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| The Happy couple |
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| Fabulous Faberge cake |
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| Wonderful patio setting |
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| changing lights |
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| modern fires glowing from a rock bed |
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| Philip Swenson and Darwin Slindee |
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| Stunning centerpieces |
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| tent top projects that changed constantly during the evening. |
Sunday, November 16, 2014
RAW alumni marries: Let the Joy Begin
Congratulation to our very own Alexandra Rosa who married her prince Lu Magdeleno. The nuptials were in Las Vegas but a splendidly attired gathering of friends all dressed in black and/or white enjoyed champagne and wedding cake at the Lei Lounge in University Heights for their reception. Ally and Lu were stars of the evening but the cake in the shape of aFabergé was as delicious as it was lovely. Philip Swenson who tells us he is working on a play about Lincoln was as always an entertaining MC for the evening. Congratulation to Lu and best wishes to Ally.
Ethics and Visual Art: Hanan Harchol at the Gotthelf Art Gallery
Hanan Harchol
is an animator, but much more than that. He animates and illuminates
his stylized expressionist drawings with Jewish dialectic: Harchol's stories
are composed of conversations between parents and children that harken
back to Torah and its commentators; these are the conversations that
have lasted for thousands of years.
At the same time, one might think of other duos of dialectic - from the comedic (Abbot & Costello, Burns & Allen, Penn & Teller) to the serious (Socrates and his students or fellow Athenians, Chuang Tzu & Huizi, or the paired learning of chavrusa).
Learning can follow the professor at the podium and the student in the class model, or the more intimate and relational approach of the mentor, apprentice or peer. There is also the 'family' (or kinship) in its various manifestations: the nuclear family, the extended family, the lineage and the clan. However our society constructs the 'family' (whether in hunting and gathering society, tribal society, industrial society), we consider the 'family' is among the psychic forces that helps glue society together. We also think of social breakdown and anomie as linked to the disintegration of the 'family.'
In this sense, Harchol's family dialogues have a universal appeal even with the societal nuances identified above. These dialogues are not just Jewish family dialogues although accents and looks and key phrases provide a specific cultural context.
Together with the strong expressionist style, his dialogues take on the perspective of a "psychological narrative painter."
The animated dialogues come with study guides written by Rabbi Leora Kaye. These guides help focus the discussion, whether for the classroom or informal discussion groups.
For example, in the midst of the animated dialogue on Forgiveness, Harchol poses the following scenario:
This action/feelings issue was noticed by "the psychologist/philosopher William James [who] was one of the first theorists to notice this counter-intuitive process. He believed that emotions arise out of the bodily actions we take in response to what is happening in our lives. It is not, he theorized, that, 'we lose our fortune, are sorry and weep; we meet a bear, are frightened and run; we are insulted by a rival and angry and strike.' In fact, he argued, 'this order of sequence is incorrect...the more rational statement is that we feel sorry because we cry, angry because we strike, afraid because we tremble.'"
"James argued that without some kind of bodily response (crying, trembling, striking) we would not feel emotion. 'We might then see the bear, and judge it best to run, receive the insult and deem it right to strike, but we should not actually feel afraid or angry.' While over simplifying somewhat, he was still onto an essential truth. Behavior can create emotion.'" (Emphasis added.) From an article by Noam Shpancer, Insight Therapy.
To be sure, this action-first-which-then-leads-to-understanding approach appears in Exodus 24:7 (na'aseh v'nishma). Whether one follows Torah or American philosophy, this and other theoretical underpinnings in Harchol's animations and study guides are fruitful to those who wish to investigate, explore and reflect further on this ethical subject matter.
Engaging with Harchol's animations and Rabbi Kaye's study guides is a
multi-layered experience. And, the surprise is that if you go down this
path, you may find that the adventure does not end at the end of the
animation.
The case of envy and looking into other people's windows is a dialogue that stops short of where I would like the dialogue to go. Imagine the difference between a social worker who monitors the case of a single individual or family helping the person or family to make a positive adjustment (help to get a new refrigerator, to get Section 8 housing and the like) AND the social worker as community organizer who goes out into the community and preaches social action. Schools of Social Work allow for these different tracks: psycho-social care versus socio-political action. In the Envy animation, we are treated to the former - a turning inward for dealing with the consequences of envy: Thou shalt not covet thy neighbor's car or girlfriend is not merely a proscription for social harmony, but a way to soothe the beast of temptation.
Then there is the question of envy as redistribution of wealth in order to exact a sense of fairness - but is such 'fairness' - as a socialized form of envy - any different that coveting thy neighbor's goods? This scenario about envy requires a Part 2 to the dialogue - actions that go well beyond looking into someone else's window.
Finding time away from being a high school teacher as well as a classical guitarist, Harchol benefitted from the support of the The Covenant Foundation. Hopefully, we will enjoy many more Harchols from thoughtful benefactors, bringing together art and cultural values.
At the same time, one might think of other duos of dialectic - from the comedic (Abbot & Costello, Burns & Allen, Penn & Teller) to the serious (Socrates and his students or fellow Athenians, Chuang Tzu & Huizi, or the paired learning of chavrusa).
Learning can follow the professor at the podium and the student in the class model, or the more intimate and relational approach of the mentor, apprentice or peer. There is also the 'family' (or kinship) in its various manifestations: the nuclear family, the extended family, the lineage and the clan. However our society constructs the 'family' (whether in hunting and gathering society, tribal society, industrial society), we consider the 'family' is among the psychic forces that helps glue society together. We also think of social breakdown and anomie as linked to the disintegration of the 'family.'
In this sense, Harchol's family dialogues have a universal appeal even with the societal nuances identified above. These dialogues are not just Jewish family dialogues although accents and looks and key phrases provide a specific cultural context.
Together with the strong expressionist style, his dialogues take on the perspective of a "psychological narrative painter."
 |
| Hanan Harchol / Landlord / Forgiveness |
Jewish Food for Thought: The Animated Series by Hanan Harchol
Gotthelf Art Gallery
San Diego Center for Jewish CultureLawrence Family Jewish Community Center Jacobs Family Campus 4126 Executive Drive La Jolla, California 92037 Tel. 858.457.3030
December 10, 2014 - February 25, 2015
Hours: 9 am to 5 pm (daily except for Saturdays & holidays)FREE
Jewish Food For Thought is a collection of animated shorts that
teach Jewish ethics to adults and teens using thought provokingand funny conversations between animated versions of Hanan and his Israeli parents. Each episode focuses on a particular theme such as forgiveness, love, or gratitude, distilling major Jewish teachings on that theme into engaging conversation. The series offers a fresh approach to accessing and applying thousands of years of Jewish wisdom to contemporary life. |
For example, in the midst of the animated dialogue on Forgiveness, Harchol poses the following scenario:
DADDY: "Actions lead to feelings."
Hanan’s father goes on to say:
DADDY: "Stopping an action is not the same as taking an
action. To free yourself from the resentment, you need to take action."
5. What does “actions lead to
feelings” mean? Can a feeling “grow” as a result of an action? Do you agree
that there is a difference between stopping an action and taking one? Can you
think of times in your life when stopping an action actually was an active
choice? Is there something in-between? Do actions lead to feelings or is it
the other way around? Which should be the driving force?
|
This action/feelings issue was noticed by "the psychologist/philosopher William James [who] was one of the first theorists to notice this counter-intuitive process. He believed that emotions arise out of the bodily actions we take in response to what is happening in our lives. It is not, he theorized, that, 'we lose our fortune, are sorry and weep; we meet a bear, are frightened and run; we are insulted by a rival and angry and strike.' In fact, he argued, 'this order of sequence is incorrect...the more rational statement is that we feel sorry because we cry, angry because we strike, afraid because we tremble.'"
"James argued that without some kind of bodily response (crying, trembling, striking) we would not feel emotion. 'We might then see the bear, and judge it best to run, receive the insult and deem it right to strike, but we should not actually feel afraid or angry.' While over simplifying somewhat, he was still onto an essential truth. Behavior can create emotion.'" (Emphasis added.) From an article by Noam Shpancer, Insight Therapy.
To be sure, this action-first-which-then-leads-to-understanding approach appears in Exodus 24:7 (na'aseh v'nishma). Whether one follows Torah or American philosophy, this and other theoretical underpinnings in Harchol's animations and study guides are fruitful to those who wish to investigate, explore and reflect further on this ethical subject matter.
 |
| Hanan Harchol / Landlord / Forgiveness |
Joe Nalven: How do you
see the process of learning from others – especially as a dialog?
Rabbi Abraham J. Twerski: My first association
was Calvin and Hobbes. [The Jewish
tradition features] the Seder: Reciting
the account of the Exodus requires that the children (or wife) ask the four
questions, because the impact is greater in the form of a dialog than by
straight narration.
|
 |
| Hanan Harchol / Landlord / Forgiveness |
The case of envy and looking into other people's windows is a dialogue that stops short of where I would like the dialogue to go. Imagine the difference between a social worker who monitors the case of a single individual or family helping the person or family to make a positive adjustment (help to get a new refrigerator, to get Section 8 housing and the like) AND the social worker as community organizer who goes out into the community and preaches social action. Schools of Social Work allow for these different tracks: psycho-social care versus socio-political action. In the Envy animation, we are treated to the former - a turning inward for dealing with the consequences of envy: Thou shalt not covet thy neighbor's car or girlfriend is not merely a proscription for social harmony, but a way to soothe the beast of temptation.
Then there is the question of envy as redistribution of wealth in order to exact a sense of fairness - but is such 'fairness' - as a socialized form of envy - any different that coveting thy neighbor's goods? This scenario about envy requires a Part 2 to the dialogue - actions that go well beyond looking into someone else's window.
 |
| Hanan Harchol / Jewish Food for Thought |
Sunday, November 9, 2014
SD Art Prize at Art San Diego
SD Art Prize at Art San Diego presented by the San Diego Visual Arts Network opened on Wed. Nov 6 and ran until Sunday Nov 9 . SDVAN showed at booths #300 and #301 with the 2014 recipients Marianela de la Hoz with emerging artist Bhavna Mehta and Philipp Scholz Rittermann with emerging artist Joseph Huppert, Art Notes by Roxana Velásquez, Maruja, Baldwin Executive Director, San Diego Museum of Art , Constance Y. White, Art Program Manager, San Diego International Airport, Kathryn Kanjo, Chief Curator, The Museum of Contemporary Art San Diego, Ben Strauss-Malcolm, director, Quint Gallery . Balboa Park Activity Center (2145 Park Boulevard, San Diego 92101)
San Diego Art Prize is now in its 8th year and the quality of the artist and their works continues to be the gold standard for art in San Diego. Make sure and watch for the larger show of these four artists coming at the end of March to the Athenaeum in La Jolla.
This year Marianela de la Hoz chooses Bhavna Mehta and their works share a dedication to intricate processes: egg tempera by de la Hoz and hand cut paper by Mehta. The works explore the cycle from old age to birth with Mehta bringing us the seeds of beginning and life rituals and de la Hoz describing that delicate and important relationship between the very old and the very young and the fantasy world they share. There is also an element of role reversal as the old become young again. Both Marianela de la Hoz and Bhavna Mehta are represented by Noel-Baza Fine Art
For the first time in the history of the SD Art Prize, a pair of established and emerging artists have decided to collaborate on a work. Philipp Scholz Rittermann and Joseph Huppert conceived and created these four images together using the strengths of both. Rittermann is well know for his large scale urban and natural landscapes that with his precise eye show us a very particular view of the world which we may have overlooked. Huppert is an interventionist who goes into a space and changes it, again making us more aware of that space. Together they have gone into an urban setting, Rittermann behind his camera and Huppert placing objects (in this case bits of black card and green rectangles) so that the our sense of perspective is denied. They have further manipulated the images flipping the triangle onto the background of the grid and vice versa. In each case, we become aware of a myriad of details of the natural scene at first not noticed.
(My apologies to the artist for the poor quality of these reproduction taken on my smart phone...these works need to be seen in person as with all fine art)
Usually I make a choice of the work shown by other booths at Art San Diego to share with you. This year, I am asking my volunteers to make their own choices. The first one is Janine Free's choice of Michelle D. Ferrera-Lubin showing at the San Diego Mesa College Museum Studies booth of work from their faculty and from submission from the San Diego Art Institute. The second one is Julia Rasor's choice of Ellen Dieter shown by Adelman Fine Art which is a gallery opening soon in SD. By the way, Janine Free is showing right now at Mission Trails Regional Park with Beverly LaRock in a show called Now and Zen (until Dec 15, 2014.
The picks by two more our our volunteers; Patricia Franklin has chosen a work by Los Angeles based artist Carmen Stiffleman. Kaarin Vaughan has chosen Oakland's own David Fenton.
Our last day at Art San Diego and we have picks from Vallo Riberto who choose Collective Magpie in collaboration with Steven A. Lombardi, who together created the Wieghtless Lounge in the central hall of the exhibition. Mexican shopping bags were inflated and sealed to create this enclosure. Bebe Brookman picked Rita Maglioli's scultpures, Gailee Walker decided on Pat McNabb Martin, Denise Bonaimo Sarram loved Michelle Kurtis Cole glass works from Sergott Contemporary Art Alliance, and Tom Noel's pick was Gustavo Montoya from Ford Gallery.
My own choice (Patricia Frischer) was from the booth of furniture design at SDSU. I liked the whimsy and surreal qualities of this floating chair by Tom Shields called "Secure".
This is the sixth year of the art fair as it transitions from ownership by Ann Berchtold to the Redwood group. The art displayed was more commercial than in previous years in general, but well chosen and well displayed. Sales, we understand were up. Attendance was good and we all appreciated the new LED spot light which reduced the heat in the space dramatically. The Art Labs in the fair always add an element of experimentation which is so welcome (see Nodo Galeria brings intricate conceptual work to Art San Diego City Beat by Kinsee Morlan) and SD Art Prize continues to set the bar high for quality.
San Diego Art Prize is now in its 8th year and the quality of the artist and their works continues to be the gold standard for art in San Diego. Make sure and watch for the larger show of these four artists coming at the end of March to the Athenaeum in La Jolla.
This year Marianela de la Hoz chooses Bhavna Mehta and their works share a dedication to intricate processes: egg tempera by de la Hoz and hand cut paper by Mehta. The works explore the cycle from old age to birth with Mehta bringing us the seeds of beginning and life rituals and de la Hoz describing that delicate and important relationship between the very old and the very young and the fantasy world they share. There is also an element of role reversal as the old become young again. Both Marianela de la Hoz and Bhavna Mehta are represented by Noel-Baza Fine Art
 |
| Bhavna Mehta |
 | |
Bhavna Mehta: without her ancestry having seeds the family would never have survived the great Indian famine. This homage to relatives is calculated to have 60,000 cuts using between 200-300 exacto knife blades and taking over one month to create. But it is the play of the shadow cast on the wall which is not apparent in this photo that make this tour de force come alive. This is also an homage to Op Art. It was a meditative work for the artist and can serve that role for the viewer as well. Detail below |
 |
| Bhavna Mehta presents these four works with windows so we can see in and be tempted to leap out. Again they are cut paper and very 3-D which is hard to tell from the photo so the light and shadow bring them alive. They make strong reference to the Indian Miniatures with small format and strong colors each one telling a story |
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| Bhavna Mehta |
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| Bhavna Mehta (SOLD) |
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| Bhavna Mehta |
 |
| Bhavna Mehta: Two large mandalas were displayed with yellow background like the sun shining down upon the booth. The largest paper doily's you will ever see. Like all mandalas they are used for meditation with their every widening symbols and motifs. |
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| Bhavna Mehta: New water jet cut stainless steel works that are powder coated. These works actually glow with a silver luster hard to catch in a photo. |
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| Marianela de la Hoz; if you look closely you can see that the little girl in this image is actually an old women with grey hair and a wrinkled face.Considering that these works are egg tempera they are large works. The process uses the yolk of an egg to mix dry pigment and each individual stroke of the brush is completely transparent. It take two layers to begin to see color so it is slowly built up creating the finest possible details. This work is actually framed together with the story below |
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| Marianela de la Hoz: this silver point drawing on gesso only truly reveals itself over the months as the silver lines oxidize. The story is one often told to the artist by her mother of an old lady who complains of not having enough food, clothes shelter etc even though she actually has an over abundance. She eventually dies of "wrinkleism": |
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| Marianela de la Hoz: notice the old hands of this young lady and her very worn soles. We can imagine this as an old women re-living her memories |
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| Marianela de la Hoz |
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| Marianela de la Hoz |
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| Marianela de la Hoz |
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| Marianela de la Hoz |
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| Marianela de la Hoz |
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| Marianela de la Hoz |
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| Marianela de la Hoz and Bhavna Metha installion |
(My apologies to the artist for the poor quality of these reproduction taken on my smart phone...these works need to be seen in person as with all fine art)
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| Philipp Scholz Ritterman and Joseph Huppert |
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| Philipp Scholz Ritterman and Joseph Huppert |
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| Philipp Scholz Ritterman and Joseph Huppert |
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| Philipp Scholz Ritterman and Joseph Huppert |
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| Philipp Scholz Ritterman and Joseph Huppert |
Usually I make a choice of the work shown by other booths at Art San Diego to share with you. This year, I am asking my volunteers to make their own choices. The first one is Janine Free's choice of Michelle D. Ferrera-Lubin showing at the San Diego Mesa College Museum Studies booth of work from their faculty and from submission from the San Diego Art Institute. The second one is Julia Rasor's choice of Ellen Dieter shown by Adelman Fine Art which is a gallery opening soon in SD. By the way, Janine Free is showing right now at Mission Trails Regional Park with Beverly LaRock in a show called Now and Zen (until Dec 15, 2014.
 |
| Ferrera |
 |
| Dieter |
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| Carmen Stiffleman. |
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| Carmen Stiffleman, side view |
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| David Fenton. |
Our last day at Art San Diego and we have picks from Vallo Riberto who choose Collective Magpie in collaboration with Steven A. Lombardi, who together created the Wieghtless Lounge in the central hall of the exhibition. Mexican shopping bags were inflated and sealed to create this enclosure. Bebe Brookman picked Rita Maglioli's scultpures, Gailee Walker decided on Pat McNabb Martin, Denise Bonaimo Sarram loved Michelle Kurtis Cole glass works from Sergott Contemporary Art Alliance, and Tom Noel's pick was Gustavo Montoya from Ford Gallery.
 |
| Magpie chose by Vallo Riberto |
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| Bebe Brookman loved Rita Maglioli |
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| Pat McNabb Martin was chosen by Gailee Walker |
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| Michelle Kurtis Cole at Sergott Contemporary Art Alliance was Denise Sarram's choice |
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| Gustavo Montoya from Ford Gallery. Tom Noel's choice (from Noel-Baza Fine Art) |
My own choice (Patricia Frischer) was from the booth of furniture design at SDSU. I liked the whimsy and surreal qualities of this floating chair by Tom Shields called "Secure".
This is the sixth year of the art fair as it transitions from ownership by Ann Berchtold to the Redwood group. The art displayed was more commercial than in previous years in general, but well chosen and well displayed. Sales, we understand were up. Attendance was good and we all appreciated the new LED spot light which reduced the heat in the space dramatically. The Art Labs in the fair always add an element of experimentation which is so welcome (see Nodo Galeria brings intricate conceptual work to Art San Diego City Beat by Kinsee Morlan) and SD Art Prize continues to set the bar high for quality.
Tuesday, November 4, 2014
Encinitas Dia de los Muertos
The first ever Encinitas Dia de los Muertos (Day of
the Dead) Sat, Nov 1, 2014, 12:00-4:00pm, at the Encinitas Library,
540 Cornish Drive, Encinitas, CA 92024 presented by the newly formed Encinitas Friends of the Arts (EFA) headed by Naimeh Tahna Woodward and the City of Encinitas Arts Division. It is FREE and Dave Roberts the supervisor for District 3 is the honorary chair of this event.
The event included dance performances, arts demonstrations and workshops, plus the important “ofrendas,” or altars in tribute to departed friends and relatives. Food trucks were there for hungry participants and viewers alike.
You only have to take a look at these fabulous pictures and you will see how great this event was for the 2000 that attended. Abby McKee ,EFA board member chaired this committee and Dr. Beatrize Villareal ,EFA advisory board member was an MC. The entire volunteer committee did a wonderful job. Bravo.
Jim Gilliam, Art program director for Encintias says this is the first of many and has already set the date of Sunday, Nov. 1 in 2015.
The event included dance performances, arts demonstrations and workshops, plus the important “ofrendas,” or altars in tribute to departed friends and relatives. Food trucks were there for hungry participants and viewers alike.
You only have to take a look at these fabulous pictures and you will see how great this event was for the 2000 that attended. Abby McKee ,EFA board member chaired this committee and Dr. Beatrize Villareal ,EFA advisory board member was an MC. The entire volunteer committee did a wonderful job. Bravo.
Jim Gilliam, Art program director for Encintias says this is the first of many and has already set the date of Sunday, Nov. 1 in 2015.
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| Day of the Dear Alter |
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| Smallest skull |
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| District 3 Supervisor Dave Roberts |
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| Sugar Skulls before |
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| Sugar Skull after |
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| Ballet Folklorico |
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| Ballet Folklorico |
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| All that excitements builds an appetite! |
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