Ayana Friedman
Archaeology,
1980.
Paper, felt, found plastic shards; 26" x 12"
Education:
M.A., B.A., Hebrew University of Jerusalem.
Selected Collec-
tions:
Hebrew Union College-Jewish Institute of Religion Museum, NY;
Hebrew University, Mount Scopus, Jerusalem; Museum of Contemporary
Art, Ramat Gan, Israel
“
This work includes fragments of a map of Israel and plates (inscribed in
Hebrew with statements including “Now is the time to be happy,” and
“
It’s good to work” taken from the American series “Holly Hobbie” and
documentation from the meeting between Begin and Sadat that preceded
the peace accord with Egypt) that are attached to a window screen with
embroidery thread. The map, which appears as an empty frame, expresses
the fear of Israel’s gradual disappearance from the world map, like the dis-
appearance of Tel Hai (where the residents of this Jewish community in
the Galilee were murdered by Arabs in 1920). The plate shards are like bits
of archaeological data that are supposed to provide information on what
transpired here to future generations.”
|4
Janet Goldner
Land of My Grandparents,
2004.
Metal (steel) book; Five panels, each 13 1/2" x 17"
Education:
M.A., New York University, New York; B.A., Antioch
College, Yellow Springs, OH.
Selected Collections:
Europos
Parkas, Vilnius, Lithuania; Islip Museum, East Islip, NY; Borough
of Manhattan Community College, NY
“
I create works that bring together art and poetry by cutting im-
ages and texts into formed steel sculptures using a welding torch
as a drawing instrument. I combine the tactile, spatial forms of
sculpture with succinct comments on contemporary social issues.”
Leslie Golomb
6045
,
2006.
Paper-plate lithograph with chine-collé; 22" x 30"
Education:
M.F.A., School of the Art Institute of Chicago; B.F.A., Carnegie-Mellon
University, Pittsburgh, PA.
Selected Exhibitions:
International Print Center, NY;
The Boston Printmaker’s 60th Anniversary North American Print Biennial, MA;
The Print Center, Philadelphia, PA
“
6045
,
part of the series
Unbreakable
,
explores discriminating practices based on leg-
islating race. My inspiration was the discovery of hundreds of broken German-made
dolls, circa World War II, on eBay. Historians note that the doll factories were shut
down to produce war machines, but they also speculate that the Nazis objected, on
ethnic grounds, to the character of the dolls and contemplated halting the manufac-
tured goods.
Unbreakable
allowed me to use my artistic license to de-criminalize the
broken dolls of Germany as a metaphor for race as social construct.”