual, musical, and visual fragments. His source materials include found film footage, pop music, journalism, philosophy texts, and social media. The unexpected juxtapositions in his works highlight the ways in which dominant narratives emerging from our oversaturated media environments reinforce existing power structures.

In his early video piece Black Celebration (A Rebellion Against the Commodity) (1988), Cokes reconsiders the uprisings that took place in Black neighborhoods in Los Angeles, Detroit, Newark, and Boston in the 1960s.

He combines documentary footage of the upheavals with samples of texts by the cultural theorist Guy Debord, the artist Barbara Kruger, and the musicians Morrisey and Martin Gore (of Depeche Mode).

Music from industrial rock band Skinny Puppy accompanies the imagery. In this new context, the scenes of unrest take on new possibilities of meaning: the so-called race riots are recast as the frustrated responses of communities that endure poverty perpetuated by structural racism. In his later and ongoing “Evil” series, Cokes responds to the rhetoric of the Bush administration’s “War on Terror.”

Evil.16 (Torture.Musik) (2009–11) features snippets of text from a 2005 article on advanced torture techniques. The text flashes on screens to the rhythm of songs that were used by U.S. troops as a form of torture.

The soundtrack includes Metallica’s “Enter Sandman” and Britney Spears’s “… Baby One More Time,” songs known to have been played to detainees at deafening decibel levels and on repeated loops. The dissonance between the instantly recognizable, frivolous music and horrifying accounts of torture underscores the ideological tensions within contemporary pop culture.

More recently, in a 2020 work entitled HS LST WRDS, Cokes uses his pared-down aesthetic to examine the current discourse on police violence against Black and Brown individuals. The piece is constructed around the final words of Elijah McClain, who was killed in the custody of Colorado police. Cokes transcribes McClain’s last utterances without vowels and sets them against a monochromatic ground. As in many of Cokes’s works, the text is more than language conveying information and becomes a visualization of terrifying breathlessness. Through his unique melding of artistic practice and media analysis, Cokes shows the discordant ways media color our understanding and demonstrates the artist’s power to bring clarity and nuance to how we see events, people, and histories.