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Tag: Jennifer Eiserman

What makes art Jewish?

What makes art Jewish?

Sorel Etrog’s sculpture in Odette Sculpture Park, in Windsor, Ont. Etrog was one of four artists featured in Prof. Jennifer Eiserman’s March 7 lecture, Is There Such a Thing as Canadian Jewish Art? (photo by Matt Glaman)

Is there such a thing as “Jewish art” in Canada? Dr. Jennifer Eiserman explored this question in a March 7 Zoom lecture organized by Victoria’s Kolot Mayim Reform Temple.

Eiserman, an artist and an art professor at the University of Calgary, shared some of the preliminary findings of her investigation. She pointed out that, with respect to the concept of “Jewish art,” she was not referring to Judaica or Jewish themes in art. “I’m curious about whether artists with some kind of Jewish background make art that is qualitatively different from other artists. If so, I am interested in how these Jewish artists speak and think Jewishly,” she explained.

She began by providing a background to Canadian art history and, specifically, how it has been taught. There has been a profound shift, to put it mildly, in focus, she said. Prior to 1990, the study of Canadian art was a colonial one, concentrating mostly on male artists of European descent. Now, the works of women, Indigenous people and others are part of the curriculum.

Eiserman then discussed four artists and how they speak both Jewishly and as Canadians. She started with sculptor Sorel Etrog (1933-2014) and his contribution to Canadian Modernism. Etrog was a Romanian-born Holocaust survivor who spent time in Israel before immigrating to Canada. His biography is one of movement from place to place.

“The way I see Etrog speaking Jewishly is through the tension between tradition and innovation and the notion of interweaving roads, the idea of the new, which occurs in Etrog’s work,” Eiserman said.

His work, she added, also speaks Jewishly, in that it maintains certain core principles of the genre of public sculpture while addressing the contemporary context in which the sculpture is being placed. Just as we place Jewish law from generation to generation into contemporary contexts, Etrog’s art innovates while carrying on traditional elements.

The figurative art of Betty Goodwin (1923-2008) was demonstrated as being the work of “an outsider, someone not part of the Old Boys’ Club and one who had to find her own way.” Her work, according to Eiserman, contributed internationally to how drawing was defined and what it was to become.

“Her floating figures might express the experience of being in a world that does not welcome one’s experience. The experience of being neither here nor there. Her work speaks to the experience of losing and finding,” Eiserman noted.

Sylvia Safdie’s video installations of flowing water, sand, light and sound advance the traditional concerns of Canadian art with landscape and nature, most commonly associated with the Group of Seven. Safdie was born in Lebanon in 1942 and her family moved to Montreal in 1953.

Safdie’s video can be perceived as exploring a variety of themes that allow her to bring her own voice into the world. “Her work is part of a post-colonial narrative in which some people have experienced harm as the nation of Canada came into being, and speaks Jewishly of the central issues of living in the Diaspora – how to adapt and yet maintain our identity,” said Eiserman.

The distinctively Jewish fantastical creatures of sculptor David Altmejd (born 1974), who represented Canada at the Venice Biennale in 2007, were the final set of slides shown by Eiserman. She described Altmejd as the “quintessential 21st-century Canadian artist. He is bicultural, multilingual, internationally known and now lives in another country (United States) yet is still deeply rooted in Canada.

“Life is complicated, Altmejd reminds us, we can’t have the good without the bad. Yet, always in his work, life shines through. While he rarely discusses his Jewish roots … one can see that his works speak Jewishly in many aspects,” Eiserman said.

Growing up in Montreal, Eiserman experienced the national influence that the Saidye Bronfman Centre had in disseminating Canadian Jewish art. She received her bachelor’s in art history and master’s in education through the arts at McGill University in Montreal, and a bachelor’s in fine arts (visual art) at the University of Regina in Saskatchewan. Her doctorate, one of the first to use studio art as its method of inquiry, is from the University of Calgary, where she is now an associate professor. Her current research is in North American contemporary Jewish art and community-based Jewish art.

In her artistic endeavours, Eiserman uses mixed media, crochet, watercolour, installation and public art projects to explore issues related to Jewish theology, philosophy and identity. She refers to her work as “visual Midrash, an artistic response to sacred Jewish texts.”

Sam Margolis has written for the Globe and Mail, the National Post, UPI and MSNBC.

Format ImagePosted on March 19, 2021March 18, 2021Author Sam MargolisCategories Visual ArtsTags art, Betty Goodwin, Canada, David Altmejd, Jennifer Eiserman, Kolot Mayim, painting, sculpture, Sorel Etrog, Sylvia Safdie, University of Calgary, visual midrash

Canadian Jewish art?

Does Canada have Jewish art? What defines Jewish art? University of Calgary art professor Jennifer Eiserman will address those questions on March 7, at 11am. The Zoom event is the fifth in Kolot Mayim Reform Temple’s 2020-21 Building Bridges lecture series.

photo - Prof. Jennifer Eiserman
Prof. Jennifer Eiserman (photo from art.ucalgary.ca)

With a wealth of visual support, Eiserman will introduce the rich esthetic traditions that inform contemporary Jewish art in Canada. The artists to be discussed include Sorel Etrog and his contribution to Canadian Modernism, the figurative work of printmaker Betty Goodwin, and the Jewish fantastical creatures of sculptor David Altmedj, who represented Canada at the Venice Biennale in 2007. Sylvia Safdie’s video installations of flowing water, sand, light and sound advance the traditional concerns of Canadian art with landscape and nature more commonly associated with the Group of Seven.

Growing up in Montreal, Eiserman experienced firsthand the national influence that the Saidye Bronfman Centre had in disseminating Canadian Jewish art. She spent her childhood in Montreal and her adolescence in Alberta’s Cypress Hills. She did her bachelor’s (art history) and master’s (education through the arts) at McGill University in Montreal, and a bachelor of fine arts (visual art) at the University of Regina. Her PhD, one of the first ever to use studio art as its method of inquiry, is from the University of Calgary, where she is now associate professor in the department of art. Her current research is in North American contemporary Jewish art and community-based Jewish art.

Eiserman is also a successful practising artist. She uses mixed media, crochet, watercolour painting, installation and public art projects to explore issues related to Jewish theology, philosophy and identity. Eiserman explains that her work is “what I call ‘visual midrash,’ my artistic response to sacred Jewish texts.”

For more information on and to register for Eiserman’s talk, visit kolotmayimreformtemple.com. For coverage of the Jan. 3 lecture of the Building Bridges series, click here.

Posted on February 26, 2021February 24, 2021Author Kolot MayimCategories Visual ArtsTags art, Canada, Jennifer Eiserman, Judaism, painting
Call for digital art

Call for digital art

(photo by Alex Dworkin/Canadian Jewish Archives)

During the Second World War, 17,000 Jews were enlisted in the Canadian Armed Forces, serving their country despite Canada’s “none is too many” Jewish immigration policy. Of these 17,000, at least 279 were women. To highlight the contributions of these Jewish servicewomen and to combat the lack of public awareness of their participation in the war, original artworks are being sought.

Canadian artists who self-identify as Jewish and as women are invited to submit proposals for 2D digital artwork, inspired by the stories of the 36 Jewish service women featured on the website She Also Serves, live-ucalgary.ucalgary.ca/she-also-serves.

Submissions should include a maximum 500-word idea for an original 2D digital artwork (created, for example, using Photoshop, digital photography, digital collages, etc.) for a vertical banner measuring 75 by 165 centimetres. A link to your website, or a pdf including 10 examples of previous work and a curriculum vitae, must accompany the submission. Digital copies of drawings, paintings or other non-digitally generated works will not be considered.

In the end, 10 artists will be invited to create works based on the proposals submitted. Criteria for evaluation include clarity of theme, quality of research supporting the proposal, creativity, visual presentation, and quality of supporting documents. The jurors are Dr. Jennifer Eiserman, associate professor, department of art, University of Calgary; Saundra Lipton, adjunct librarian, U of C; Dick Averns, Canadian Forces artist; and David Bercuson, U of C department of history.

Selected artists will receive a contract indicating that each artist retains copyright and will be paid a CARFAC group exhibition fee of $395. These works will be printed on banners that will be hung throughout the existing exhibitions and galleries at the Military Museums in Calgary during Jewish Heritage Month, May 2021. In addition to the physical exhibition, artworks will be virtually circulated on the project website.

Submissions are due by Dec. 31, 2020 and artists will be notified by Jan. 22, 2021, regarding the jury’s decision. Artists invited to participate will be asked to send TIFF files of completed pieces by April 1, 2021. Send submissions and any questions to Eiserman at [email protected].

Format ImagePosted on November 27, 2020November 25, 2020Author University of CalgaryCategories Visual ArtsTags digital art, Jennifer Eiserman, Jewish Heritage Month, Jewish women, Second World War, University of Calgary
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