On October 23, 2014, Nathaniel Deutsch, professor of literature and history and co-director of the Center for Jewish Studies at UC Santa Cruz introduces the practice of havruta.
I would like to start by pointing out how ironic it is to be presenting the topic of Hevruta or Hevrusa (the traditional Ashkenazi way of pronouncing the word) in the form of a lecture. Me standing in front of you; talking at you, as it were. Why it’s ironic should hopefully become clear in the next few minutes and is the subject of my remarks tonight.
Newman, Igor Stravinsky, composer and
conductor, New York, 1946. |
Gelatin silver print © 1946, 17 15/16 x 21 1/16 in. Arnold Newman/Getty Images.
In conjunction with Arnold Newman: Masterclass, The CJM offers insightful chats in the gallery with leading photographers and artists that highlight aspects of craft, creation, and Newman’s influence on modern photography.
San Francisco-based portrait photographer Vince Donovan is the co-founder of Photobooth, a studio and gallery that specialized in hand-crafted photographic techniques including wet plate collodion (‘tintype’), traditional silver gelatin, and Polaroid. He is currently working on Little Cities, a life-long portrait project involving non-profits and communities of faith throughout the Bay Area. Vince answered some of our questions about Arnold Newman.
1. What about Arnold Newman’s work has been most influential to your own creative practice?
What interests me a great deal is that, like August Sander (another of my heroes), Arnold Newman was a day-in, day-out, professional photographer. Portraiture was his job and he worked hard at it. It seems to me that the daily flow of work and the technical mastery that came from thousands of exposures freed him creatively. He knew what he could do, he did it all day long, and he never stopped pushing himself to do it better.
|J. Otto Seibold, Untitled, 2014. Vector illustration, dimensions variable.|
Artist J. Otto Seibold was interviewed by Australian artist Kim Evans for Culturezone. They talked about books, art, graphic design, and licensing.
Kim Evans: Can you please write a short introduction blurb about yourself, how wonderful you are etc . . .
J. Otto Seibold: Hi, I am J. Otto Seibold. I am wonderful etc. . . I have done seven or so childrens books as co-author and primary illustrator. I also did one coffee table type of book for the Japanese market.
Who/what inspired you to become an illustrator/artist? Wen did you know this is what you wanted to be?
I don’t know, I am only just recently telling people that I am an artist . . . . . before that I said I was into “pictures for money” but I don’t feel that way anymore . . . . I really liked what John Hersey was dong back in the day, know what I’m saying? That shit was ill.
Chief Curator Renny Pritikin on David Lane and The CJM's commissioned installation "Lamp of the Covenant"
In summer 2014, one of CJM Chief Curator Renny Pritikin’s first assignments was to liven up The Museum’s lobby. He invited Sacramento-based artist, Dave Lane, to create an installation. The CJM’s first major commissioned art work, Lamp of the Covenant is ninety feet long and weighs 12,000 pounds. Here, Pritikin talks with Daryl Carr, Director of Marketing, about why he chose the artist and why the work is a good fit for The Museum.
Daryl Carr (DC): How did you meet David Lane?
Renny Pritikin (RP): I was hired in 2004 to be the director of the Nelson Gallery at UC Davis. I didn't know anyone in the area except an old colleague, Chris Daubert who teaches at Sacramento City College and runs the Kondos Gallery there. He's a great guy—one of these people who knows everyone. Chris said, "If there's one person in town you have to meet, it's Dave Lane. I have a show of his up now.” And so I made a trip to Sacramento to see his exhibition. It was in this very small gallery, much smaller than our Swig Gallery.
Newman, Georgia O’Keeffe, painter, Ghost
Ranch, New Mexico, 1968. |
Gelatin silver print © 1968, 22 5/8 x 28 1/8 in. Arnold Newman/Getty Images.
Considered one of the twentieth century’s major portrait photographers, Arnold Newman (1918–2006) took photographs that captured the artists, writers, celebrities, politicians, and businessmen that shaped the world during his long career. Well known for his perfectionism, he would meticulously craft his photographs both at the sitting and in the darkroom. However, this rigorous process often meant that in publications and exhibitions of his work, it was nearly impossible for a curator or editor to prevail against Newman’s strong opinions. Because he wanted to show work he felt was most impressive, figures who were no longer well known such as businessmen, as well as landscapes, cityscapes, and abstractions were often omitted from documentation of his work.