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Claire Jeanine Satin
b. 1942 in Brooklyn, NY; lives in Dania Beach, FL
Selected Collections:
Library of Congress, Washington DC; Victoria and Albert
Museum, London; Getty Center for the History of Art and Humanities, CA;
Museum of Modern Art, NY
Pentimento LV / Hamsa Azure,
2003
Printing on acetate, metallic overprinting, ink,
monofilament, glass beads; 11" x 4.5"
Satin is a conceptual book artist, sculptor, and designer of public art installations.
Her works have been influenced by composer/visual artist John Cage, and by her
parents, especially her father, who taught stenography and stenotyping. Satin
states: “The ‘book’ can take on forms that do not involve ordinary ‘reading’ prac-
tices such as those found in codices, scrolls, tablets, etc., or ordinary media such
as paper, velum, etc. My work becomes a book the instant one recognizes
its potential ‘to read’.”
Rochelle Rubinstein
b. 1953 in Toronto, Canada; lives in Toronto, Canada
Selected Collections:
Museum of Modern Art, NY; New York Public Library, NY;
Irish Museum of Modern Art, Dublin, Ireland; Ohel Moshe Museum, Shanghai,
China; Yale University, CT
Oy Oy Lach,
2006
Woodblock, softoleum, printed, dyed silk; 48" x 36"
“‘
The city of Jerusalem – a wicked prostitute.’
That is how Ezekiel described the
beloved city as a rebuke of its wanton citizens. I carved Ezekiel's words
‘
oy oy lach’ –
woe woe to you
–
on a printmaking block and added the words
‘
oy oy lee’ –
woe woe to me.
These two phrases, printed many times over a woodblock image
of a girl in a coat, and then embroidered, are an expression of my solidarity
with female suffering and transcendence throughout the ages.”
Lisa Rosowsky
b. 1965 in Boston, MA; lives in Framingham, MA
Selected Exhibitions:
Paine Gallery, Massachusetts College of Art; Hebrew College, Newtown, MA;
Yale University, CT
Designated Mourner,
2008
Wool crepe, silk, crepe, silk linen, silk velvet, cotton, polyester; 60" high
“
Much of my work is centered on my experience as the daughter of a “hidden child” and refugee
from the Holocaust. Second-generation themes of repression and loss seem to come up again and
again as I sift through memories and stories about a family decimated by the war. I work in a variety
of media, but am especially attracted to fabric. The translucency of silk, voile, or gauze, and the
images seen both on or through the cloth, are for me like the transience of memory, and the fading
into history of the few remaining relatives who can speak of these memories.”