The ethnic and religious diversity of the seventy artists in this exhibition find common ground in their expression of the essence of human connections.”The Tenement Museum provides walking tours and is a popular attraction in the. Bernard Heller Museum’s mission to present exhibitions that explore Jewish experience, values, and history and have universal relevance. The exhibition features twenty-six objects from The Museum at FIT, fashion illustrations from FIT’s Gladys Marcus Library Special Collections and College Archives Director Jean Bloch Rosensaft noted, “Relative Relationships” represents the Dr. The Roaring Twenties and The Swinging Sixties is the first virtual exhibition coproduced by The Museum at FIT and the School of Graduate Studies that was curated especially for an online audience.
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The loss of that relationship is expressed by the poignant torn shirt of mourning by Ken Goldman, embroidered with the words “Take Care of Your Father,” and Nancy Mantell’s photograph of “US Military Cemetery at Margraten,” where her prisoner of war father, killed by the Nazis, lies buried.The cycle of life is evoked by Maya Brodsky’s painting of three generations in “Adriel,” Susan Grabel’s ceramic sculpture series, Deborah Rosenthal’s abstracted ‘garland’ of parents and child, Janet Goldner’s welded steel diary in “As Life Slips Away,” and Grace Graupe-Pillard’s “Lightbulbs,” expressing the fragility of her aging parents’ lives.Portraits include Robert Forman’s yarn painting of his family, Louise Silk’s embroidered textile tribute to “Bubbe and Zadie,” Maxine Hess’s fabric collage of her Saturdays with her grandfather, Lloyd Wolf’s “Grandma’s Kiss,” and Ellen Holtzblatt’s father holding his grandchild. The primal relationship between mother and child can be seen in Will Barnet’s linear etching, Reuven Rubin’s pastel/watercolor, Mark Bergash’s gelatin silver print portrait, and Paul Weissman’s paired x-ray images of ‘like mother, like daughter’ in “Sum of Us.”Parent-child relationships are further explored by Carol Hamoy’s child’s dress embedded with her father’s image and her poetry in “This Is My Dad” and Nathan Hilu’s nostalgic depiction of his parents’ wedding in Damascus in 1910. Mark Podwal captures the magical moment when Pharoah’s daughter rescued Moses from the bull rushes.Contemporary family relationships are expressed through a broad range of media. Barbara Hines offers a contemporary spin in her depiction of Joseph in his coat of many colors taking a ‘selfie’ of himself with his brothers in “Spotlight on Joseph.” Lionel Picker describes the psychological complexity of the reunited siblings in “Joseph Reveals Himself.” Richard McBee’s “Jacob’s Blessing” reveals the rifts within this patriarch’s dysfunctional family. Advance booking is recommended, particularly for exhibitions as.Rabbi David Adelson, Dean of HUC-JIR/New York, stated, “The unity amid diversity represented in “Relative Relations” is exactly the message we need to hear in this moment in our nation’s and world’s history.”The Hebrew Bible serves as a point of inspiration for several contemporary artists in the exhibition.
Childhood friendships are depicted in Robin Tewes’s “Fair Game” and Joyce Ellen Weinstein’s “The Surrogate Family.”The alliance of African-American and Jewish civil rights activists is evoked in Jeffrey Schrier’s “Black and White, Selma, 1965: Praying with Our Feet.” The collaborative mixed media vessels by Jackie Abrams and Deidre Scherer both depict and embody friendship, while Ken Ratner’s photographs convey the connections between men conversing or playing games in China Town. Patricia Van Ardoy’s etching of twins in “Brothers: The Miners” conveys their child labor victimization.Food as the building block for relationships can be seen in a number of works, including Andi Arnovitz’s “Theresa Feldman: Food is Life is Love,” Dorene Beller’s “Family Dinner,” Bernard Brussel-Smith’s wood engraving “Breaking Bread,” Bonnie Heller’s family cooking together in “Bless These Hands,” and Morris Topchevsky’s “Lunch Hour” during the Depression.Relationships by choice are seen in Heddy Abramowitz’s intimate photo of male friends in a cafe, Tully Filmus’s exuberant charcoal drawing of Hasidic men dancing, Maj Kalfus’s men in “White Shirts,” Marc Weinstein’s “Friends,” and Archie Rand’s “The Artists.” Dare Boles “Letters from Home” depicts the sustenance of distant connections, while Ruth Leaf’s “Orchard Street” captures neighborhood associations. Young and old love are evoked by the embracing couples in Nadine Epstein’s photograph “Shadows After the Rain,” Ruth Weisberg’s affectionate portrait of her daughter and son-in-law inn “Married,” Todd Weinstein’s “Old Couple in Garden Cafeteria, NYC,” Deborah Amerling’s “Sharing the Ladder of Life,” and Phyllis Herfield’s “Family Portrait” depicting an elegant couple in their opulent home.Estelle Yarinsky’s large scale quilted textile of “Lucie” conveys Lucie Dreyfus’s faithful struggle to overturn the anti-Semitic conviction of her husband, Captain Alfred Dreyfus in the Dreyfus Affair.
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