A joint exhibition of Mizel Museum and Loveland Museum
Featuring the paintings of Andrew Svedlow
Opening reception Loveland Museum April 10, 6-8 PM
Opening Reception Mizel Museum April 28, 5:30-8 PM
Exhibition ends July 12, 2015
This series of paintings, installed at Mizel Museum and Loveland Museum/Gallery, concerns itself with the memory of love, of those who have left or died, of the multitudes who have suffered atrocities in the past and across the globe today, and in remembrance of the individuals who perished during, and those who survived, The Holocaust. This April 2015 marks the 70th anniversary of the end of The Holocaust in 1945. This series of seventy paintings is a silent remembrance of the many layers of suffering endured during The Holocaust and since.
Like memory, these works of art are clouded with emotion, history, and unconscious intentions. They are not an homage to suffering nor an illustration of atrocities. They are the unfolding of the strata of my mindfulness as I pursue and come to grips with my own understanding and remembrance of the loss of and to humanity that is The Holocaust. In a highly subjective and perhaps selfish way, they represent my personal struggle with my remembrance of things lost, of lost love, of lost lives, and of lost innocence. –Andrew Svedlow
Hidden Links: Exploring Jewish Identity
Co-curated and produced by Mizel Museum and Center for the Arts, Evergreen
New York artists Cynthia Beth Rubin and Yona Verwer Exhibit a varied series of Jewish-themed works. They will exhibit works created together and separately, demonstrating how very different paths led each artist to an exploration of Jewish history and heritage that naturally culminated in a collaborative works. Working together as interpreters of history and heritage as they, photograph, document, represent, and weave together the stories of the past and the present.
The resulting collaborative works are presented as canvas banners, incorporating painterly digital imagery and physical acrylic paint. The banners are conceptually layered with augmented reality, drawing upon interviews with residents and experts from the neighborhood.
These works draw on both Rubin’s and Verwer’s earlier cultural heritage work, which will be exhibited alongside the collaborative works.
Rubin describes her work as an investigation of the threads of cultural memory which comes from some place beyond the individual. She is interested in how cultural traditions collide and merge, and how this is embedded in all of us. New technology has expanded her visual vocabulary, and all of her work, both video and still imagery, is now produced through the computer. Rubin’s imagery grows from the affinity between her life as a contemporary American, and what she regards as her heritage. Although much of her work focuses on Eastern European Jewish culture, many other cultural legacies have touched her work as well. Recently she has incorporated imagery from the environment, particularly the microscopic world, in revealing the hidden world that impacts our environment. Rubin is a pioneer in implementing the new technology of Augmented Reality to engage the viewer in a conceptual dialogue with artistically mediated artwork and microscopic life, echoing the experience of awe that has long been nearly exclusively the realm of the scientist.
Verwer’s work reflects her background of coming to Jewish observance later on in life, by considering the cultural zones in which she has lived. In combining the imagery of the Jewish past with the role she plays in America today, she is making a new art inspired by Torah, Kabbalah and pop-culture. Her City Charms series is based on Jewish architecture; their talisman aspects invoke protection from acts of destruction on buildings, particularly terror-watch-list targets. Her panels depicting interiors of Lower East Side synagogues capture this neighborhood’s Jewish diversity. Her Kabbala of Bling series comments on the appropriation of Kabbala by pop icons. As Ori Z. Soltes wrote: “Verwer’s Kabbalah of Bling series is intended to merge the deeply spiritual with the banal. “Kabbalah” and “Bling” should ordinarily be mutually contradictory”