In Israel, a new five month scholarship program being offered to young aspiring athletes – one of them could be you.
Amid the rising action in Disney’s “The Lion King,” Simba – already a dashing mature lion – follows the monkey, Rafiki, through marshland, until arriving at a loch. There, he discovers a vision of his dead father, Mufasa. An exchange follows and Rafiki strikes Simba, but rather than apologizing when Simba expresses pain, Rafiki assures him that it has passed. “Yeah, but it still hurts,” insists Simba. “Oh yes, the past can hurt,” Rafiki says. “But the way I see it, you can either run from it, or learn from it.”
Inez Storer, a Santa Monica born painter, opted for the latter part of Rafiki’s advice. Storer was raised Catholic, only to learn in 1999 – well into her adult years – that she was Jewish. She somehow found a way to turn a potential identity crisis into an incredibly fertile aesthetic output.
Inez’s mother, a dancer/actress who fled the Holocaust with her Catholic husband (an aviator, who later became art director at Paramount), chose to hide both Inez’s Jewish identity and knowledge about her 29 Jewish relatives living nearby.
Upon her deathbed, Inez’s mother finally confirmed what her daughter had suspected since age 13 ? that she was Jewish. Storer explores this bizarre life story with an iconic language that just begs pigeonholing. The marks recall Wassily Kandinsky (1866-1944), Paul Klee (1879-1940) and 1980′s American graffiti artist Jean-Michel Basquiat (1960-88). The naiveté recalls Henri Rousseau’s (1844-1910) figures. Gravity-defying forms recall Chagall’s formal acrobatics, and the dreamy atmospheric temperature recalls Salvador Dali’s (1904-89) Surrealism.
“I am fascinated by process,” Storer muses. “I usually start my work by marking the surface of the painting, adding more and more, then peeling away the surface to come back to the first marks. It seems a metaphor of one’s own life, as the future becomes enmeshed in the past.”
This game of hide-and-seek, of merging past and future, serves to allow Storer’s form to follow the content. As the artist discovers herself, the materials themselves play copycat. Her exhibit, “Theatrical Realism” thus fits the National Museum of American Jewish History (NMAJH) in Philadelphia like a glove. The museum is undergoing a tremendous makeover to the order of a new 80,000 square foot, five story glass and stone structure, designed by James Polshek (American Museum of Natural History Rose Center for Earth and Space in Manhattan, Smithsonian Institution National Museum of the American Indian, Clinton Presidential Center). Both museum and artist are striving to adapt to new selves.
Storer’s new self did not catch her completely off guard. “I never felt comfortable with Catholicism,” she says. “In a way, I was trying to create my own history through the craft that I knew, working with collage and old letters and photographs. My work was about trying to uncover secrets.”
To uncover these secrets, Storer employs collage. She has collected so much stuff and hoarded it in her studio that she calls the selection process “going shopping.” “I am a blotter, absorbing all the different aspects of what I experience.”
Surprisingly, Storer sees something destructive in her collages, claiming that “there is usually an underlying possibility of danger ? either physical danger such as falling, drowning or unbalance, or emotional precariousness.”
“Histories” (1996) shows the artist kneeling in Catholic fashion, encircled by a variety of objects including flowers, what appear to be shoes, place settings, and finally a menorah in the middle of the foreground. Storer thus combines Catholic symbols with the Jewish, all the while negotiating a space where objects seem to float. “Histories” represents “the first time I painted a menorah. It is very autobiographical. I knew that I was Jewish, just not the details of who or what.”
Once she discovered she was Jewish, Storer had to grapple with her identity. “It’s about borderless people who are shoved from one country to another, always leaving things behind,” she says. “I felt completely dispossessed.” Split into a red zone with embedded drain-like circles and a yellow zone, “Allotment” (2000) shows a table with utensils on it, bearing the words, “We were only allowed eight spoons, knives and forks with us.” I wondered what it could mean and whether she had discovered any of the incredibly positive aspects of Judaism. “Journey” (2000) shows a green suitcase, marked “A Journey,” and also conveys displacement.
At this point, it seems rather clear that Storer’s work explores identity while navigating the world of dreams. Is an occasional menorah, titles like “Seven Days To Make the World” (2001) and a Jewish mother enough to make a Jewish painter?
In a sense, Storer does achieve a Jewish aesthetic. In her study of dislodgment and paralysis, Storer finds that, “The everyday world is often less poetic than our inner world, which can become anything that we make of it – it creates open-ended questions.” Thus, when she talks of forms passing from one reality to the next, she is using her art to form dream worlds, which present a space in which identity can find reconciliation, a safe space, where poetic, associative logic can straighten out a newfound Jewess. This space shares much with the Midrashic arena where the laws of nature and linear though often give way to the absurd. In that space, Storer can join Abraham and many others who realized their spiritual connections even very late in life.
By infusing her history, past and future, with many appropriated forms, Storer manages to paint her way out of a diasporic life and to create a safe space to grapple with her newfound identity as a Jewish woman artist. Through her work, we are witness to a miracle of modern times: the rebirth of a Jewish person.
Theatrical Realism: The Art of Inez Storer – March 14 – September 6, 2004 – National Museum of American Jewish History, Philadelphia. (215) 923-3811, http://www.nmajh.org
Forthcoming at the NMAJH: Sting Like a Maccabee: The Golden Age of the American Jewish Boxer. Opening on November 21st
Menachem Wecker edits the Arts and Culture Section of the Yeshiva University Commentator. As an artist, he has trained at the Massachusetts College of Art. Menachem may be contacted at: email@example.com.
About the Author: Menachem Wecker, who blogs on faith and art for the Houston Chronicle at http://blogs.chron.com/iconia, welcomes comments at firstname.lastname@example.org.
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Leah Katz, a TeenZone camper at Oorah’s TheZone summer camp and an 11th grader at Midwood High School, read her winning essay about how TheZone changed her views on Judaism at the Jewish Heritage Awards Ceremony held at Brooklyn District Attorney Charles Hynes’s office in April. The purpose of the Jewish Heritage Essay Contest is to acquaint public school students with Jewish history and customs and to help foster a deeper understanding of Jewish culture. The contest is open to students of all ethnic and religious backgrounds. Leah’s essay is reproduced in full below.
Moshe Sharett, the head of the Jewish Agency’s Political Department, visited Egypt in 1945. In Cairo he met a most remarkable young woman, a beautiful journalist who was the darling of Egyptian high society – from high-ranking military brass, to culture icons and Muslim sheikhs, to the court of King Faruk.
The two proceeded to talk about everyday things and surprisingly her mother-in-law did not find anything else to criticize. This occurred a few more times, with my client changing the topic every time by complimenting her mother-in-law or mentioning something positive about her.
There is always a lot of confusion surrounding sensory processing disorder – mainly because there are many different diagnoses that fall under the catch-all phrase sensory processing disorder (SPD). Among them are three specific subcategories:
The doctor had warned us that even if we did everything right and followed the protocol after the follicle was of the right size, there was no guarantee of success. Fertilization still had to occur, and just like couples do not necessarily become pregnant every month, we had no way to know if we were actually expecting for two full weeks.
The next chapter of the award-winning novel.
Jewish Press columnist Rebbetzin Esther Jungreis, founder and president of Hineni, the international Torah outreach organization, recently addressed an overflowing audience at the Beth Jacob Congregation of Irvine in southern California. Rebbetzin Jungreis’s address theme, “Making a Good Relationship Magical,” was apropos for the evening’s main mission: raising funds for the Irvine community’s mikveh.
You have probably been planning your marriage since you were about three. Let’s fast-forward to a big milestone– your twenty-fifth wedding anniversary. (Don’t worry, you don’t look a day over twenty one!) Now, would you appreciate your husband buying you a dozen roses that some florist recommended?
As I mentioned in my earlier articles about our family trip to Israel, our night flight went pretty smooth, thanks to my children’s willingness to sleep throughout the flight. I, on the other hand, didn’t sleep a wink and I wasn’t feeling too great by the time we landed. But we were finally in Israel, and just being in the beautifully renovated Ben Gurion airport and hearing all the Hebrew around us was exciting enough.
While all the flowers that grace your Shavuos table will surely be a delight to your eye, these will be a delight for your palette as well. Create them at any level, simple or sophisticated; any way you make them they’re sure to be a sensation.
Welcome back to “You’re Asking Me?” where we attempt to answer questions sent in by people who fortunately have fake names, so they won’t be embarrassed. I don’t know how they got through school, though.
Speechless wonder is the reaction to the beautiful vision seen though the Arch of the Keshet Cave at the Adamit Park in the Galilee. One of the most amazing natural wonders in Eretz Yisrael, the Me’arat Hakeshet — also known as the Rainbow Cave or Arch Cave — can be found up against the Israel-Lebanon border just a few kilometers from Rosh Hanikra and the sparkling blue Mediterranean Sea. It is situated amid the wild scenery on the cliffs of Nachal Betzet and Nachal Namer, on the Adamit Ridge.
It all started at an art and education conference at the Yeshiva University Museum. When one of the speakers misidentified a Goya painting at the Frick Collection, both the gentleman sitting next to me and I turned to each other and corrected the error simultaneously.
One of my favorite places when I was growing up in Boston was the used bookstore on Beacon and St. Mary’s streets. Boston Book Annex could play a used bookshop on television; it was dimly lit and cavernous, crawling with cats, and packed with a dizzying array of books, many of which sold three for a dollar. But used bookstores of this sort, however picturesque and inviting, are a relatively modern phenomena. In the Middle Ages, for example, I would never have been able to afford even a single used book unless I had been born into an aristocratic family. (Full disclosure, I was not.)
Jewish medals, several with Hebrew inscriptions and provocative imagery, were among the gems at The European Art Fair (TEFAF) in Maastricht, Netherlands, as I wrote in these pages two weeks ago. Another mini-trend at the fair, which will interest Jewish art aficionados, was an abundance of works by Marc Chagall.
It’s virtually impossible to ignore the financial aspects of TEFAF Maastricht, the annual arts and antiques fair in the historic city about two hours south of Amsterdam. More than 250 dealers from nearly 20 countries sell their wares—which span from Greek and Roman antiquities to contemporary sculptures—in the halls of the Maastricht Exhibition and Congress Centre, whose corridors are adorned by nearly 65,000 tulips.
Max Ferguson’s 1993 painting Katz’s may be the second most iconic representation of the kosher-style delicatessen after the 1989 Billy Crystal and Meg Ryan film, When Harry Met Sally. Ferguson’s photorealistic painting depicts the deli from an interesting perspective, which is simultaneously inviting and hostile—in short, the dichotomy of deli culture.
The whole idea of an artful pushka (tzeddakah or charity box) is almost a tease, if not an outright mockery. Isn’t there something pretty backward about investing time and money in an ornate container to hold alms for the poor?
Located about nine miles north of Madrid, the Palacio Real de El Pardo (Pardo Palace) dates back to the early 15th century. Devastated by a March 13, 1604 fire that claimed many works from its priceless art collection, the Pardo Palace and its vast gardens were used as a hunting ground by the Spanish monarchs.
Red By John Logan; directed by Robert Falls; starring Edward Gero and Patrick Andrews Jan. 20 – March 11, 2012 Arena Stage, 1101 6th Street, SW, Washington, D.C. http://www.arenastage.org One morning, Ken, Mark Rothko’s studio assistant, comes into the studio to fulfill his daily duties of stretching and priming his employer’s canvases. When he [...]
Printed from: http://www.jewishpress.com/sections/amnesia-in-color-and-line-inez-storers-identity-paintings/2004/09/15/
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