Visual Arts – Page 19

Constant artistic reinvention

The Vancouver skyline, photographed and painted by Sharon Tenenbaum.

Sharon Tenenbaum is celebrating her 10-year anniversary – since becoming an artist photographer – with a solo exhibition at Zack Gallery. The exhibit includes photographs from a number of different series, an eclectic selection reflecting the progressive stages of her artistic journey.

“It’s the hardest challenge for any artist to constantly reinvent herself, both business-wise and creative-wise,” Tenenbaum said in an interview with the Independent. “Everything has a shelf life, so we have to come up with something new every few years.”

In the decade since she began, Tenenbaum has reinvented herself several times, although she never abandons her previous endeavors. Her first love was architectural photography, and it is still an important part of her artistic output.

photo - Sharon Tenenbaum — Sharon Tenenbaum *(photo from Sharon Tenenbaum)*

“Maybe because I was an engineer before I became an artist, I like architectural photography,” she said. “You can take your time with buildings and bridges, come to them again and again, see them from many angles and in different weather. With people, it is transitory: a moment, and it is gone.”

Tenenbaum’s architectural photography has won awards. The most recent one came last year, when her Musical Reflections Hoofddorp Bridge Series won first place in the 2015 International Photography Award, in the category of architecture, bridges. All three photographs in the series are on display at the Zack.

“These three bridges, with musical names Harp, Lute and Lyre, are located in the small town of Hoofddorp, Holland, on the outskirts of Amsterdam,” Tenenbaum explained. “They were designed by the Spanish engineer and architect Santiago Calatrava. I love his works and I photographed them before.”

Although her architectural photography started as black and white, a few years later, she began painting the photographs. Her painting phase started with trees.

“I started with one image of a tree, a photo from Portugal,” she said. “Then, there was a maple tree outside my window; it was gorgeous in the fall. I wanted to convey its beauty with my image, too.”

These works are the result of a two-step process. First, Tenenbaum prints her photos on canvas and then she paints the canvas with acrylics. People coming to Zack Gallery will see several of these painted photos in the show.

After her tree paintings proved successful, Tenenbaum moved to paint a different kind of photographic imagery – the Vancouver skyline.

“I was inspired to do this after I saw a painter in Jerusalem about two years ago, Adriana Naveh. Her abstract urban landscapes were amazing. I was blown away by her work,” said Tenenbaum. “But not every architectural image submits well to painting. Sometimes, I try to paint something but it doesn’t work out. It’s hard to explain what works and what doesn’t. I think if the image is too architecturally clean, it needs the black-and-white palette.”

The examples of Tenenbaum’s painted skylines in the Zack show combine the technical proficiency of the photographer with deep emotional undertones echoing through the color schemes. The skyline might be of the same place – Vancouver – but each image is different, reflecting different facets of the artist’s inner self.

photo - Lions Gate and Stanley Park by Sharon Tenenbaum, from her Bike Art series — Lions Gate and Stanley Park by Sharon Tenenbaum, from her Bike Art series.

The Vancouver skyline fascinates Tenenbaum. Recently, she started a new project showcasing her favorite subject. She creates photo images of the skyline assembled exclusively from spare bicycle parts. She calls this new project Bike Art.

“I love biking and I always look for new and original ways to depict Vancouver. This project is a melding of my two passions,” she explained. “I use the recycled bicycle parts from the bike shops, the parts the shops would throw away. It’s a very time-consuming process, lots of work, and my place resembles a bike garage now, but it is very rewarding. I only have three images for now and I would like to get a grant to continue this project.”

Tenenbaum’s unique skylines made with bicycle parts are charming, quaint and amazingly authentic. One can see the ocean and Stanley Park, the skyscrapers of downtown and the masts of the marina, all created with recycled screws and bolts. “The viewers could interpret the images anyway they like,” she said.

But certain images are harder to fathom, like the image of an airplane flying above the clouds. The photo is just across from the entrance to the gallery, greeting guests with its mystery. “Many people ask me how I did it,” said Tenenbaum. “I always tell them: take my class and find out.”

Tenenbaum is eager to share her extensive expertise. She teaches students to use a number of photographic techniques to create fine art, to express their souls, and not just document what they see. With two different classes at Langara College plus some private tutorships, her teaching schedule is extremely busy, but she finds time for international workshops as well. “I have one in Chicago next year,” she said.

The show Sharon Tenenbaum – Architectural Fine Art Photography opened on Dec. 15 and continues to Jan. 15. For more information on Tenenbaum and her work, visit sharontenenbaum.com.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

Landscapes alive with color

Sandy Blass’ solo exhibit No Other Country is at Zack Gallery until Dec. 12. (photo by Olga Livshin)

Artist Sandy Blass’ first solo show in Canada – No Other Country, a series of landscapes – opened last week at Zack Gallery.

Blass has always liked painting, and received her fine arts degree from the University of Calgary in 1984. She worked an office job full-time, raised her family in Calgary and painted as a hobby. Only after her children grew up could she allow herself the joy of following her heart into the arts. Although she still works – part-time at the Jewish Family Service Agency in Vancouver – she now considers herself a full-time artist.

Two important events contributed to her recent emergence as a full-time artist: first, she visited Israel for the first time in 2012; second, she moved to British Columbia in 2014.

Her show’s title, No Other Country, comes from the Hebrew song “I Have No Other Country,” about Israel, although, for Blass, a Jewish Canadian born and raised in Calgary, the sense of belonging is broader. “I belong in both places,” she said in an interview with the Independent, “Canada and Israel.” Her painting “Under the Same Sky,” an abstract play of lines and colors shaped like clouds, feels like the artist’s manifesto, reflecting her love for both countries.

Blass’ discovery of Israel and all things connected to Judaism came late in life. “My parents were Holocaust survivors. We didn’t talk about anything Jewish or about the war,” she explained. “Sometimes, my parents whispered about it but they never talked to me. Our home was secular and full of anxiety. My father always told me not to let anyone know that I was a Jew. Of course, after his concentration camp experience as a young boy, his fear was justified. I never questioned it.”

The older she grew, the more she wanted to learn about her roots and her family history. “I felt that I was missing something,” she said. “My father didn’t want to talk about the past, but my aunt did. She told me some of my family story when I was in my 20s. Later, I started painting with regard to my family history, exploring it through my imagery. I started going to shul. And, finally, I went to Israel.

“The first time – I traveled there in 2012 – I felt like I came full circle. I have family there, those who survived the war in Europe and immigrated to Israel afterwards. Since then, I’ve visited every year. I have even been thinking about aliyah, but not yet. I don’t feel that it is the right time.”

image - "Akko Beach" by Sandy Blass — “Akko Beach” by Sandy Blass.

After that first visit, Israel found a permanent place in the artist’s heart and in her paintings. “Since I reconnected with my Jewish identity, I paint both Canadian and Israeli landscapes,” she said. “I traveled to Europe, too, but I never painted there.”

Blass’ bright, vibrant compositions are half real and half abstract, although they are always linked to a particular place. “The sky is always imaginary though,” she said with a smile. “I love painting sky and water. Blue and green are my favorite colors. I love painting reflections, whether in the ocean, a mountain lake, a sea, or just a puddle. This way, water and sky come together, and the best medium to express their coupling is watercolors.”

She paints her landscapes exclusively in watercolor, her favorite medium. “I fell in love with watercolor in high school,” she said. “I love its flow, the transparency of colors. I tried other media over the years – oils and acrylic – but nothing worked for me, while I flourish in watercolors.”

Although watercolor is not the most popular type of paint for professional artists – the majority throughout the centuries has preferred oils – she is in good company. “Watercolors have a respectable place in art history. Joseph Turner, one of the foremost British landscape painters, worked in watercolors,” she said, listing well-known artists who used the same medium she does. “Toni Onley, one of the few Canadian artists represented at the Tate Gallery in London, worked in watercolors. I also want to make inroads into contemporary art in watercolors.”

One of the reasons for her love of watercolor, surprisingly, is that the paintings are not finished when the artist puts down her brush. “I don’t have complete control. The painting is only done when the water stops flowing, dries thoroughly,” she explained. “I experiment with the water flow sometimes. I have a special art table where I paint, and I might change the angle of the surface to affect the water flow. The results could be interesting. Also, the time it takes to dry could be important. Vancouver is more humid than Calgary, so it takes more time for the paintings to dry here. I like the end results better.”

No Other Country continues until Dec 12. To learn more about Blass’ work, visit blassart.com.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

Keeping things simple

“Overseas” by Ivor Levin. (photo by Ivor Levin)

Ivor Levin’s path to artistic photography was a long and gradual one. “Photography is my hobby,” he said in an interview with the Independent, but one couldn’t have guessed it from his solo exhibition at the Sidney and Gertrude Zack Gallery.

Levin’s images reveal an artist’s perception. Where anyone else might see a dirty warehouse, he sees a play of light and shadows, a mosaic of colors and shapes. Peeling paint on a wall or a rivet screwed into corrugated metal transform under the magic touch of his camera into fascinating pieces of art.

By his education and day job, Levin is a dentist. By inclination, he is an artist, walking around Vancouver in his spare time with his camera, capturing amazing and unexpected pictures.

“I like simplicity,” he explained. “I don’t like cluttered images. All my images have one focal point. I’m interested mostly in two genres. One is urban geometry and abstraction: I look for patterns there, for lines and colors. Another is street photography: when I find an interesting geometric setting, I wait there until a person appears, walks into my scene, and then I take a picture. I don’t do landscapes or faces. No mountains. And absolutely no flowers.”

Levin said there was always a camera in the house when he was growing up. He snapped pictures during family gatherings, trips and holidays, but, in the last eight years, his passion for photography deepened.

“I started looking around with more of an artistic eye,” he said. “I also discovered Flickr and opened an account there, saw what other photographers were doing on the site and taught myself to achieve the effects I like. Gradually, people started noticing and liking my pictures, too. Friends and family were the last to notice, and they began saying: ‘Your photos are so interesting; why don’t you have a show?’ It happened about two years ago.”

photo - Ivor Levin at the opening of his exhibit Simplicity — Ivor Levin at the opening of his exhibit Simplicity. *(photo by Olga Livshin)*

The idea of a show took root and, last year, Levin applied to the Zack Gallery. “I sent them a link to my Flickr account, and they liked it. They offered me a show. It’s the first time I actually printed my photos. Before that, I only had them digitally, on my computer and on Flickr.”

The show at the Zack – called Simplicity – reflects the artist’s vision not only of Vancouver, his hometown, but also of some other places he has visited. One of his favorite hunting grounds for images is Granville Island, and a few of the images exhibited came from there. Others he found during his international travels, like “Overseas,” which originated in Cape Town, South Africa. “There is the ocean there, and a swimming pool on the other side of the walkway, and the sky above. Everything is blue, but different shades of blue. When I saw a woman in a blue dress on that sidewalk, I knew I had to take the picture,” Levin explained.

Most of his images depict bright and cheerful colors.

“I can appreciate black and white, too,” he said, “but only when the image demands it.”

One such image is his black and white street scene “Piano Man.” He shot it under an overpass in Brooklyn, and its punchy graphics are only slightly enhanced by computer editing.

“I rarely use the images straight from the camera, but most of my modifications are minor,” he said. “I adjust exposure and saturation. Sometimes, I crop or tilt the images.”

Unlike many photographers, he doesn’t use Photoshop, but rather the online program PicMonkey. He taught himself to use it, like he taught himself the other aspects of photography. “I learn from the other photographers’ photos and from some internet sites,” he said.

As the years go by, Levin spends increasingly more of his free time on his hobby, although he confessed that taking pictures absorbs him much more than the editing process. “I prefer creating with the camera, not with the computer,” he said. “I’m always on the lookout for the ‘Wow!’ factor. In the beginning, I kept everything, thousands and thousands of images. Now, I’m much more selective. When I see an image, I know: it’s a keeper. Otherwise, I just delete them.”

Titles for his images are also important to him.

“I’ve always liked to play with words, make puns. For me, it’s half the fun to find the right title for the image. Each one needs a catch phrase to catch the people’s attention.”

Despite his love for photography, he doesn’t have plans to abandon his day job.

“I like my job,” he said. “Of course, if I could make the same living with photography as I do as a dentist, I’d probably choose photography.” He didn’t sound too sure.

Simplicity is at Zack Gallery until Nov. 20.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

Printmaker comes to city

Ian Kochberg at work. (photo from Ian Kochberg)

Next week, at the Circle Craft Winter Market, local community members will have a rare opportunity to meet Ontario artist Ian Kochberg and buy some of his work.

Kochberg has been a professional printmaker for 39 years. His studio is located in Richmond Hill, part of the Greater Toronto area. As a child, he didn’t dream of being a printmaker. In fact, he has a degree in animated film, but “to the chagrin” of his professors at the time, said Kochberg in an email interview with the Independent, “I had decided during my final year that film was not something I could pursue.”

He cited several reasons for his decision. One of them was his aversion to computers. “Although computer animation was in its infancy,” he said, “I knew that, in due course, computers would take over the animation industry. I have always had little interest in computers. Both professors and fellow students thought me insane.”

Another reason to opt out of a film career was his realization that he didn’t compromise easily. “I never worked well with others,” he said. “In college, the final year’s work was a group film. I was the only one who decided to go solo. I went in the first day to get the assignment parameters and came back the last with a finished film. Later, the college entered my film in numerous film festivals. It won a number of awards, but that was not how the industry works. Film requires a collaborative effort – printmaking does not.”

Fortunately, he stumbled into printmaking while still in college, and it was love at first sight. “I worked my way through college and university, hiring out as a freelance artist for ad agencies. I did everything: from illustration, to fabric design, to designing seat covers and bulkheads for a new fleet of Air Canada jets,” he said.

Among those agencies was a company that sold framed art to people in the legal profession. “They hired me to create a set of legal-themed illustrations, which they printed and framed,” explained Kochberg. “I received payment for each drawing, along with royalties on each sale. Life was good! The owner of the company, in an attempt to maintain control, told me ‘how expensive’ it was to print up those reproductions. Shortly thereafter, I discovered his lie. It was actually cheap to make copies of art.”

He decided to strike out on his own. His first foray into the life of an independent artist was a set of three drawings of old Ontario houses. “I had them printed up on a very high-quality paper, meticulously hand-painted each copy and then signed and numbered each as a limited edition. Being young, naïve, and not knowing any better, I brought these pieces into a real art gallery. The owner was highly knowledgeable and very gracious. He unashamedly heaped praise upon my work and my talent, employing an imaginative mélange of artsy adjectives.”

But, when Kochberg attempted to close the sale, the gallery owner gave him a lecture on the difference between original prints and reproductions. “I felt the proverbial light bulb go on over my head,” Kochberg recalled.

The gallery owner did purchase the prints that day, however. “He didn’t sell copies in his gallery, but he told me they were going to hang in his own house,” said Kochberg. “Whatever his motives, whether he actually liked them that much or it was simply a ‘pity sale’ matters not. Unbeknownst to him, he had forever altered the course of my life. The very next day found me in the library, where I researched printmaking techniques. Before I had even set foot into a printmaking studio, I had taught myself everything I needed to know to get started.”

He also got some exciting ideas of his own and took a 10-week course to get access to printmaking equipment. “When I finished the course, I purchased my first etching press,” he said.

Once he became involved in printmaking, Kochberg never looked back. For him, printmaking is a fascinating combination of research and intuition, design and fine art, creativity and technology.

“It is a cerebral, controlled process,” he said. “It is also unforgiving. Sometimes, I’ve spent up to 180 hours working on a single screen for a single color, with no way to make a correction if I made a mistake…. At one point, I actually counted how many times I had to pick up each and every piece of paper in an edition, do something to it, and put it down. As I recall, the number was around 120.”

According to his records, large pieces typically take him six to eight months, working full-time, to complete an edition. “The longest I’ve spent creating an edition has been 13 months,” he said.

Kochberg’s limited editions usually range from 100 to 300 original prints, all signed and numbered, and the source plates and screens are always destroyed after the edition is finished.

photo - Ian Kochberg’s “House Blessing” — Ian Kochberg’s “House Blessing.” *(photo from Ian Kochberg)*

Despite the demanding, labor-intensive technical process, every stage of printmaking still makes him feel “like a child in a toy store,” he said. “When these things no longer generate that kind of wonder and awe, it will be time to move on to something else.”

So far, after four decades of printmaking, it hasn’t happened yet. New ideas still swirl in the artist’s head, and his fans continue to admire his imagination and work. Some of his fans are celebrities. One of his prints even hangs in the Vatican. “I don’t recall the details – I have a horrible memory – but it was purchased for some special occasion involving the last pope. It was interesting shipping out a package to the Vatican,” he said.

“There have been countless warm stories and anecdotes about where my work hangs, for whom it was purchased and what individual pieces have meant to patrons,” he continued. “These are humbling and keep me grounded. The incident that stands out most clearly in my mind is that of a young lady who came to us at a show some years back, along with her baby daughter in a stroller. She told us that, when she was her daughter’s age, her mother similarly brought her to us in a stroller and purchased one of my works for her – to start her daughter’s collection. Now, all grown up, the young lady was doing the same for her own daughter – buying her child’s first ‘Kochberg.’ I felt quite honored, but it did make me feel old.”

Many of his pieces sport his signature combination of funky drawings, music notation, Judaic themes and a Celtic pattern. “Aside from my name, Ian, I have no Celtic or Irish connections,” he admitted. “One of my earlier Judaic pieces had an interlaced border. I copied the structure of the design from a Havdalah candle. People assumed it was a Celtic design. I don’t like arguing.”

The infusion of musical notes echoes his love of music, though he downplays his own talent in this realm. “I have no formal music training,” he explained. “I have played piano, but am not a pianist. I enjoy playing guitar and have written a number of songs, but am not a guitarist. I sing and, if you heard me sing, you’d know I am not a vocalist. I also play recorder, banjo and upright bass. In any event, I definitely do not consider myself a real musician.”

His family is musical though. His wife and children have all had formal musical training, and musical activities often feature as their family pastime. “About a year ago,” he said, “I started playing upright bass and joined the nonprofit community orchestra in which my wife, Arlene, plays a violin and our daughter, Toni, plays cello and bass.”

He finds both inspiration for his work and a relief from it in his family and in his various recreational pursuits. For many years, one of those was ballroom dancing, a hobby and part-time job.

“My wife and I taught social ballroom dancing for the local continuing board of education,” he explained. “This was not so much for extra income but to get us out of the studio and away from our work. When you have your own business, it never ends. We enjoyed our teaching very much. We taught for a full 20 years, until we realized that we just weren’t enjoying our classes as much. It was time to move on.”

Another of his lifelong interests is dogs. “We’ve had dogs for about 40 years,” he said. “Currently, we have a 10-year-old Black Russian terrier. I’m actually the ‘go-to dog guy’ in the neighborhood. Whenever people have questions or problems about their pooches or need information on specific breeds, they come to me. Friends of ours know that I enjoy talking dogs much more than art. Art is usually about me, while dogs are ‘just’ dogs.”

His affection for dogs in general, and his terrier in particular, has spilled into his writing. Kochberg’s hilarious true story about his dog was published in one of the Chicken Soup for the Soul series, The Dog Did What?: 101 Amazing Stories of Magical Moments, Miracles and … Mayhem (2014).

The Circle Craft market runs Nov. 9-13, and Kochberg will be located in booth #318.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

Chagall lithograph exhibit at Zack

Susanna Strem, owner of Chali-Rosso Art Gallery, in front of a Marc Chagall lithograph. (photo by Olga Livshin)

Marc Chagall needs no introduction. But perhaps not everyone is aware that there is a gallery in Vancouver that specializes in original graphic works by Chagall, as well as a few other 20th-century European masters.

“We opened the gallery in 2005,” Susanna Strem, owner of Chali-Rosso Art Gallery, told the Independent. “Since then, I always wanted to have a Chagall show at the JCC. I was familiar with the community and liked it. When I first immigrated to Canada and arrived in Vancouver, I often went there.”

Now, she finally will have her wish. On Sept. 15, she is bringing her selection of Chagall’s lithographs to the Sidney and Gertrude Zack Gallery at the Jewish Community Centre of Greater Vancouver.

Strem considers herself not just a gallery owner but also an art educator. She is passionate about art and she longs to share her passion and her knowledge. She often discusses multiple aspects of the arts with gallery guests and she loves answering their questions. A recurring question concerns the nature of lithographs.

“Not everyone realizes that lithographs are original works by the artists,” she explained. “First, the artist creates an image on a stone block and then he transfers it on paper. It’s a time-consuming process and, after the artist makes a set number of copies, the stone image is destroyed. It is called a ‘limited edition.’ A limited edition could consist of 50 or 100 copies, or however many the artist had decided upon, but each copy has a number and is signed by the author. They are all originals, and that’s what we sell in our gallery. That’s what we’ll be bringing to the Zack.”

Lithographs, or prints on paper, while originals, are not unique. Consequently, they are more affordable than other works by the same artist.

“Some people, when they think of art at all, they think oil on canvas,” Strem mused. “But most artists create in different media. Creative minds always try something new and interesting. Salvador Dali, one of the artists we represent, created many amazing sculptures. Pablo Picasso worked on pottery. Both Picasso and Chagall enjoyed printmaking. When we first decided to open the gallery, we knew we wanted to represent graphic works on paper because of their relative affordability, compared to the oils. Oil paintings by Chagall could go for enormous prices, but a lithograph by Chagall could cost only a couple thousand dollars.”

Strem started her professional life far from the artistic field. She was born in Hungary and studied art history and computers in Budapest. After graduating from university, she worked as a software developer and IT consultant for many years, first in Hungary, then in several European countries and, for a short spell, in Israel. None of those places suited her for long.

“Europe has too much history and culture; it’s too heavy a burden. That’s why Canada, and specifically Vancouver, work for me,” she said. “It is a new world here, it is lighter, more accepting.”

In 1994, Strem settled in Vancouver and resumed her work with computers. For the first decade she lived here, she worked as an IT specialist, until the moment came when she knew it was time to embark on a new career.

“When my husband and I opened the gallery, it was a big change. It would have been impossible in Europe. People there don’t switch careers: once an engineer, always an engineer. If I decided to open a gallery in Europe, after being an IT person for years, everyone would look at me and think something was wrong with me. But it was OK in Vancouver.”

Chali-Rosso first opened on Granville Gallery Row – a short strip of Granville Street between Broadway and the bridge – where many major Vancouver galleries still reside.

“Art collectors knew to come there if they wanted some art,” she explained. “It was the right place to open a new gallery.”

A couple years ago, after their collection quadrupled in size, they moved the gallery to a new and larger facility in downtown Vancouver, on Howe Street.

They chose the name Chali-Rosso for their gallery because of the artists that comprise the majority of their collection: four European masters of the first half of the 20th century.

“The gallery name is an acronym of their names: Marc Chagall, Salvador Dali, Joan Miro and Pablo Picasso,” said Strem. “We focus on these four, although we have some works by other artists, too, including a small but wonderful piece by Rembrandt.”

For Strem, opening a gallery on the West Coast is a challenge.

“I like Vancouver, like living here,” she said, “but it’s not easy for any art gallery to engage people’s attention. Western Canada is still too new, too young. Most people are attracted more by the outdoors than by art. To spend $300 on bicycle gear is fine, but $800 on a piece of art is too much. There is no centuries-old tradition here, no art on the street. In Europe, people are surrounded by art, but here, art is not an integral part of life. It’s up to us, gallery owners and artists, to change the situation here. We’re pioneers.”

Marc Chagall’s Bible Suites opens at the Zack on Sept. 15, 7 p.m., with a reception to which the public is invited. The exhibit runs until Oct. 26.

Olga Livshin is a Vancouver freelance writer. She can be reached at [email protected].

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 [email protected].

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 [email protected].

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 [email protected].

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