The effect of personal history in an artist’s oeuvre, the role of metaphor, the extent to which an artist can decipher or explain her own work – these are all questions that come to mind when viewing Yudith Schreiber’s photographs in “Blind Impress,” currently on exhibit at The Jewish Theological Seminary.
An empty yellow-and-white lounge chair graces the ungroomed grass and ferns surrounding the mildewed indoor pool at Grossinger’s. Not so long ago the grass was terracotta tiles and there were rows of chairs, a guest on each.
After having lived in Israel for a few years, Andrea Meislin has become an advocate of Israeli photography and the group show now on view in her eponymous gallery is a testimony to that devotion. Over half the works featured in “Perchance to Dream,” which address themes of sleep and intimacy, are by Israeli artists; and unfairly or not, association with Israel brings with it a specific political and international urgency.
Vivid purple, yellow and green feathers grow out of his face, peacock feathers crown his head, and green feathers wrap around his neck. A beard pokes through and a trenchcoat covers his body. An avian humanoid or a man in a Purim costume?
The first time Michael Datikash, native of the Soviet republic of Georgia, went to Israel in the late 1980s, he was a staff photographer for the TASS news agency. He spent a month in the Jewish state, and returned to the USSR with photos that reflected his visions of Israel. TASS ran his pictures, but his communist bosses were not pleased — they had anticipated photos more critical of Israel. Datikash, who immigrated to the United States in 1991 and has worked as staff photographer for The Jewish Week for 22 years, retuned to Israel earlier this month, for the seventh time.
Nir Hod’s Warsaw Ghetto-inspired ‘Mother’ series plays provocatively with ideas of fashion and glamour.
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.”
Jewish Museum’s ‘Radical Camera’ show highlights the pioneering work of the N.Y. Photo League.
Special To The Jewish Week
The juxtaposition in the photograph, like the contrast between the makeshift encampment at Zuccotti Park and the soaring tower of Goldman Sachs’ headquarters, is glaring. On a gritty street on the Lower East Side, the two sides of a tenement building tell a tale of haves and have-nots, the 1 percent and the 99. In Erika Stone’s striking black-and-white photo, a family’s gray underthings hang limply on a clothesline, framed by the tenement’s fading brick, while on the adjoining wall a well-coiffed and full-lipped blonde in an advertisement gazes sexily upward, a boxy ring on her finger and a sleek watch on her wrist.