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Bringing Anne Frank’s Secret Annex to New York, and the World

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Bringing Anne Frank’s Secret Annex to New York, and the World

The children seem like typical kindergartners: Some beam at the camera; some glance coyly aside; others appear lost in reverie. One slim, dark-haired girl in a pale dress looks precociously serious.

She is Anne Frank, and this classroom photograph, taken at a Montessori school in Amsterdam in 1935, appears twice in “Anne Frank the Exhibition,” a 7,500-square-foot multimedia installation that opens on Monday — International Holocaust Remembrance Day — for a three-month stay at the Center for Jewish History in New York before traveling to other cities.

Visitors first see the picture in one of the exhibition’s introductory rooms, before they walk through the show’s core: the first full-scale re-creation of the secret annex that was the Amsterdam hiding place of eight Jews, including the Frank family, from July 1942 to August 1944. In those cramped, cloistered spaces, Anne wrote her famous diary.

When viewers encounter the kindergarten photograph again, this time as an animation, it delivers a gutting blow: As an audio track reveals their names, their ages at death and the places where they were killed, 10 of the classroom’s Jewish children, one by one, turn into black silhouettes and disappear from the picture, their images erased as swiftly and summarily as the Nazis ended their lives.

Appearing after the annex, this animation introduces “a very personal, intimate, heartbreaking element of schoolchildren who were murdered for no other reason than the fact that they were Jewish,” said Ronald Leopold, executive director of the Anne Frank House in Amsterdam, as he walked amid cables and boxes during the New York show’s construction.

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Created by the Anne Frank House and presented in partnership with the Center for Jewish History, the entire installation aims to examine Anne Frank’s life — and death — with a scope not often found in other treatments of this chapter in history. And while Leopold said the current political climate did not inspire the exhibition, it opens when antisemitism is rising in the United States and abroad, and when American popular culture has been turning to visual mediums to resurrect the memory of the Holocaust: fact-inspired dramas like the television mini-series “We Were the Lucky Ones” and the movie “The Survivor” and award-winning recent fictional films like “The Brutalist” and “A Real Pain.”

“Anne Frank the Exhibition” is the answer of the Anne Frank House to “how this history, how this memory will go into the 21st century,” Leopold said.

Following a chronological path, the installation traces Anne and her family from the 1920s in Frankfurt, Germany, through their flight to Amsterdam. It is only after exploring this early history that visitors encounter the reconstructed annex: five shadowy rooms whose exact dimensions and details the exhibition team has copied from their original location in the Anne Frank House in Amsterdam, down to the covered windows and bits of peeling wallpaper.

The show goes on to chronicle the return from Auschwitz of Otto Frank, Anne’s father and the sole survivor among the eight hidden Jews. Visitors discover how Otto learned the fates of his wife and two daughters and how he pursued the publication of Anne’s diary: 79 editions in different languages are on display, along with memorabilia from the theatrical and film adaptations. He also secured the preservation of the annex in Amsterdam, now a museum space that admits some 1.2 million visitors annually.

“We all know that the diary is about the two years in hiding,” Tom Brink, the head of collections and presentations at the Amsterdam house and the traveling exhibition’s curator, said in an interview. “But of course, the story is much bigger than that. It starts earlier, it ends later, and that entire story and entire journey deserves to be told.”

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Working with Eric Goossens, the exhibition’s designer, Brink confronted the challenge of relating that history more than 3,600 miles away from the real annex, tucked into the back of the canal-side house where Otto Frank ran his business. In Amsterdam, the annex is completely empty except for some material on the walls, including Anne’s pictures of movie stars and artworks.

Otto Frank requested that the spaces, plundered by the Nazis, remain vacant, their barrenness attesting to profound loss. But using his and others’ accounts, the New York exhibition’s team has filled each annex room with furniture and possessions, including books and a board game retrieved from the original space.

“Otherwise, it would just be four walls,” Brink said. “In Amsterdam, it’s just four walls, but it’s more than just four walls. It’s the fact that you’re in the actual place. That is not the case here.”

The re-creation, however, may lead to controversy. The novelist and essayist Dara Horn, for instance, has asserted that any Anne Frank exhibition inevitably cheapens and commercializes the girl’s memory, turning her into a symbol of easy uplift.

Agnes Mueller, a professor and a fellow in Jewish Studies at the University of South Carolina and a fellow at the American Academy in Berlin, has similar concerns. “My instinct says that when Otto Frank wanted the annex to be empty in the original Anne Frank House in Amsterdam, he was worried about that kind of commercialization and universalization of the persona of Anne Frank, and so he actually emphasized absence as a way to represent that which is not representable,” she said in a video interview. The sight of an annex room filled with homey touches, she added, “might induce us to feel way too good about things that we should not feel good about.”

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Many items in the recreated annex, however, are wrenching, as they reveal its occupants’ expectations for an unrealized future. Anne Frank, 13 when she went into hiding, took her diary — a facsimile is here; the original remains in Amsterdam — and Peter van Pels, the teenage boy who briefly won her heart, took his cat (a model of the pet carrier is in the reconstructed spaces) and his bicycle (also a reproduction). In his parents’ room, his mother, Auguste, hung a festive black dress, an original artifact never before displayed and now in the show.

Mueller acknowledged that an annex filled with artifacts would probably have far more impact on young viewers than empty spaces. Since the exhibition, which she has not seen, is intended to bring Holocaust history to future generations — more than 250 school tours have already been booked — it could lead “toward a better understanding of what the Holocaust might have been,” she said. (American knowledge of those events is poor; one 2020 survey of millennials and members of Generation Z revealed that almost half could not name a single concentration camp or Nazi-era Jewish ghetto.)

The show does not neglect the horror. Although a smiling photo of Anne is at the entrance, the exhibition’s audio guide — included with tickets — begins by giving away the story’s unhappy ending: The Nazis discovered the annex’s occupants and arrested them.

Containing more than 100 original artifacts, the installation features quotations from the Franks, along with objects from their personal histories: furniture, friendship albums, correspondence, a Torah. The display rooms chronicle the political climate of the 1920s and ’30s. A blown-up image of a 1938 Nazi rally appears repeatedly on the walls, its cheering participants teenage girls no older than Anne and her sister, Margot.

Another introductory room recreates the atmosphere of Amsterdam in 1940-42. On a continuous loop, a montage of film and photos covers the walls, interspersing scenes of family life with images including roundups of Jews, deportation trains and anti-Jewish regulations that “kept coming and kept coming,” Brink said.

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The annex is behind a reproduction of the bookcase that covered its entry. After leaving the reconstructed hiding place, visitors walk onto an illuminated glass floor covering a full map of Europe, with the site of every death camp or mass killing of Jews marked by a small flag. One wall has an aerial view of Bergen-Belsen, where Anne and Margot died in February 1945 — only a few months before Germany surrendered; other panels display photographs of roundups, camp prisoners, Nazi shootings, the Warsaw ghetto. At the end of this gallery, the kindergarten photograph undergoes its repeated transformation.

“The immersive element in this exhibition is very much to bring people back in time and in place,” Leopold said, especially young visitors.

To draw that audience, the exhibition, a nonprofit venture whose revenues support the missions of its two presenting partners, offers $16 tickets for weekday visits by those under 18. Providing curriculum materials to classes, it also grants free admission not only to New York City public-school field trips, but also to those from schools nationwide receiving federal (Title 1) funding.

“The intention is 250,000 students moving through the exhibition,” said Michael S. Glickman, the founder of jMUSE, an arts and culture consulting group, and an adviser to the show. Through online resources, he added, “our expectation is that we will be able to support another half a million students in their classrooms.”

Public programs will also offer adults additional perspectives on Anne Frank, whether it’s “the debates about the play from 1955, or the film of ’59, or any number of other present-day political debates about her legacy,” said Gavriel Rosenfeld, president of the Center for Jewish History. The author Ruth Franklin (“The Many Lives of Anne Frank”) will be interviewed at the center on Tuesday evening, and the novelist Alice Hoffman (“When We Flew Away”) will appear on Feb. 9. The center will also host a film series. (An extension of the show in New York is being considered; more venues will be announced in the spring.)

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The mission is to sustain the memory of those 10 kindergarten classmates and the 1.5 million other Jewish children whose lives the Holocaust erased. Leopold said he hoped the show would inspire engagement as well as reflection.

“If this exhibition is doing anything, it’s not just teaching history,” he said. “It is also teaching about ourselves.”


Anne Frank the Exhibition

Jan. 27-April 30, Center for Jewish History, 15 West 16th Street, Manhattan; 212-294-8301, annefrankexhibit.org.

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How a Parks Worker Lives on $37,500 in Tompkinsville, Staten Island

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How a Parks Worker Lives on ,500 in Tompkinsville, Staten Island

How can people possibly afford to live in one of the most expensive cities on the planet? It’s a question New Yorkers hear a lot, often delivered with a mix of awe, pity and confusion.

We surveyed hundreds of New Yorkers about how they spend, splurge and save. We found that many people — rich, poor or somewhere in between — live life as a series of small calculations that add up to one big question: What makes living in New York worth it?

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Sara Robinson boarded a Greyhound bus from Oregon to New York City to attend Hunter College in the early 2000s, bright-eyed and eager to pick up odd jobs to fuel her dream of living there.

For a long time, she made it work. But recently, that has been more challenging than ever.

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Right around her 40th birthday, Ms. Robinson began to feel financially squeezed in Brooklyn, where she had lived for years. Ms. Robinson (no relation to this reporter) was also feeling too grown to live with roommates.

“As a child,” she said, “you don’t think you’re going to have a roommate at 40.” She decided to move into a place of her own: a one-bedroom apartment in the Tompkinsville neighborhood of Staten Island.

After she moved, the preschool where she’d worked for over a decade closed. Now, she works two jobs. She is a seasonal employee for the state Office of Parks, Recreation and Historic Preservation, working from Tuesday to Saturday. And on Monday nights, she sells concessions at the West Village movie theater Film Forum, which pays $25 an hour plus tips.

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Ms. Robinson, now 45, loves her job as an environmental educator at a state park on Staten Island. Her team runs the park’s social media accounts and comes up with event programming, like a recent project tapping maple trees to make syrup.

But the role is temporary. Her last stint was from June 2024 to January 2025. Then she was unemployed until August 2025. Ms. Robinson’s current contract will be up in April, unless she gets an extension or a different parks job opens up.

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Ms. Robinson’s biweekly pay stubs from the parks department amount to about $1,300 before taxes. She barely felt a difference, she said, while she was out of work and pocketing around $880 every two weeks from her unemployment checks. (Her previous parks gig paid $1,100 a check.)

Living in New York’s Greenest Borough

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“It used to be, ‘There’s no way I’m moving to Staten Island,’” Ms. Robinson said. “But the place is close to the water. I’m three minutes from the ferry. The rest is history.” She lives on the third floor of a multifamily house, above an art studio and another tenant. Her rent is $1,600 a month, plus $125 in utilities, including her phone bill.

“If my situation changes, I don’t know if I could find something similar,” she said. “So much of my New York life has been feeling trapped to an apartment. You get a place for a good price, and you’re like, ‘I can’t leave now.’”

Staten Island is convenient for Ms. Robinson’s parks job, but it’s become harder to justify living in a borough where she knows few people. It takes more than an hour to get to friends in Brooklyn, an especially hard trek during the winter. After four years of living on Staten Island, Ms. Robinson feels somewhat isolated.

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“All my friends on Staten Island are senior citizens,” she said. “It’s great. I love it. But I do want friends closer to my age.”

One of Ms. Robinson’s friends, Ray, took her on nature walks and taught her about tree identification, sparking an interest in mycology, the study of mushrooms. This led to a productive — and free — fungi foraging hobby during unemployment. She has found all sorts of mushrooms, including, after a month of searching, the elusive morel.

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The Budgeting Game

Ms. Robinson doesn’t update her furniture often, but when she does, she shops stoop sales in Park Slope or other parts of Brooklyn.

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“It’s like a treasure hunt,” she said. “You could make a whole apartment off the street, off the stuff that people throw away.”

She also makes a game out of grocery shopping, biking to Sunset Park in Brooklyn or Manhattan’s Chinatown to go to stores where there are better deals. She budgets about $300 for groceries each month.

Ms. Robinson bikes almost everywhere, sometimes traveling a little farther to enter the Staten Island Railway at one of the stations that don’t charge a fare. She spends $80 a month on subway and ferry fares, and $5 a month for a discounted Citi Bike membership she gets through a credit union, though she usually uses her own bike. She is handy and does repairs herself.

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There are certain splurges — Ms. Robinson drops $400 once or twice a year on round-trip airfare to Seattle, where her family lives. She also spent $100 last year to see a concert at Forest Hills Stadium in Queens.

She said she has many financial saving graces. She has no student loans and no car to make payments on. She doesn’t get health insurance from her jobs, but she qualifies for Medicaid.

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She mostly eats at home, though sometimes friends will treat her to dinner. She repays them with tickets to Film Forum movies.

Nothing Beats the Twinkling Lights

Ms. Robinson’s friends often talk about leaving the city — and the country.

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Two friends have their eyes set on Sweden, where they hope to get the affordable child care and social safety net they are struggling to access in New York.

Ms. Robinson can’t see herself moving elsewhere in the United States, but she is entertaining the idea of an international move if she can’t hack it on Staten Island.

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Yet the pull of the city is hard for her to resist.

“I just get a rush when I’m riding the Staten Island Ferry across the bay,” she said. “You see all the little twinkling lights. It’s this feeling of, ‘everything is possible here.’”

That feeling, plus the many friendly faces Ms. Robinson sees every day — the ferry operators, the conductors on the Staten Island Railway, her co-workers at Film Forum — are what tie her to New York.

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“My savings are not increasing, so there’s that,” she said. “But I’ve been OK so far. I think I’m going to figure it out.”

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How the Editor in Chief of Marie Claire Gets Styled for a Trip to Italy

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How the Editor in Chief of Marie Claire Gets Styled for a Trip to Italy

Nikki Ogunnaike, the editor in chief of Marie Claire magazine, did not grow up the scion of an Anna Wintour or a Marc Jacobs.

But, she said, “my mom and dad are both very stylish people.”

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They got dressed up to go to church every week in her hometown Springfield, Va. Her mother managed a Staples; her father, a CVS. “Presentation is important to them,” she said.

Since landing her first internship with Glamour magazine in college, Ms. Ogunnaike, 40, has held editorial roles there and at Elle magazine and GQ. She has been in the top post at Marie Claire since 2023.

She recently spent a Saturday with The New York Times as she prepared for Milan Fashion Week.

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How a Physical Therapist and a Retiree Live on $208,000 in Harlem

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How a Physical Therapist and a Retiree Live on 8,000 in Harlem

How can people possibly afford to live in one of the most expensive cities on the planet? It’s a question New Yorkers hear a lot, often delivered with a mix of awe, pity and confusion.

We surveyed hundreds of New Yorkers about how they spend, splurge and save. We found that many people — rich, poor or somewhere in between — live life as a series of small calculations that add up to one big question: What makes living in New York worth it?

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It has never really occurred to Marian or Charles Wade to live anywhere but the city where they were born and where they raised their children.

New York is in their bones. “We have our roots here, and our families enjoyed life here before us,” Ms. Wade said.

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And they feel lucky. Between Mr. Wade’s pension, earned after more than 40 years as an analyst at the Manhattan district attorney’s office, and his Social Security benefits, along with Ms. Wade’s work as a physical therapist at a psychiatric center, they bring in about $208,000 a year.

Still, it’s hard for the couple not to notice how much the city has changed as it has become wealthier.

About 10 years ago, Ms. Wade, 65, and Mr. Wade, 69, sold the Morningside Heights apartment they had lived in for decades. The Manhattan neighborhood had become more affluent, and tensions over how their building should be managed and how much residents should be expected to pay for upkeep boiled over between people who had lived there for years and newer neighbors.

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They found a new home in Harlem, large enough to fit their two children, who are now adults struggling to afford the city’s housing market.

All in the Family

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Ms. Wade knew it was time to leave Morningside Heights when she spotted her husband hiding behind a bush outside their building, hoping to avoid an unpleasant new neighbor. They had bought their apartment in 1994 for $206,000, using some money they had inherited from their families, and sold it in 2015 for $1.13 million.

The couple found a new apartment in the Sugar Hill section of Harlem for $811,000, and put most of the money down upfront. They took out a loan with a good rate for the remaining cost, and had a $947 monthly payment. They recently finished paying off the mortgage, but they have monthly maintenance payments of $1,555, as well as two temporary assessments to help improve the building, totaling $415 a month.

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Their two children each moved home shortly after graduating from college.

The couple’s son, Jacob Wade, 28, split an apartment with three roommates nearby for a while, but spent down his savings and moved back in with his parents. He is searching for an affordable one bedroom nearby and plans to move out later in the year. Their daughter, Elka Wade, 27, came home after college but recently moved to an apartment in Astoria, Queens, with roommates.

Until their daughter moved out a few weeks ago, she and her brother each took a bedroom, and Mr. and Ms. Wade slept in the dining room, which they had converted into their bedroom with the help of a Murphy bed and a new set of curtains for privacy.

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There is very little storage space. A piano occupies an entire closet in their son’s bedroom, because the family has no other place to fit it.

The setup is cramped, but close quarters have their benefits: When their daughter, a classically trained cellist, was living there, she often practiced at home in the evenings. “I love listening to her play,” Ms. Wade said.

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Three Foodtowns and a Thrift Shop

The Wades do what they can to keep their costs low. They’ve decided against installing new, better insulated windows in their drafty apartment. They don’t go on vacations, instead visiting their small weekend home in rural upstate New York. And they’ve pulled back on takeout food and retail shopping.

Instead, Mr. Wade surveys the three Foodtown supermarkets near their home for the best deals, preferring one for produce and another for meat. The weekly grocery bill has been around $500 with both kids living at home, and the family usually orders delivery twice a week, rotating between Chinese and Indian food, which typically costs $70, including leftovers.

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For an occasional splurge, they love Pisticci, a nearby restaurant where the penne with homemade mozzarella costs $21.

The couple owns a car, which they park on the street for free. But they often use public transportation to avoid paying the $9 congestion pricing fee to drive downtown, or when they have a good parking spot they don’t want to give up. They have a senior discount for their transit cards, which allows them to pay $1.50 per subway or bus ride, rather than $3.

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Ms. Wade stopped shopping at the stores she used to frequent, like Eileen Fisher and Banana Republic, years ago. Instead, she visits a thrift store called Unique Boutique on the Upper West Side. She was browsing the aisles a few months ago, before a big Thanksgiving dinner, and spotted the perfect dress for the occasion for just $20.

But she has one nonnegotiable weekly expense: a private yoga lesson in an instructor’s apartment nearby, for $150 a session.

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Elka Wade, a cellist, often practices at home, to the delight of her parents. Bess Adler for The New York Times

Swapping Mortgage Payments for Singing Lessons

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For every member of the Wade family, life in New York is all about the arts.

The children each attended the Special Music School, a public school focused on the arts. Their son, an actor, teacher and director, works part time at the Metropolitan Opera and the Kaufman Music Center, a performing arts complex in Manhattan. His sister works in administration at the Kaufman Center.

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Mr. Wade is still close with friends from high school who are now professional musicians, and the couple often goes to see them play at venues like the Bitter End in Greenwich Village, where shows typically have a $12 cover and a two-drink minimum.

The couple has cut back on going to expensive concerts — they used to try to see Elvis Costello every time he came to New York, for example — but have timeworn strategies for getting affordable theater tickets.

They recently splurged on tickets to “Oedipus” on Broadway for themselves and their daughter, who they treated to a ticket as a birthday gift. The seats were in the nosebleed section, but still cost $80 apiece.

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The couple has a $75 annual membership to the Film Forum, which gives them reduced price tickets to movies. They occasionally get discounted tickets to the opera through their son’s work, and when they don’t, they pay for family circle passes, which are usually $47 a head, plus a $10 fee.

Ms. Wade, who grew up commuting from Flushing, Queens, to Manhattan to take dance lessons, sometimes takes $20 drop-in ballet classes during the week at the Dance Theater of Harlem, just a few blocks away from the apartment.

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Recently, when the couple paid off their mortgage, Ms. Wade celebrated by giving herself a treat: weekly private singing lessons, for $125 a session.

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