Sandee Brawarsky |
Jewish Week Book Critic
One of the joys of walking around New York City is looking up suddenly and finding yourself eye-to-eye with a beautiful building that perhaps you hadn’t noticed before, or hadn’t seen in the perfect light now bathing it. Israeli painter Michael Kovner’s urban streetscapes are full of that vibrancy and serendipity.
Caroline Lagnado |
Special To The Jewish Week
In two new exhibits at the National Arts Club, the Russian American Federation is celebrating ties between Russia and the Jewish people. The main exhibit in the Grand Gallery of the exclusive Gramercy Park club is devoted to the Odessa artist Yosef Ostrovsky. The secondary show is “The Times of a Great Dream: American Artists Gift to the Jewish Autonomous Region in the USSR,” which revisits an exhibit that took place over 75 years ago.
Nir Hod lives glamorously. When you enter his art studio in the Meatpacking District, his French bulldog, Nella, greets you at the door. You walk up the stairs and out steps the artist himself — a strikingly handsome man with long brown hair and dark denim jeans.
“The artist should be a rock star,” he says. “For me, art is about ego, charisma.”
A few years ago, the Israeli-American photographer Michal Ronnen Safdie was walking past a beach in Tel Aviv. She noticed a gate meant to keep visitors out was cracked open, and decided to walk through. What she saw stunned her: hundreds of Orthodox women, draped in colorful full-length dresses, bathing in the Mediterranean Sea.
George Robinson |
Special to the Jewish Week
When the 92nd Street Y launches its ambitious five-week-long project, “Will to Create, Will to Live: The Culture of Terezin” on Jan. 9, it will mark a significant change in the way one of the city’s most esteemed arts institutions does its work. For the first time in its history, the Y’s Tisch Center for the Arts is drawing on nearly all of the resources of 92Y's many departments to present an interdisciplinary series of programs that will include concerts, lectures, readings, classes, film screenings and dance performances.
Germany was not Simon Dinnerstein’s first choice for a Fulbright grant. But he didn’t have much of a choice. It was 1970, and the Brooklyn-based artist, then 27, was barely making a living. He first applied to work with a noted Spanish painter, only listing Germany, to study the art of engraving in the birthplace of Dürer, as a back up.