Group items tagged

The job of high school teachers is to impart knowledge and deliver measurable results, which requires finding a way to reach, and ideally even inspire, their students.

“How would you keep the attention of 15 teenagers and bond with them?” one Friends teacher texted me, insisting on anonymity because of a school policy that discourages teachers from speaking to the media without permission. “You MUST joke and be yourself and connect with them on their terms. It’s the only way to be good at this.”

Any teacher who spends three decades in the classroom, speaking extemporaneously for hours on end to a roomful of teenagers, is going to have awkward moments. Frisch might have had more of them, and they may have been a bit more awkward. But that was how he connected, and it was perhaps a way of connecting that is no longer possible. “Everybody knew this guy was off — weird behavior, quirky,” said one parent who, fearing retribution against her child, insisted on anonymity. “Maybe in the ’70s that would have been O.K., but not when you’re paying $45,000 a year in tuition.”

There aren’t enough seats in the historically more desirable uptown institutions — Spence, Dalton, Trinity — to meet demand; and for families who live in neighborhoods like the Village, TriBeCa or Battery Park, Friends is a much more convenient option. Friends now sees itself as a competitor to these schools, and in some respects, it has become indistinguishable from them.

Even before Frisch’s termination, there was a feeling among some in the Friends community — parents, teachers and especially alumni — that in its race to keep pace with a changing city, the school was losing touch with the Quaker ethos that had long distinguished it.

The school’s Quaker identity calls for it to be faithful to its progressive tradition, but in the new age of identity politics, it is not always easy to know what the right stance on a particular issue should be. Just a few months before the Frisch incident, some 20 parents had raised questions about the scheduled speaking engagement of a visiting scholar, Dave Zirin, a sportswriter for the Nation magazine and a Friends alumnus who had been critical of Israel in his writings. In 2012, there were heated objections to a musical performance in the meetinghouse by Gilad Atzmon, an Israel-born saxophonist and self-described “proud, self-hating Jew” who has written that Palestinians were “brutally ethnically cleansed” and suggested that if Israel starts a nuclear war with Iran, “some may be bold enough to argue that Hitler might have been right after all.” The Harvard Law School professor emeritus and noted gadfly Alan Dershowitz publicly criticized Friends — and Lauder personally — for refusing to cancel the appearance.

Lauder did not consider the “Heil Hitler” episode a close call. “Personally, I was appalled,” he told me. “I couldn’t imagine, even as a joke — and I grew up watching ‘Hogan’s Heroes’ — that in a class that had nothing to do with history or World War II or Nazism or teaching German language that an incident like that could happen.” I asked Lauder why he felt he needed to go so far as to fire Frisch. “One of our pledges is to make all of our students feel safe,” he replied. “And that is something that I take very, very seriously.”

That no one has accused Frisch of being an anti-Semite was beside the point: His invocation of the Nazi salute in a classroom full of high school students, regardless of his intentions, was enough to end his career. On today’s campus, words and symbols can be seen as a form of violence; to many people, engaging in a public debate about the nuances of their power is to tolerate their use.

Frisch, who first learned about the claims after his termination, denied ever having told a student to kill himself and said that he had no memory of the inappropriate touching that had been described.

we spoke at length about the “Heil Hitler.” Frisch said he was embarrassed, both by the fact that he had made the gesture in the first place and by his subsequent failure to recognize the seriousness of such a lapse in judgment. But he was also surprised by the school’s reaction to it. “I trusted while I was at Friends that because of my long-term commitment to the school, that as I need to change to meet the changing dynamics of the classroom, the school would help me learn and provide the support I needed to make those changes,” he told me.

The dynamics of the classroom are changing. These changes are partly specific to the hothouse environment of the campus in 2018. But they also connect to something much bigger. High schools have become genuinely unsafe: The “Heil Hitler” salute happened on the very same day as the Parkland massacre. And beyond the confines of the campus, a crude, violent bigotry that had long seemed part of the distant past has suddenly resurfaced, with neo-Nazis literally marching in the streets. The question now is what do we want our response to this new world to be

During the 12 days that he spent in limbo between his suspension and termination, Frisch, in the spirit of the Quaker commitment to reconciliation, drafted a letter of apology to his students that he was never allowed to send. Among other things, he planned to say that he was worried about the rise of anti-Semitism and that he was still learning lessons from his mistake. “You think about things like Charlottesville,” he told me. “Now, we don’t make jokes like this.”

Initially, more open attempts were made to support the new American art. In 1947 the State Department organised and paid for a touring international exhibition entitled "Advancing American Art", with the aim of rebutting Soviet suggestions that America was a cultural desert. But the show caused outrage at home, prompting Truman to make his Hottentot remark and one bitter congressman to declare: "I am just a dumb American who pays taxes for this kind of trash." The tour had to be cancelled.

This philistinism, combined with Joseph McCarthy's hysterical denunciations of all that was avant-garde or unorthodox, was deeply embarrassing. It discredited the idea that America was a sophisticated, culturally rich democracy. It also prevented the US government from consolidating the shift in cultural supremacy from Paris to New York since the 1930s.

If any official institution was in a position to celebrate the collection of Leninists, Trotskyites and heavy drinkers that made up the New York School, it was the CIA.

Moscow in those days was very vicious in its denunciation of any kind of non-conformity to its own very rigid patterns. And so one could quite adequately and accurately reason that anything they criticised that much and that heavy- handedly was worth support one way or another

As president of what he called "Mummy's museum", Rockefeller was one of the biggest backers of Abstract Expressionism (which he called "free enterprise painting"). His museum was contracted to the Congress for Cultural Freedom to organise and curate most of its important art shows. The museum was also linked to the CIA by several other bridges. William Paley, the president of CBS broadcasting and a founding father of the CIA, sat on the members' board of the museum's International Programme. John Hay Whitney, who had served in the agency's wartime predecessor, the OSS, was its chairman. And Tom Braden, first chief of the CIA's International Organisations Division, was executive secretary of the museum in 1949.

"It was very difficult to get Congress to go along with some of the things we wanted to do - send art abroad, send symphonies abroad, publish magazines abroad. That's one of the reasons it had to be done covertly. It had to be a secret. In order to encourage openness we had to be secret."

Would Abstract Expressionism have been the dominant art movement of the post-war years without this patronage? The answer is probably yes. Equally, it would be wrong to suggest that when you look at an Abstract Expressionist painting you are being duped by the CIA. But look where this art ended up: in the marble halls of banks, in airports, in city halls, boardrooms and great galleries. For the Cold Warriors who promoted them, these paintings were a logo, a signature for their culture and system which they wanted to display everywhere that counted. They succeeded.