Visual Arts – Page 19

Community art for the Zack

(photo from jccgv.com)

The upcoming show at the Sidney and Gertrude Zack Gallery, which features 45 community artists who have donated their work, is a fundraiser for the gallery.

“The idea for the show belongs to Shirley Barnett,” said gallery director Linda Lando in an interview with the Independent. “We wanted to showcase the works of the people who do art for the joy of it, not professional artists. Shirley also made a donation towards the show.”

Lando explained the process leading to the exhibit, which opens Aug. 31.

“I purchased 45 11-by-14-inch wood panels and sent a group email to the gallery email list. The artists got the panels for free and, if their art sells, they will get a tax receipt. The price for every piece is the same, $125, and the proceeds of all sales will go to the gallery. The theme of this art show is ‘Renewal.’ It’s a very broad theme that allows for many interpretations.”

Jewish Independent photo - Linda Lando, director of the Sidney and Gertrude Zack Gallery — Linda Lando, director of the Sidney and Gertrude Zack Gallery. *(photo by Olga Livshin)*

Lando doesn’t think that the universal size and shape of the panels limits artists’ creativity. “Just the opposite: it’s a challenge.”

The response to the email was overwhelming. Lando had to turn away people who wanted to participate. The demographics of the show’s contributors are broad.

“A lot of word of mouth helped spread the news about the show,” she said. “Among our participants are people who are involved with the gallery, some who exhibited with us before, while others haven’t. There are several poets from the Pandora Collective, members and non-members of the JCC and some mother-daughter duos. Most of them are not professional artists, but the works that have already started to arrive are amazing and very diverse. I hope we sell most of them.”

The Independent spoke with a few of the exhibit’s artists.

“I have always been interested in arts: painting, poetry, etc.,” said Carl Rothschild, a child psychiatrist with more than 40 years of experience, who is about to retire. “I published two books of my poetry and visual arts.”

Rothschild considers himself an amateur artist but he has already participated in several shows at the Jewish Community Centre of Greater Vancouver and sold a few paintings. When Lando asked him to participate in the fundraiser, he was thrilled. His piece is already at the gallery.

“I decided to participate in this show because I am always painting and because Linda asked me,” he said. “My small piece is called ‘The Backyard Garden in a Box.’ I am endlessly fascinated by the little landscapes around me. My small garden, with crocosmia flowers, attracts a hummingbird each summer. Sometimes, the bird comes with his mate and, on this occasion, as I stood motionless and watched, he came over and hovered for a few seconds about a foot from my head before passing me as safe.”

Another participant, Liz Koerner, retired a few years ago from working in a law office. “I am a professional artist in the sense that I get paid for some of my work, but I started down this path as a hobby,” she said. “Over the past 15 years, I have done dozens of commissions.”

Like the other contributors, Koerner learned about the show from Lando’s email. “I met Linda years ago, when I would take my mother into her gallery, and they always had lively discussions about the paintings and the artists. My mother has since passed on and, at her request, we gave Linda a number of art books from her collection.”

When Koerner decided to participate in Renewal, she chose the theme of spring. “Spring is a wonderful time of renewal and rebirth in nature,” she explained. “My painting is almost done. I needed to leave it while I complete a rush commission, then I will get back to it and finish it soon.”

Sandi Bojm’s piece is also a work in progress. She works part-time as a speech language pathologist and as a therapist, which allows her the time to explore her other interests, including art and writing. “I don’t consider myself an amateur artist; nor am I a professional,” she said. “Perhaps chronically ‘emerging.’”

Over the years, Bojm has taken art classes at Langara College and with private mentors. She met Lando through the Zack Gallery.

“I support the gallery and participated in last year’s community show/fundraiser,” she said. “Linda and I have shared ideas this past year for the next upcoming show, regarding community engagement and participation, and, at the same time, offering a fundraising opportunity for the gallery. It is exciting that it is now coming to fruition.”

Her own piece will be an amalgam of abstract and landscape. “I have just completed an intensive painting workshop on abstraction of the landscape and decided to expand on that,” said Bojm. “I have been intrigued in the past, in my walks through the woods, with the presence of logs and stumps that have nurtured new growth; nursing logs, I believe they are called. This is the image I am exploring in its relationship to renewal.”

A show as a gallery fundraiser is not a new concept. The Federation of Canadian Artists, for example, holds their fundraiser, Paintings by Numbers, annually, but their event is much more expensive for art lovers, and they feature well-known and established artists in their galas.

“Giving the local community artists the opportunity to shine, and making all the paintings affordable to everyone might be unique in Canada,” said Lando. “The idea was not only to engage the community artists but to bring in their families and friends to the gallery, to show them that it is their gallery, too.”

Renewal will run to Sept. 11. There is a free reception at the Zack, with the artists in attendance, on Sept. 8, starting at 7 p.m.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.

Art sets B.C. hotels apart

“Lying on top of a building,” by U.K. artist Liam Gillick, wraps around the Pacific Rim Hotel in downtown Vancouver. (photo from Pacific Rim Hotel)

If you happened to have missed Ira Hoffecker’s Berlin Identities exhibit at the Jewish Community Centre of Greater Vancouver recently, you’re not entirely out of luck. Hoffecker’s work has a seemingly permanent spot on the walls of Sooke Harbor House on the west coast of Vancouver Island.

The stylized maps and cityscapes, similar to those shown in the Zack Gallery, are quite the contrast to the First Nations wall hangings, Group of Seven-inspired landscapes and whimsical nautical- and plant-themed room décor. But gallery manager Sharan Nylander says the collection is meant to reflect a range of B.C. artwork and, as works are sold and replaced, the exhibit is kept fresh and varied.

Indeed, the display in Sooke Harbor House has much more of a gallery feel today than it did when I last visited more than a decade ago. And, while Hoffecker’s work definitely leans in a more modernist direction than other pieces, perhaps there is more of a connection to Harbor House than one might think.

Hoffecker’s work speaks to her past growing up in Germany, and her interest in how society and cities change. Sooke Harbor House is believed to have been the location of a safe house for immigrants, and the book Generation to Generation: A Collection of Jewish Thoughts and Remembrances relates a story where the house was used as refuge for 15 German Jews.

The boutique hotel, just an hour from Victoria, is so committed to showing local artists’ works, it is creating a dedicated art gallery/ meeting space, due to be completed by year end. Until then, visitors can get their fill by wandering the winding corridors, hidden passages and surprise stairways.

Sooke Harbor House is not the only accommodation that makes a point of emphasizing artwork as part of its brand. The Fairmount Pacific Rim in downtown Vancouver has not only devoted space for some exquisite exhibits, but also provides a half-hour walking tour you can download to a smartphone. In all, four Jewish artists are represented on the tour.

If you stand at the corner of Cordova and Burrard streets and look up, you’ll notice strings of words that wrap around the outside of the building. The installation is a poem by U.K. artist Liam Gillick: “Lying on top of a building the clouds looked no nearer than when I was lying on the street.” It’s comprised of two-foot-high letters on floors five through 22, created in 2010 when the hotel opened for the Olympics.

Approaching the building’s entrance, you’ll see “Tree 16.480” by Omer Arbel, creative director of international design firm Bocci. The installation stands more than 18 feet high and is named for its 480 glass leaves. Arbel was born in Jerusalem, but moved to Vancouver as a teenager with his family.

If you’re walking past “Blackwater Ophelia” by Adad Hannah on the main floor and think the photograph blinks at you, you’re not hallucinating. The piece is actually a tableau vivant – a costumed actor poses in what looks like a still life, but is actually a video combined with stills – a little creepy, but stunning. “Ophelia” runs on a 10-minute loop and, if you pause long enough and look closely, you’ll see the subtle movement of her hands in the water, as well as that of her eyes.

Finally, if you’d like to feel you’re actually part of the artwork, take a seat in the dining area on the terrace just off the lobby. Phrases from Bob Dylan lyrics are projected across the tables so that plates, cutlery, napkins – and you – become part of the installation.

To find out more, visit sookeharbourhouse.com and fairmont.com/pacific-rim-vancouver.

Baila Lazarus is a freelance writer and media trainer in Vancouver. Her consulting work can be seen at phase2coaching.com.

Overlapping exhibits

“Girl with Flower” by Esther Warkov, 1964, acrylic on canvas. (WAG collection; gift of Arthur B.C. Drache, QC, G-98-296; photo by Leif Norman)

Russian-born Jewish artist Marc Chagall (1887-1985) was a modernism pioneer. So much so that Pablo Picasso proclaimed that, when Henri Matisse dies, “Chagall will be the only painter left who understands what color really is.”

In the early 1920s, Chagall left Russia for Paris. In 1941, he escaped France and reached safe haven in New York. He returned to France a few years after the end of the Second World War.

“This sense of displacement Chagall feels throughout his life is reflected in his works, often featuring characters who hover over the earth…. Even if they’re lying down, they’re sort of levitating,” said Andrew Kear, Winnipeg Art Gallery (WAG) historical Canadian art curator. “There’s a sense of rootlessness to his work that’s quite interesting, and it’s reflected in his later work, too. By the 1940s – an important time for Chagall – he loses his first wife, his first love really, Bella, to cancer in or around 1944 … and is absolutely distraught.”

In an exhibition overseen by Kear, WAG has brought in the exhibit Chagall: Daphnis & Chloé from the National Gallery of Canada (NGC). It will be in Winnipeg until Sept. 11.

The exhibit, the latest NGC-WAG collaboration, features 42 lithographs, widely considered the crowning achievement of the artist’s career as a printmaker. The series depicts the semi-erotic tale written by the ancient Greek poet, Longus. Through fanciful compositions and bright hues, Chagall expresses the pastoral idylls of the young goatherd Daphnis and the young shepherdess Chloé on the island of Lesbos.

At WAG, there is also a complementary mini-exhibit called Chagall & Winnipeg, which tells the little-known tale of friendship between Chagall and former WAG director Dr. Ferdinand Eckhardt through letters, photographs and works of art.

image - Marc Chagall, “The Trampled Flowers / Les fleurs saccagées” (detail), circa 1956-1961, printed in 1961 — Marc Chagall, “The Trampled Flowers / Les fleurs saccagées” (detail), circa 1956-1961, printed in 1961. (NGC/MBAC, Ottawa; gift of Don de Félix Quinet, Ottawa, 1986, in memory of Joseph and Marguerite Liverant)

“In addition to sketching out the story, this second exhibition … include[s] a number of paintings by Chagall that we’ve borrowed from the NGC and the Minneapolis Institute of Art,” said Kear.

In addition to these two Chagall exhibits, WAG is featuring Winnipeg Jewish artist Esther Warkov in an exhibit that includes her work from the 1960s to the 1980s. It runs until Oct. 16.

Born in 1941, Warkov did not do that well in school, but there was a lot of family pressure to succeed. By chance, she discovered jewelry making as a young teen, which, in turn, exposed her to the world of fine art. She eventually studied art at the University of Manitoba.

Today, Warkov is one of Manitoba’s most distinguished artists. This current exhibit highlights a celebrated and defining period of her work, which was forged in Winnipeg’s North End. Her stylized motifs reveal the clear influence of the eastern European immigrant community’s Jewish folk art roots.

“Although abstract painting was the most common form of contemporary art in the 1960s and 1970s, Esther really bucked the trend,” said Kear. “She was very interested in the human figure, representational drawing/painting, and in paintings that tried to convey a story. It’s this kind of point where she really outlines nicely with Chagall. Chagall’s paintings are very much recalling memories and tell[ing] a story.”

Warkov’s work during this featured period was large-scale and multi-paneled. “It’s not just a painting on one canvas,” said Kear. “It’s multiple canvases that are sort of cobbled together, in a way, to make almost loose grids. Her work is narrative, seems to tell a kind of story, but you’re not sure what the story is. It’s very whimsical and draws a lot on memory.

“I had the pleasure of meeting her for the first time a couple weeks ago,” he added. “I was curious about how she paints, or went about making these works. Apparently, she very rarely started with a coherent plan. She would start with one canvas and do an image on it. That would lead into another image that she’d tack on this other canvas next to the original one, to build the … visual story. But, it was a story she was making up as she went along. I thought she would plan it out first, but that’s not how it went down apparently.

“She’s got a wild sense of humor and great wit, which are really reflected in the titles of her works, [which] are often very long.”

WAG director and chief executive officer Stephen Morris said, “When we installed the exhibition a few weeks ago and we had the works up – many of them painted 40 to 50 years ago – they were as fresh, relevant and dynamic, I think, as the day they were painted. They reference so many interesting stylistic developments, but I’d also say they reach into the heart of who Esther is – someone who has lived in the North End for years, exposed to not just the Jewish culture, but also to Jewish folk art and eastern European traditions … that whole interesting development in terms of painting which you see in her work.

“Esther also brings people into interesting scenarios with her paintings and, in the composition, it can be a little unnerving, a little jarring. But, there is, with both her and with Chagall, a surreal aspect. So, while they’re painting recognizable images and motifs, the way they’re composed takes us back a bit and actually twists things. Some call it ‘the dream,’ others something else. Regardless, it’s delightful and one could see an overlap between the artists in terms of imagery.”

Morris enjoys being able to “bring cultures and ethnicities together.” He said having a famous Russian artist like Chagall next to Warkov, “who, in a way, had a much more regional impact, I think it’s interesting. I love the fact that a visitor can walk between Chagall and Warkov and, yes, they know they’re in a different space, in a different time, with a different artist, but they’ll also see connections.”

Of those connections, Morris pointed to how Warkov’s “roots overlap with Chagall’s roots, in terms of her life, faith and culture.”

The Chagall exhibit is set up in a series of small spaces to highlight the story of Daphnis and Chloé – visitors walk through it in a chronological way. Warkov’s work is displayed in one large gallery and visitors are surrounded by her canvases.

Also at WAG this summer are several permanent galleries, as well as a major retrospective of Winnipeg artist Karel Funk, who, Morris said, “is at the height of his career.”

Rebeca Kuropatwa is a Winnipeg freelance writer.

Creating with images

Bob Prosser’s “Cuts” is part of the PhotoClub Vancouver group exhibit now on at the Zack Gallery.

Members of PhotoClub Vancouver don’t consider their photography a way to capture moments in life as they come across them, but rather as a complex, multifaceted art form. They experiment with their cameras, discover the limits of Photoshop, and modify their images in unpredictable ways. Their group show at the Zack Gallery demonstrates the results of their explorations.

The club was founded in 1998, “as an outgrowth of a photography course a couple years earlier,” said Bob Prosser, the club secretary responsible for organizing the show, in an interview with the Independent. “I wasn’t among the founding members, only joined in 2011, but I can tell that this club is unlike many others in Vancouver. It’s more informal, less competitive, with a constructive, supportive atmosphere. We encourage experiments, and our members subscribe to all sorts of styles.”

Prosser said that, at the moment, the club counts 28 paid members. “There are men and women among the club members; most of them middle-aged or retired. I guess, younger people may be look for a different environment, more social media-oriented.”

image in Jewish Independent - Selfie” by Wayne Reeves — “Selfie” by Wayne Reeves.

The club offers a variety of services and activities to its members. “We critique each other’s works, organize guest speakers and presentations on some inspiring masters of photography, offer technical workshops and field trips to some interesting places, like an Italian festival on Commercial Drive or a Pride parade,” said Prosser. “We organize shows every year, usually at a different venue, and publish books, the best of [each] year. We also have a challenge once a month, and everyone is invited to participate.”

Most of the club members are amateurs. “It’s almost impossible now to make a living as an artistic photographer,” Prosser said. “Everyone has a camera in his cellphone. A professional photographer should be so much more. He should be versatile, able to make video, websites, engage in social media, marketing. Some of our members do very well selling their photos to stock photo companies. Others do it simply for fun.”

Prosser resides firmly in the second category. He shoots lots of photos and participates in club shows, but sales are not his priority. “Of course, I photograph when I travel – just came back from a trip to Japan – and I make portraits of my family but, in general, I’m not interested in capturing people with my camera. I don’t like it when people pose. I prefer doing studio shoots: objects, scenes, and then playing with Photoshop, seeing what I can do.”

The club encourages such an approach, and Prosser relishes its easy atmosphere and its emphasis on experimentation. “I’m not interested in copying nature,” he said. “I try to convey a mood, a message. I want to move my photography towards abstraction, and I use Photoshop to push my photos in that direction, enhance them. I’m fond of impressionist paintings and I’m trying to achieve similar solutions. With software, you can combine several images in different combinations, change colors and shapes. Not all of it is even possible in painting – photography is a unique art form.”

His image “Cuts” in the exhibit represents the Cubist movement. The visual style and the method of execution overlap in the picture, creating a sharp, edgy feel, a scattering of cutouts on a red background. It could be an echo of our hectic lives or a reflection in a broken mirror.

Another fascinating Cubist image is the experimental self-portrait by Wayne Reeves, one of the founding members of the club. The older man in the image comes across as a jumble of conflicting angles, just like so many of us.

In contrast, a lyrical, lovely picture of mother and child inspires contemplation and promotes harmony. It belongs to Richard Markus, the current president of the club.

image in Jewish Independent - Terry Beaupre’s “Floating on Fog” — Terry Beaupre’s “Floating on Fog.”

On the opposite end of the range of expressions are various landscapes and cityscapes. Some are earthy nature snapshots, bursting with colors. Others stress glass-filled urban architectural motifs. Still others are romantic and airy, like Terry Beaupre’s “Floating on Fog,” a dreamscape rising out of the mist.

The selection at the gallery encompasses a number of genres: portrait and still life, street scenes and travel mementos. While some photographs lean towards the traditional, others push the boundaries of the medium. Beside the colorful landscapes or abstract compositions, there are also a few images in the black and white palette. “In certain cases,” Prosser said, “color could get in the way of feelings. It could be a distraction, lessening the impact of the message.”

The group show opened on July 7 and runs until Aug. 6. For more information about the photo club, visit photoclubvancouver.com.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.

Remembering Muizenberg

Muizenberg, South Africa, was a hub for Jewish families from the 1900s onward. (photo from Stephen Rom)

For Vancouverites who hail from South Africa, the name Muizenberg carries significant resonance. The small seaside town was a hub for Jewish families from the 1900s onward, a place where children played on the long stretch of white-sand beach, young people fell in love, business deals were discussed, family relationships deepened and friendships nourished. So, when the Memories of Muizenberg exhibit opens for its 15-day span at Congregation Beth Israel on July 10, there’s an excellent chance of hearing South African accents in the voices of attendees.

The exhibit was created in 2009, when it debuted in Cape Town, chronicling the Jewish presence in Muizenberg between 1900 and the early 1960s. After that, it began a whirlwind tour to Johannesburg, London, Israel, Perth, Sydney, Melbourne, Toronto and San Diego before it finally landed in Vancouver. For each of its moves a former South African Jew adopted the exhibition, gathering fundraisers, assistants and exhibit spaces in their respective cities. In Vancouver, that man is Stephen Rom, originally from Cape Town, who immigrated to Canada in 1986 and moved to Vancouver in 1992.

“I’m just a shlepper that was interested in the exhibit,” he said with a laugh. “When a friend told me the exhibit was in San Diego, I thought we needed to get it trucked up to Vancouver. I think it’s important to keep Memories of Muizenberg circulated – a hell of a lot of research went into it and it’s beautifully put together.”

photo - The exhibit opening in Toronto. Created in 2009, Memories of Muizenberg debuted in Cape Town and has been to Johannesburg, London, Israel, Perth, Sydney, Melbourne, Toronto, San Diego and, now, Vancouver — The exhibit opening in Toronto. Created in 2009, Memories of Muizenberg debuted in Cape Town and has been to Johannesburg, London, Israel, Perth, Sydney, Melbourne, Toronto, San Diego and, now, Vancouver.

Rom arranged for the crate containing the 40-panel exhibit to be stored in the warehouse of fellow former South African Lexie Bernstein, and solicited donors to cover the costs associated with transportation and opening night festivities. Muizenberg has a special place in his heart and memories, he confided.

“It was a place my family and extended family spent every Sunday – you loaded the car, took the food and you didn’t need to look for friends – they were always there,” he reflected. “No one phoned to say, are you going to Muizenberg? You just knew, everyone in your community was going to be there. You’d go swimming, get attacked by bluebottles, get knocked over and soaked by a wave from the creeping high tide, have the wind blowing in your hair and eat homemade rusks (cookies) mixed with sand. It was part of our DNA.”

Bernstein, who moved from Cape Town to Vancouver in 1987, recalls catching the train with his friends in the summer months to get to Muizenberg. “When the train pulled into the station, the conductor would shout out ‘Jerusalem!’” he said. “I think ex-South Africans in Vancouver will love this exhibition, and other Jews in the community will be fascinated about where we come from.”

Rom’s only regret about the exhibit is that it ends in 1962 instead of continuing. He’s asking former South Africans in Vancouver to email photographs that pertain to their history in Muizenberg and that might be shown as a slide show at the exhibit’s opening night, July 10, 7 p.m. To submit your memories, email Rom at srom@shaw.ca.

Lauren Kramer, an award-winning writer and editor, lives in Richmond. To read her work online, visit laurenkramer.net.

Share in collectors’ passions

Yosef Wosk with his collection of circus memorabilia, some of which can be seen in the Museum of Vancouver exhibit All Together Now: Vancouver Collectors and Their Worlds. (photo by Rebecca Blissett)

Prosthetics. Menus. Corsets. Artificial eyes. Seeds. Public transit documents. One wouldn’t necessarily think of these items as “collectibles,” yet they form part of a new exhibition that opened on June 23 at the Museum of Vancouver (MOV).

All Together Now: Vancouver Collectors and Their Worlds presents wall-to-wall displays of rare and unconventional items from 20 local collectors. Rounding out each exhibit is an opportunity for a fun, hands-on experience and a profile of the collector, including his or her motivations for collecting.

The exhibition explores the questions: Why do people collect and how do private collections touch public consciousness?

“The act of collecting is a fascinating way to engage with one’s identity, history and community,” Viviane Gosselin, curator of contemporary culture at the MOV, said in a release. “This exhibition enables visitors to enter into the rich, often unknown worlds of collectors and to think about how private collections can affect our understanding of the past. In this way, it reminds us of the importance of collectors as memory-keepers.”

Some of the exhibition’s “memory-keepers” include Imogene Lim, an anthropologist who collects Chinese-Canadian restaurant menus. She does so because they connect to her family story and her interest in intercultural history. David Moe collects vintage artificial limbs because they connect to his father’s profession and provide insight into the development of medical technology.

Gosselin noted that many of the collections form the basis for larger conversations about important societal issues. For example, Harold Steves’ collection of heirloom seeds ties to environmental history and issues of sustainability and food security. Prosthetics stimulate discussions about visibility, accessibility, social stigmas associated with disability and prosthetic design developments.

photo - Harold Steves’ collection of heirloom seeds ties to environmental history and issues of sustainability and food security — Harold Steves’ collection of heirloom seeds ties to environmental history and issues of sustainability and food security. *(photo by Rebecca Blissett)*

For Yosef Wosk, whose circus memorabilia was chosen by MOV curators to feature in the exhibition, collecting represents “an assembly of ideas, feelings, interesting people, travels and experiences so that the whole world, in a way, is a great museum.” He believes that the selection of his circus memorabilia for exhibition was “serendipitous,” as he considers the circus a “metaphor for life … usually a joyous place and sometimes an adventure.”

Wosk has been an avid collector of art and other diverse objects for many years. His 20 different collections encompass paintings, sculptures, photographs, furniture, carpets, lamps, textiles, glass, books (subdivided into 15 to 20 categories), toys and religious articles, including Judaica. He cherishes his collection of Torah scrolls from around the world, including Syria, Yemen, Iraq, Iran, Morocco and Tunisia.

As a child, Wosk collected coins, stamps, marbles and comics, but he is nostalgic in remembering the purchase of his first piece of “real art” at the age of 16. It was a Japanese scroll that he decided was worthy of his entire summer salary as a junior counsellor at Camp Hatikvah.

Over the years, Wosk built up his collection while studying and working in different cities around the world, such as Jerusalem, New York, Toronto, Philadelphia and Boston. As a student in Toronto, he acquired (with the help of his father) an Andy Warhol screenprint, “Ten Portraits of Jews of the Twentieth Century,” which he kept in a cardboard case under his bed.

Perhaps naturally, it was in Jerusalem that Wosk started to collect Judaica. Noting that, “collecting is an external manifestation of inner thoughts, feelings and spirituality,” he regards his Jewish collections, in particular, as an appreciation of Creation. He points out that the first description of G-d in the Torah is as an artist, as Creator. Moreover, the earth, and everything that fills it, is G-d’s collection. As such, Wosk has a profound appreciation for human creativity as an extension of the individual but, ultimately, of G-d. “That is how I feel about the collection, which is part of the world and the universe, which emanates from the Creator,” he said.

Wosk also believes that, as a collector, he has a responsibility to share his prized possessions with others.

“Sharing is as important as the collecting,” he said. “I find that collecting is not just owning, but along with ownership comes responsibility … to the object, the artist and the community.”

Wosk also emphasized, “People shouldn’t be afraid to collect and give it away.” He is a proud patron of the arts, serving on local and national boards of directors for various museums and art organizations (he was a founder of the Jewish Museum and Archives of British Columbia), donating art to hospitals and institutions of higher learning, and lending his collections to different exhibitions. His collection of Judaica has been displayed in Philadelphia and Boston, as well as in Vancouver, including at the Jewish Community Centre of Greater Vancouver’s Sidney and Gertrude Zack Gallery. He hopes to coordinate an exhibition in Israel in the future.

Wosk’s remarkable collections, and his enthusiasm to share his “wealth” with diverse communities, warrants his honorific as a “memory-keeper.” For a man who once worked as a teaching assistant for one of the greatest memory-keepers in history, the esteemed Elie Wiesel, this is perhaps not so serendipitous.

All Together Now: Vancouver Collectors and Their Worlds is at the Museum of Vancouver until Jan. 8, 2017. If you fancy yourself a collector and would like to participate in this exhibition, the MOV invites the public to post pictures of themselves with their collections on social media using the hashtag #mycollectionatMOV. Images will be projected onto a wall of photos. For more information, visit museumofvancouver.ca.

Alexis Pavlich is a Vancouver-based freelance writer.

Exploration of identity

Ira Hoffecker’s Berlin Identities is at Zack Gallery until July 3. (photo from Ira Hoffecker)

Rarely does the Sidney and Gertrude Zack Gallery at the Jewish Community Centre of Greater Vancouver present exclusively a non-Jewish artist. This month, however, the gallery features Ira Hoffecker’s solo exhibit Berlin Identities.

Born and raised in Germany, the horrible history of Nazism and the Holocaust are part of Hoffecker’s identity, the identity she explores in this exhibition and in the entirety of her art. She looks at the Holocaust from the perspective of a German born after the Second World War.

“Germany is rich in history. There are so many layers,” she said in an interview with the Independent. “But the history of WWII and Nazism is different. The previous generations – my parents and grandparents – didn’t want to talk about it. My mother was a child during the war, and all she and her parents wanted after the war was to forget. But we can’t forget. We can’t deny our responsibility. For years after the war, there was a leaden blanket over the Holocaust, over what Germany did. But you can only move on if you accept the past, even such a horrible past as the Holocaust. It’s easy to say: it wasn’t me, I wasn’t born yet, but it’s our heritage. We have to accept our guilt, to acknowledge it, before we can start to heal as a society.”

That’s what her art is about: trying to understand and accept the painful enormity of the Holocaust and the guilt Germany carries, trying to discover her own definition of self underneath those national memories.

Another theme in her art, intertwined with the first, has to do with urban identities. “My paintings are informed by the different identities cities assume over time,” she explained. “History transforms cities, changes the urban space.”

All of the paintings in Hoffecker’s current show reflect her search for personal and urban identities. They are interpretations of maps: colorful, stylized and multilayered.

The layers represent the passing of time, as demonstrated by several paintings of Scheunenviertel, the former Jewish quarter in Berlin. “Before the Nazis came to power, over 150,000 Jews lived there. By the end of the war, none remained,” said Hoffecker.

Accordingly, the main layer denotes what the district looked like right after the war, while the overlaying layer, mounted on Plexiglas, corresponds with the map as it is currently. “The layers are a metaphor – of forgetting, of suppressing the past,” she explained. “Of the inevitable change.”

Two of the paintings look even scarier. One is covered by steel mesh, like a concentration camp fence. Another is concealed under torn tissue paper, where only fragments of the original map are visible, the rest is hidden – perhaps by those who don’t wish to remember. However, “we must remember,” the artist insists, and she tries to stir the memories by her imagery.

As is true for geographical maps, color and geometry play huge roles in Hoffecker’s creations.

“I’m fascinated by colors and I love maps,” she said. “As a child, my favorite book was an atlas. I like studying maps. I have a huge collection at home. My husband calls me a human GPS. I never have trouble navigating in any city, but only cities. I’m an urban person; I don’t do well in the wild.”

With her love for maps, it’s not surprising that she likes traveling. “Every city I ever visited has its own identity, its own atmosphere. I have been in many: all over Europe, India, Egypt, Peru. I’ve moved 26 times, but I hope I’ve stopped at last. I live in Victoria now and I don’t intend to move again.”

Her road from Germany to Vancouver Island was somewhat out of the ordinary.

“I always liked art, but when I lived in Germany, I worked in marketing and publicity for the movie industry,” she said. “Then, my husband and I had our own movie marketing company in Hamburg. Fifteen years ago, we came to Vancouver Island for a vacation. My children were young. We rented a mobile home and traveled together. We loved British Columbia, but the movie producers kept calling us, even though we were on vacation. They could call in the middle of the night, and I thought, What am I doing in this rat race? We needed a change.”

In 2004, they acted on the need for change and moved to Canada, settling in Victoria. “My children went to school there, and I went to school, too,” she said. “I decided to follow my old dream and change careers. I wanted to become an artist. Since we moved to Canada, I’ve been a student of the arts, but the career change is not easy or fast. It’s like a circus salto mortale, almost a free fall. It’s scary.”

But she hasn’t let the fear stop her. She has become an internationally known artist. In the last few years, she has participated in a number of solo and group exhibitions in Canada, England and Germany. She is studying for her master’s degree, and her paintings have started gaining recognition in artistic circles and among private collectors.

“I’ve sold over 170 paintings,” she said. “Recently, I was nominated, together with 53 other artists, for the British John Moore Painting Prize 2016. Our paintings will be shown within the Liverpool Biennal. They were selected from over 4,000 submissions.”

Another big change is coming soon for Hoffecker.

“We are not Canadian citizens yet,” she said. “Until a couple years ago, Germany didn’t accept dual citizenship, and I couldn’t give up my German citizenship either; I’m German. Now that it is possible to have dual citizenship, my family will receive our Canadian citizenship. It will happen on July 1st, on Canada Day.”

Berlin Identities will be on display at the Zack until July 3.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.

Jerusalem in photographs

The Dome of the Rock in the snow, 1940s. (photo by Moshe (Nicolas) Schwartz / Schwartz Collection, Bitmuna)

photo - Watermelons, undated — Watermelons, undated. *(photo by Elia Kahvedjian)*

Jerusalem is one of the most photographed places in the world. The Camera Man: Women and Men Photograph Jerusalem 1900-1950 exhibition at the Tower of David Museum highlights the unique and complex human and cultural heritage of the city. It also offers, for the first time, a comprehensive look at the photographic work in Jerusalem of Christians, Jews and Muslims between the years 1900 and 1950.

photo - Arab fighters on the walls of the Tower of David — Arab fighters on the walls of the Tower of David. *(photo by Chalil Rissas / The Central Zionist Archives)*

The 34 photographers chosen to be exhibited in The Camera Man lived and worked in Jerusalem during the first half of the 20th century. The photographers come from all different backgrounds – European, Armenian and local, Jewish, Muslim, Christian, men and women. Many photographers recorded the Jerusalem residents of different communities; some were hired by institutions and organizations to photograph various historical events that occurred in the city and some were artists who sought to honor the unique faces of Jerusalem.

What makes this exhibition different from others is that much of the photography that has been displayed before from this time period looks at the young “strong Zionist,” the developing state of Israel, the rural local villages, the posed “Orient,” the “new Tel Aviv.” This exhibition – which includes many photographs that have never been seen before – examines Jerusalem and its colorful mosaic of people, from everyday life to historic events.

photo - The ice cream seller with his bird, 1940s — The ice cream seller with his bird, 1940s. *(photo by Hanna Safieh / Rafi Safieh Collection)*

“The juxtaposition of different viewpoints and spheres of activity, placing works by prominent photographers alongside less well-known names, reveals a hitherto untold chapter in the history of photography in the country and in Jerusalem’s own history,” writes exhibit curator Dr. Shimon Lev.

In the mid-19th century, when Europe began to take an interest in the Orient, Jerusalem witnessed an influx of travelers from England, France and, later, from America. At the same time, a new invention was spreading through Europe – the camera – and the newcomers carted their unwieldy photographic equipment with them. The sight of the squalid city was a bitter disappointment to them and clashed with an imagined idea of the Holy City that had prompted their journey to Jerusalem.

The dissonance between the Jerusalem cherished by the heart and the Jerusalem revealed to the eye, between the heavenly and the earthly Jerusalem, and between the ideal and the mundane Jerusalem, still occupies photographers today. Although cameras are now conveniently small and light and exposure times are shorter, today’s photographer still tries to capture his own personal version of Jerusalem, even if it is only a digital self-portrait in front of the Tower of David.

photo - Jordanian soldier at the destruction of the Hurva Synagogue, 1948 — Jordanian soldier at the destruction of the Hurva Synagogue, 1948. *(photo by Ali Zaarour / Zaarour Family Collection)*

In The Camera Man, there are photographs showing action in the streets of Jerusalem from 1948, as well as portraits taken by local photographers who opened up their own photographic stores, most of them along Jaffa Road near Jaffa Gate and the Tower of David. The stores were called photographic houses or photo studios, although the driving spirit between the revival of the Hebrew language, Eliezer Ben-Yehuda (1858–1922), suggested the term ‘“light-painting houses” in Hebrew.

The photographs comprising The Camera Man were collected from private and public archives. The catalogue accompanying the exhibition includes selected photos from the exhibit, several of which are published for the first time, as well as articles by Lev, Dr. Lavi Shai and artist Meir Appelfeld.

The Camera Man is on display until Dec. 10. For more information, visit tod.org.il/en/exhibition/the-photographers.

– Courtesy of

A tapestry at the Zack

Valeri Sokolovski’s work forms part of A Tapestry of Cultures, the group art exhibit now on display at the Zack Gallery. (photo by Olga Livshin)

A Tapestry of Cultures opened last week at the Zack Gallery. Run in conjunction with Festival Ha’Rikud, which took place May 12-15, the group show also commemorates the birthday of Israel. As such, I expected it to reflect the blend of cultures that together make the multicultural tapestry of Israeli society, but the exhibit was much more global in scope.

With the exception of a few identifiably Israel-focused pieces – mostly photos by Avie Estrin – the rest of the artwork on display could have been created in any country, by an artist from any part of the world.

The Tel Aviv apartment building in Nancy Stern’s photograph wouldn’t be out of place in Vancouver or Prague. The sandals in a large painting by Rina Lederer-Vizer could have been lying on a beach in Spain or hiding under a park bench in San Francisco. The flapper dress from a small piece by Vladimira Fillion Wackenreuther could have been on sale in any fashion store from Moscow to Tokyo.

The exhibition as a whole announces that we all belong to one nation, cosmopolitan in the best sense, regardless of our country of citizenship or our mailing address. We live on the same planet and share similar values.

The theme of music and musicians appears in paintings by several artists in the show. Eternal and borderless, music wanders where it will, crossing barriers, especially now with the internet. Valeri Sokolovski’s images illustrate the concept perfectly. One could encounter his musicians almost anywhere. Their ethnicity is vague, but their passion soars in his paintings. Sokolovski’s musicians play with such intensity, the viewer can almost hear the notes, the syncopated beats and the soulful melodies.

In between his blue players, Karen Hollowell’s trumpeter introduces a much mellower tune, sunny yellow and flowing. The painting has a romantic quality. Her musician is not here on a street corner, but is somewhere else, behind the veil of imagination.

Not so with Iza Radinsky’s dancers. They strive to twirl off the wall and into the room, their skirts flashing, their feet performing to a jolly rhythm. The artist’s brushstrokes are blurry, but the dancers’ joy is crystal clear, and it transmits outside the frame, sprinkling everyone who passes the gallery.

In contrast to Radinsky’s dancers, Lauren Morris’ image is abstract and colorful, echoing the charm of dreams. Colors splash on the canvas in fanciful profusion and the viewer wonders, Is it a choir singing hymns? Is it a flock of birds on a wire, lost in their lofty trills? Or maybe it’s a flowerbed of exotic orchids, each one a song?

Meanwhile, a crowd of musicians populates David Akselrod’s “Gathering.” The painting is almost a metaphor of the show itself, gleeful and whimsical. The musicians are as cheerful and diverse as the artists who gathered for the exhibit’s opening. They play different instruments and have different skin colors, but they congregate in the same place, they mingle and laugh, and they share the delight of their art with each other and with the viewers.

The motif of unity – of all of us sharing, depending on each other – underlies Orly Ashkenazy’s “The Butterfly Effect.”

“It’s about the 12 tribes of Israel,” said the artist. She even inserted the names of the tribes in Hebrew into the painting. They intertwine with each other like a faint pattern of gold arabesques on a butterfly’s wing, a design mirroring real life, underscoring our own interconnections and effects on each other and the world around us.

It is impossible to mention all of the artists participating in the show in one short article, but all their creations complement and enhance one another.

“In my opinion, the calibre of work in this show is particularly high,” said Linda Lando, the gallery director.

A Tapestry of Cultures is on until May 29.

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.

Artistic Pesach midrashim

“Question Mark” by Sydney Freedman and Rachel Pekeles is among the works created by King David High School Grade 12 students. (photo by Nancy Current)

In conjunction with their current show at Zack Gallery, Visual Midrash, artists Robin Atlas and Nancy Current conducted a two-day workshop with the Grade 12 students of King David High School. Rabbi Stephen Berger, head of the school’s Judaic studies, and some of his more outgoing students talked to the Independent about the project.

“Every year, we do a project for Passover with our Grade 12 students,” said Berger. “The Haggadah is one of those Jewish texts that’s had the most number of interpretations throughout our history, as every generation and every family bring their own understanding. So, I ask the students every year to write their own versions, a short essay on one of the aspects of the Haggadah. This year, we decided to combine the writing with the visual component. The students pitched their ideas, which topic they wanted to explore. I tried to limit the same topics but I didn’t force anyone. They were free to choose. Now, after all the art is done, we’ll put the project online. We’re also going to publish a hardcopy as a pamphlet. One of our former students, Daniel Wiseman, is helping me with the particulars. We will distribute the copies at the JCC, at the synagogues and Jewish delis.”

The rabbi joined his students in creating his own interpretation of the Haggadah, using a sheet of matzah as the base for his artistic journey. “Matzah represents both our slavery and our freedom,” he said. His piece opens the pamphlet.

Like the rabbi, most of his students hadn’t done much visual art in years and were not going to pursue art as a career, but they enjoyed working on Visual Midrash for this assignment.

“They put so much thought into their pieces,” said Current. “Some of them first tried to come up with concrete images, but it’s hard without artistic training. Then Robin and I suggested they should think about some abstract interpretations. What ideas come to mind? What concepts are associated with those ideas? The results were amazing.”

One of the students, Izzy Khalifa, chose the most fun-filled tradition of Passover – the search for bread. “When I was a kid, it was a game in our home. I loved it,” she said. “Now that I’m older, I think it’s not simply a search for bread but it has a deeper meaning, like a search for yourself.”

“Judaism grows on you,” the rabbi remarked, and Khalifa agreed. She also liked working with the abstract concept. “People can take more from an abstract picture, interpret it in different ways,” she said.

photo - “Blue Heart” by Adi Rosenkrantz and Ashley Morris — “Blue Heart” by Adi Rosenkrantz and Ashley Morris *(photo by Nancy Current)*

Classmates Adi Rosenkrantz and Ashley Morris decided on more concrete imagery. Their blue heart on a blood-red background symbolizes the first plague of Egypt – the plague of blood. “The blue heart is like the heart of the Nile,” said Rosenkrantz. “The abrupt color change, from blue to red, from water to blood, disrupted the Egyptian way of life.” Their heart is almost anatomically precise. “I just did a unit on cardiovascular system,” Rosenkrantz explained, “and it was fresh in my mind.”

Ma’ayan Fadida and Shmuel Hart’s illustration was more metaphorical. They selected a controversial theme for their work – the wicked son. In their artistic interpretation, the wicked son walks a black path, which winds its way across the pink and orange brightness of other family members.

“We wanted to do one of the sons,” Fadida said. “This one makes the decision to separate himself from the others; that’s why his path is black. And the abstract allowed us to show how he was thinking.”

One of the most powerful pieces is a mixed media collage: a large black question mark with the background of newspaper snippets. Created by Sydney Freedman and Rachel Pekeles, it also touches on the story of the four sons but focuses on the son who doesn’t know how to ask.

“We wanted to take a complicated topic and present it as a symbol. The black mark blocks our ability to ask,” explained Freedman.

“The information is all there. You just have to be willing to look for it,” Pekeles elaborated. “It is a challenge. Sometimes, we choose not to ask when we should.”

Olga Livshin is a Vancouver freelance writer. She can be reached at olgagodim@gmail.com.