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.
Yesterday's news was focused on photo editing. A national conversation on the ethics of doctoring photos was kicked off when a Brooklyn-based Hasidic Yiddish language newspaper used Photoshop to airbrush out two prominent women -- Hillary Clinton and Audrey Tomason -- from an iconic photo released by the White House. More than a rant on the extremes to which the ultra-Orthodox will go to keep photos of women from the pages of their newspapers, what I find most interesting is the question of when it is appropriate to alter a photograph.
I couldn't help but be saddened by the snippet of art-world news I read today: long-time MoMA photography curator Peter Galassi announced his retirement. He's not exactly old--he's 60--but he's been at the MoMA for more than three decades and has been an tremendous boon for contemporary photography. One of my favorite shows in recent memory, at any New York City museum, and in any medium, was the Jeff Wall retropsecive in 2007. But
Comfort and detachment in the photos of Yael Ben-Zion at the 92nd Street Y.
Special To The Jewish Week
In a series of photographs currently being exhibited at the Milton J. Weill Art Gallery at the 92nd Street Y, Yael Ben-Zion, a New York-based photographer evokes life in modern-day Israel. Born in Minneapolis and raised in Arad in southern Israel, Ben-Zion moved to the States to pursue advanced law studies at Yale only to pick up a camera and fall in love with photography while working on her law degree.
It’s easy to “photo-shop” people out of pictures these days, but as any genealogist will tell you, sending relatives to the “recycle bin” is usually a very bad idea.
Even before I became an amateur genealogist, I was the person in my family who saved our photographs and placed them in albums. My collection dates back to 1895, soon after my great-grandparents arrived in New York. Within weeks, they put on their best clothes and posed for pictures to send back home.