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April 19, 2014 / 19 Nisan, 5774
At a Glance

Posts Tagged ‘Jerry Dantzic’

Photojournalist’s Testimony: Photographs By Jerry Dantzic

Wednesday, August 13th, 2008

Trailblazing in the Rebbe’s Footsteps


Chassidic Art Institute


375 Kingston Avenue


Brooklyn, New York 11213 


718-774-9149


Noon-7 p.m., Sunday-Thursday 


Zev Markowitz, Director


 


Lag B’Omer is a communal sigh of relief. Historically the plague that consumed 24,000 of Rabbi Akiva’s students in the second century did not include the 33rd day of the counting of the Omer. The Talmud relates that this terrible scourge was caused because “they did not act respectfully toward each other.” Therefore one aspect of the holiday of Passover (when the counting begins) celebrates the healing theme of ahavas Yisrael, the imperative to love and respect our fellow Jews.

 

Another reason to express joy on Lag B’Omer is the commemoration of the yahrzeit of Rabbi Shimon bar Yochai, one of the most illustrious of Rabbi Akiva’s disciples and a fierce defender of the Jewish people and the Land of Israel. Following his instructions to his students, it is celebrated with outings, parades, bonfires and communal celebrations − especially at his grave in Meron in northern Israel.

 

Known as the author of the Zohar, his influence continues to this day in the practice of Kabbalah and many Chassidic customs. Not the least of which is the annual Lubavitch Lag B’Omer parade, in which Shimon bar Yochai’s lifelong crown of Torah study is proudly celebrated on the streets of Crown Heights. As a 1973 poster proclaims: “American Jewry! Join 50,000 Boys and Girls Saluting Judaism!” On that Sunday, May 20, 1973, the photojournalist Jerry Dantzic captured much of the spirit and happiness of that Lag B’Omer, seen in a stunning series of photographs at the Chassidic Art Institute until September 2.

 

Jerry Dantzic (previously reviewed here in April 2003) was a lifelong photojournalist, whose long career documented the arts, music and the vast diversity of New York life.  He freelanced for the New York Times and Life and Look magazines, among other major publications. He also taught photography at Long Island University and the Columbia University Graduate School of Journalism.

 

In 1971 he rediscovered the Cirkut camera that could take panoramic 360-degree pictures. His tour of all 50 states exploring the creative possibilities of this unique camera resulted in two Guggenheim Fellowships, an NEA Fellowship and, finally, a Museum of Modern Art exhibition in 1978.

 

The black and white prints shown here (all about 17 x 25 inches) are a curious mix of old and new technology. They were shot using Dantzic’s dependable Leica camera with Kodak Tri-X film. He took about 200 shots of the Lag B’Omer parade in May 1973, but didn’t print any of them because the funding sought for “The White Ethnic Project” that they were to be part of was never granted from the Guggenheim Foundation.

 

 



Grand Lag B’Omer Parade; Black and white photograph by Jerry Dantzic. Courtesy: Chassidic Art Institute


 


 

In preparation for this current show Dantzic’s son and archivist Grayson Dantzic, along with curator Zev Markowitz, chose the images for this exhibition and had them printed using the latest digital technology by Gamma One Conversions. They are brilliant, crisp prints, preserving all the qualities of the original black and white glossy technique.

 

The first half of the show consists mainly of photos of a Grand Farbrengen, celebrating the 46th anniversary of the 12 Tammuz release of the sixth Rebbe from Soviet prison and reversal of his death sentence for “counterrevolutionary activities” that included organizing an underground education network that helped Judaism survive the Communist suppression of religion. Seated prominently on the dais is Israel’s President Zalman Shazar, seen toasting Rabbi Menachem Mendel Schneerson at the 1973 event.  All of these images were previously shown in the 2003 exhibition.

 

The Lag B’Omer photos begin appropriately with Eli Lipsker and his Drum Corp, a spirited 25-member marching band, setting the celebratory tone of the day’s festivities. Lipsker is seen proudly leading his band across an Eastern Parkway filled as far as the eye can see with men, women and children – and dozens and dozens of signs proclaiming a cacophony of messages: “Put on Tefillin,” “We’re From Boro Park,” and “Enjoy Torah, It’s the Real Thing.” In a more stationary mode, the six-man Neginah Orchestrais playing their tunes to an equally enthusiastic crowd.

 

The three images of the Rabbinical Grandstand move from conventional piety to an unexpected pictorial insight. The first image (actually number 3) captures at least 14 elders, almost all with long white beards and many bespectacled, appreciating the proceedings.

 

 


Rabbinical Grandstand #1; Black and white photograph by Jerry Dantzic. Courtesy: Chassidic Art Institute

 

 

The next image from a slightly different angle sees the same men a few moments earlier, but now includes a back row of “ordinary” Jews. One man in the upper left is quizzically looking up at the sky, as if to seek a Heavenly sign of approval of the celebration. 

 

And finally, the last image in this series (number 1) pulls back from the Rabbinical Grandstand to reveal the wooden bleacher on which the sages are seated. Behind them in clear focus is the corner of Kingston Avenue and Eastern Parkway, with the building at 770 Eastern Parkway overseeing the entire scene. The first two rows of the bleacher are empty, creating the illusion and perfect metaphor of Rabbinic elevation and perhaps even levitation.

 

The notion of an event that somehow transcends the mundane world is further explored in another image of the Kingston Avenue/Eastern Parkway corner. The fire escape of the four-story building at 788 Eastern Parkway is packed with young men overlooking the parade. On the second floor a banner proclaims, “The Torah Times: its what’s happening!!” under a six-foot size “pocket watch.” On the floor above, another banner simply proclaims, “Keep Shabbos!” And finally, the top-floor fire escape supports four or five Chassidim appreciating what they think is the best viewpoint. 

 

But the image continues to give more and more precious information the longer the viewer lingers. The fire escape crowd is exclusively men, while the packed crowd on the street below is discreetly mixed with men and women. Everybody is straining for a view of the parade, perhaps none more precariously than the eight men we suddenly notice all the way at the top of the image on the edge of the roof above.

 

Finally, just when we think the image has taught us everything we might want to know about this happy moment in time, we see the two women in the window at the extreme right edge of the print. Their presence peering out of the open window, almost secretively in the otherwise all male building, reanimates the scene with a diversity and excitement that make us want to continue scouring the photograph for more secrets and insights.

 

The combination of an intense crowd scene, the layered placement of 40 figures dressed remarkably alike and integrated with the architecture of an ornate building façade begins to express the complexity and transformative nature of this religious celebration.

 

The heart of this Lag B’Omer celebration may be found in what is the oddest, and yet most exciting, image in the entire exhibition: Dancing Rabbis. The location is suddenly strange and unfamiliar, an open field and bleachers with distant institutional buildings in the background. A line of six couples − all male − are seen dancing across the field with the clumsiest elegance imaginable.

 

 


Dancing Rabbis; Black and white photograph by Jerry Dantzic. Courtesy: Chassidic Art Institute 

 

 

The Lubavitch men are filled with the incredible spirit of the day’s joyousness without the necessary dancing experience – and yetdance they must! One seems to be telling the other, “Just prance and jump, that’s all there is to it!” while another drags his partner in happy excess. The innocence of man dancing with man as couples, not in an anonymous line dance, pushes the image into a transcendence of the moment that perfectly captures the ineffable spirit of Lag B’Omer, a day of release from sorrow; a day of immersion in the holy Torah, and love and joy of our fellow Jews.

 

It is said that photojournalism does not aspire to the refined status of art photography. Its job is relatively simple; just describe in pictures what happened and bring back the story for the uninitiated. We can see from this exhibition that Jerry Dantzic was a first-rate photojournalist who clearly went beyond simple reporting, as his work becomes a testimonial to the Jewish community – its joys and beliefs.

 

At this Lag B’Omer parade, he turned his lens not on floats, banners and spectacle. Rather it was the crowd that mattered to him, since he instinctively knew that the audience − the people who faithfully traveled and participated by their very presence − was the real subject of this celebration. As a proud Jew, he knew it was the Jewish people that ultimately mattered. So too, the banner quoting the 133rd psalm at the top of 788 Eastern Parkway proudly says that where Jews are this united, “For there Hashem has commanded the blessing, May there be eternal life!”

 

Richard McBee is a painter and writer on Jewish art. Please feel free to contact him with comments at rmcbee@nyc.rr.com.

Farbrengen: A Gathering Of Images: Photographs Of Jerry Dantzic

Friday, May 9th, 2003

Farbrengen: Photographs by Jerry Dantzic

Chassidic Art Institute. 375 Kingston Avenue

Brooklyn, New York 11213

718-774-9149

Zev Markowitz, director.

noon – 7 p.m.; Sunday – Thursday until April 27, 2003
Jerry Dantzic Archives; contact Grayson Dantzic; 212-260-7081

 

 

A farbrengen is a gathering of Hasidim in the presence of their holy Rebbe to learn Torah and hear his words of wisdom. This exhibition is such a gathering. The hitherto unseen photographs by the photographer Jerry Dantzic present the collective fabric and texture of the Lubavitch community. The Torah life of a hasid is seen in a joyous wedding dance, tender moments at the bedeckening and under the chupah, a l’chaim to the Rebbe, and rapt attention at leining on Purim morning.

What can these photographs teach us? The similar subjects framed by an empathetic point of view and paradoxically, a certain distance, begin to shape a working definition of the photojournalist. That definition is accepted with pride by Jerry Dantzic, whose photographs
from 1972-1973, Farbrengen, are currently at the Chassidic Art Institute until April 27, 2003.

Dantzic has worked as a professional photographer based in his Brooklyn studio since 1954. The recently published Jerry Dantzic’s New York: The Fifties in Focus (Edition Stemmle, 2002) reveals the astonishing scope of his work, covering almost every aspect of New York neighborhoods and street life. He has photographed Chinatown, Little Italy, Coney Island, Manhattan jazz spots and nightclubs, CBS recording studios, New Years Eve Times Square, digging the Lincoln Tunnel and opening night at the Metropolitan Opera. His lifetime of work as a commercial photographer is paralleled by a passionate love affair with New York and America. His son, Grayson Dantzic, has devoted the last four years to publicizing and publishing his father’s vibrant images of his beloved city. This exhibition presents previously
unprinted work documenting Crown Heights.

Wedding Dancers (1973) captures the joy and exuberance a simcha brings to our hearts. The intensely physical gestures of the two men clad in white shirts against a sea of black jackets sweeps through the image at a breakneck pace fueling the rhythmic clapping of the onlookers who are about to join in. The man in the foreground clapping becomes the visual surrogate for the viewer, drawing us into the action.

Dantzic’s ability to be simultaneously involved with his subjects and yet an objective observer is precisely the quality that allows him to become invisible in the midst of the intensely private world of the Lubavitch Hasidim. In late 1972, he began working on a documentary on the “White Ethnics of America.” He had lived in Crown Heights from 1962 until 1968 and was somewhat familiar with the community. Through a friend, he managed to obtain permission from the Lubavitch to openly photograph the community over the period of the next two
years. They were very taken with his warm personality and he responded in kind. He was given complete access.

At a Farbrengen in 1973, one joins the rapt audience that fills the room to overflowing, seeming to ascend the very walls themselves. This image is the result of dozens of shots he took at that event, shooting away, frequently four or five a minute, until he had captured the
crystallizing moment that would condense the experience into one or two potent images.

Dantzic’s desire to capture and bring together disparate visual phenomena led him to pursue an entirely different kind of photography at about the same time. In 1972, he became interested in an antique panoramic camera – the Cirkut camera that had been developed at the turn of the century. He began working with the dramatic new equipment that allowed him to photograph in color and exacting detail a panoramic scene extending over 360 degrees. The prints are as much as six feet long. Finally, in 1977, he obtained a grant from the National Endowment for the Arts and traveled through 30 states for over 100 days of shooting to document America’s cities, historic sites and landscapes. The result was a one-man show at the Museum of Modern Art in 1978. Effectively, he was creating his own visual record of the country, “my own legend of America” in which the radical extension of vision brings the element of time into the process. A distinct sense of past and future combined in one paradoxically static image
emerges in the gathering of views taken in a fifteen second shot.

Not all of his images attempt to gather in the disparate. President Zalman Shazar Of Israel Toasting the Rebbe (1973) narrows the focus to the joy and satisfaction of Torah giants viewing the meeting of religious and political worlds. The composition is delicately balanced, resting on the fulcrum of a white triangular napkin. The l’chaim cup activates the entire image as everything from the Rebbe, the President and the sages behind them is captured in its blessing.

The photojournalism of Jerry Dantzic is distinct from art photography. Ben Lifson, in his forward to The Fifties in Focus captures Dantzic’s genius. “The task is not to perfect these lyrical moments, but to capture their familiar excellence; not conspicuously to transfigure characters in life as figures in art, but to keep them embedded in life.” Gathering images together so that they can communicate the essence of the people of New York has been the life work of Jerry Dantzic.

The World Outside (1953) was photographed in Williamsburg, Brooklyn. It seems to simultaneously sum up the role of the photojournalist and the religious Jew in New York. The man behind the window compassionately looks out as if to say, “And what do you think you are doing? Do you think your camera will capture me?” This photograph locates its subject embedded in his life inside, and by the reflection in the window, the life outside in the neighborhood. Closeness and distance are depicted as the photographer and his subject both bear witness to the experience that unfolds between them.

The notion of bearing witness becomes the most powerful dynamic in the exhibition. If nothing else, the photojournalist provides a record of what has occurred and in many cases, by implication, what will occur in the future. Life in Crown Heights today looks remarkably similar to the glimpses we see from 30 years ago. The gentle interchange between Father and Son (1973), with the exception of the style of his hat, defies time and defines parenting well into the future.

Jerry Dantzic’s photojournalism frequently implies a narrative that is interrupted. Much like his Cirkut Camera panoramas that attempt to collect in one long print disparate views of one place and time in America, so too the narrative that proceeded and continues after his
images of Crown Heights implies a life that continues on, sure in its faith and devotion. This exhibition, a gathering of images, affirms a life of holiness that he found in Crown Heights 30 years ago and is still vibrant today.

Printed from: http://www.jewishpress.com/sections/farbrengen-a-gathering-of-images-photographs-of-jerry-dantzic/2003/05/09/

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