FAQs + specs

FAQs for Museum Professionals

What is the focus of Die Plage?

Harley Gaber's Die Plage explores German history from 1918, the start of the Weimar Republic, to 1945, the end of World War II. While recent exhibitions in Portland and Los Angeles have focused on the Holocaust years, future installations could explore other periods and themes within this timeframe.

Is Die Plage available for loan?

Yes. With 4,200 canvases, the work offers curators flexibility in designing exhibitions on various topics related to German history between 1918 and 1945. Recent exhibitions in Portland and Los Angeles showcased approximately 400 and 600 canvases, respectively, that focused on the Holocaust years. These exhibitions can be reproduced in and customized for new venues.

Can selections from Die Plage be effectively exhibited in spaces that are too small to accommodate full murals?

Yes. Selections from Die Plage have already been effectively exhibited in smaller spaces. The artist designed the work to be adaptable. Some canvases are intended for traditional display, while others function as mosaic-like arrangements. The Die Plage team is available to collaborate with curators to develop tailored installations suited to different spaces.

Is the owner of Die Plage interested in giving the work in part or in whole to another organization?

Yes. The Dan J. Epstein Family Foundation, which owns Die Plage, is interested in exploring a partnership or collaboration with qualified institutions that could provide a permanent home or long-term exhibition venue for the work. Please direct all inquiries to the Foundation at: info@dieplage.com.

What are the physical specifications of the work?

The works in Die Plage are black-and-white compositions created using paper adhered to canvas with gesso. The papers are xerographic reproductions of photographs that have been cut or torn and reassembled as photomontages. A small number of canvases include charcoal or graphite markings. Each canvas measures exactly 16” by 20”.

Of the 4,229 canvases, 2,501 are stretched over wooden frames, while the remaining 1,728 have been carefully razored from their frames by the artist. Additionally, 55 canvases are blank and serve as integrated “rest notes” for exhibitions.

Murals: In the later years of his nine-year process, Harley Gaber created murals composed of 80 canvases arranged in a grid that ran 16 canvases long and 5 canvases high. Each mural is approximately 27 feet long and 10 feet high. Gaber envisioned them as complementary pairs, forming a continuous 54-foot display that can be installed along a single wall or wrapped around a corner. These murals are thematically or visually distinct and self-contained, allowing them to be exhibited independently of the broader work.

Digital records: Each canvas has been scanned in low, medium, and high resolution, accompanied by detailed condition notes. Gaber also assigned a number to each canvas, which documents the order of their creation. All canvas images and data are recorded in AirTable, a visual database. Interested parties may contact us to request access.

Physical storage: The collection is professionally housed at an art storage facility in Portland, Oregon.

Who should I contact with questions about exhibition opportunities?

If you are interested in discussing opportunities to exhibit selections from Die Plage, please contact Judy Margles at info@dieplage.org.

FAQs for Educators

Have middle- and high-school students visited exhibitions of Die Plage?

Yes. The Oregon Jewish Museum and Center for Holocaust Education (OJMCHE) in Portland hosted numerous student visits ranging from seventh-graders to high school seniors. OJMCHE educators prepared teaching guides and incorporated didactic prompts into the exhibition itself. This question-centered approach to engaging students received widespread praise from visiting educators. The Holocaust Museum of Los Angeles is also designing educational programs for students in connection with its exhibit of Die Plage.

Is Die Plage a suitable learning experience for college-level students?

Absolutely. Art majors might use Die Plage to survey Gaber’s photomontage technique and its connection to Dadaism and surrealism in the 1920s, as well as its later use for political commentary by artists like John Heartfield. German history majors might explore Gaber’s historical chronology or delve into specific aspects of the Weimar period. Architecture majors might examine Gaber’s references to Greek and Roman public buildings and consider how these influences shaped the emergence of fascist architectural motifs. One of Die Plage’s team members is a higher-education arts educator and welcomes your inquiries at this email address.

Specifications

Description: The works in Die Plage are black-and-white compositions created using paper adhered to canvas with gesso. The papers are xerographic reproductions of photographs that have been cut or torn and reassembled as photomontages. A small number of canvasses include charcoal or graphite markings. Each canvas measures exactly 16” by 20”.

Of the 4,229 canvases, 2,501 are stretched over wooden frames, while the remaining 1,728 have been carefully razored from their frames by the artist. Additionally, 55 canvases are blank and serve as integrated “rest notes” for exhibitions

Murals: In the later years of his nine-year process, Harley Gaber created murals composed of 80 canvases arranged in a 16x5 grid. Each mural is approximately 27 feet long and 10 feet high. Gaber envisioned them as complementary pairs, forming a continuous 54-foot display that can be installed along a single wall or wrapped around a corner. These murals are thematically or visually distinct and self-contained, allowing them to be exhibited independently of the broader work.

Digital records: Each canvas has been scanned in low, medium, and high resolution, accompanied by detailed condition notes. Gaber also assigned a number to each canvas, which documents the order of their creation. Each canvas has also been assigned a separate catalogue number for identification, curation and exhibit purposes. All canvas images and identification data are recorded in AirTable, a visual database. Interested parties may contact us to request access.

Physical storage: The collection is professionally housed at an art storage facility in Portland, Oregon.