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Ina Golub
b. 1938 in Newark, NJ; lives in Mountainside, NJ
Selected Collections:
Jewish Museum, NY; Yeshiva University Museum, NY;
Newark Museum, NJ
Who Is Like You, Oh God,
2008
Mixed fibers, metallic cords, threads, beads, watch crystals; 23" x 15" x 5"
“
A fiber sculptured form decorated with beads represents the wall of water that
flowed fourth when the sea parted for all the Israelites to pass through to the
promised land. My free-form
Seder
plate expresses one of the most important
experiences of the Jewish people – the crossing of the Reed Sea. Imagery also
refers to the pillars of cloud and fire that guided the journey day and night; the
sea pockets of dry land form the major parts of the plate. Spaced through the
water and shallows toward the future march the vessels that hold the symbolic
food – metaphors for the Israelites on their way to freedom.”
Laurie Gross
b. 1952 in Los Angeles, CA; lives in Santa Barbara, CA
Selected Collections:
Central Synagogue, New York, NY;
Temple Congregation Ohabai Sholom, Nashville, TN;
Temple Beth Shalom, Miami Beach, FL; Westchester
Reform Temple, Scarsdale, NY
The Seven Days of Creation,
2007
Designed with Susan Jordan
Jacquard woven and hand embroidered cotton; 10' x 30'
Commissioned for the Temple Congregation Ohabai
Sholom in Nashville, Tennessee.
The textile is split into seven panels and has embroidered im-
agery depicting God’s creation, beginning with the first day
on the far right and ending with the Sabbath on the far left.
Carol Hamoy
b. 1934 in New York City; lives in New York City
Selected Exhibitions:
Ellis Island, NY; Neuberger
Museum of Art, NY; Mizel Museum, CO;
Longyear Museum, Hamilton, NY
Exodus,
2008
Mixed media; 22" x 39" 2.5"
Wings of embroidered gloves evoke the passage to freedom.
Hamoy explains, “By constructing works about women and
women’s issues, I hope to note the accomplishments and
importance of many ‘invisible’ little girls. These little girls
became women who comprise approximately fifty-one per-
cent of the population and their ‘voices’ need to be heard.
In my use of fabric, lace, and articles of clothing as my
media, I maintain the memory of my immigrant family’s
participation in the garment industry. By reaching back
into my history, I honor their history.”