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Mark Podwal
The Letters of Gershom Scholem,
2002.
Etching on paper, #3/35;
6 1/2"
x 6 1/2"; Courtesy of Forum Gallery
Education:
M.D., New York University; B.A. Queens College, NY.
Selected Collections:
Metropolitan Museum of Art, New York; Vic-
toria and Albert Museum, London; Library of Congress, Washington,
DC; Jewish Museum, New York; National Gallery, Prague
“
After my mother died earlier this year, I read and re-read the words
of Ecclesiastes, which declares that ‘there is nothing better for man
than to rejoice in his own works, since that is his portion. For who
can enable him to see what will be after him?’ As an artist, I am able
to rejoice in the creative process. Of course, I would be dishonest if
I did not admit to trying to cheat death through my work.”
Archie Rand
Painting for the cover of “Zionism: The Sequel,”
published by Hadassah, 1998.
Acrylic on canvas; 19 1/2" x 15 1/2"
Education:
B.F.A., Pratt Institute; Art Student League; City College of New
York.
Selected Collections:
Metropolitan Museum of Art, NY; Museum of
Modern Art, NY; Bibliothèque Nationale, Paris; Israel Museum, Jerusalem;
Victoria and Albert Museum, London
Irit Rosenberg
Boxed Fence,
2008.
Ceramic/mixed media box slab;
10"
x 10" x 2"
Education:
M.A., Fordham University, NY; B.A., Hunter
College, NY.
Selected Collections:
American Embassy, Israel;
Collection of Wachovia Bank; Duff and Phelps Investment
Collection.
“
All over the world, maps speak volumes and paint real pic-
tures of the complex history of a land, as they demarcate,
separate, enclose, and divide. Israel, in particular, is awash in
maps – political maps, territorial maps, and biblical maps. In
our current society, maps evoke extreme emotions from both
Arabs and Israelis. Inspired by the need to explore this univer-
sal phenomenon creatively, I use images of maps, walls, and
fences as metaphors of man’s futile attempt to rule over the
land and dictate the fate of its inhabitants. I work with clay,
a material that comes from the earth, the very land itself. Just
as maps are constantly being altered and manipulated, my in-
dividual pieces are reworked and altered to attain their organic
nature. The textural landscapes of my vessels and wall forms
are achieved by a combination of glazes, oxides, and multiple
firings, together with silk screen.”