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Surfing The Century

Jewish artists figure prominently in U-M exhibit.

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LYNNE KONSTANTIN

Special to the Jewish News

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Narrowing The Number

When faced with the daunting task of
representing the entire century in a
5,000-square-foot gallery, he says, he
"chose pieces that were quintessential of
an artist or movement for an in-depth
overview of noteworthy movements of

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//A

Ann Arbor
ewish artists date back to biblical
times, illuminating magnificent
manuscripts and embellishing
beautifully the Torah as prescribed by a
passage in Exodus. They did not, how-
ever, rise in prominence as "fine artists"
until the 19th century, when the
European Enlightenment allowed Jews
to leave the ghetto and enter universities
and art academies.
By the 20th century, Jews making sig-
nificant contributions to the art world
ranged in diversity from Eastern
Europeans studying in Paris to post-
World War II children of immigrants
born and bred in America.
.
Some were inspired by religious
imagery or experience, like Louise
Nevelson (born Leah Berliawsky in
czarist Russia), Connecticut-born sculp-
tor and painter Sol LeWitt, Lithuanian
sculptor Jacques Lipchitz and German
Expressionist Max Beckmann. Others
followed a more secular muse.
Either way, Jews have had a great
impact on a prolific 100 years of innova-
tion in art history, as evidenced in
"Surfing the Century: Twentieth-
Century Art." In this carefully chosen
retrospective of fine and decorative arts
in the 20th century, on view at the
University of Michigan Museum of Art
through May 15, the works of extraordi-
nary Jews (including those mentioned
above) and non Jews stand side by side
in loose chronological order.
Of the almost 100 exhibited works
(some artists are represented multiple
times), nearly one-quarter is the creation
of Jewish artists.
Culled by Sean Ulmer, university
curator of modern and contemporary
art, from the museum's permanent col-
lection of 6,500 works of Western art,
the exhibit focuses on works that are
masterpieces, explains Ulmer.

miebigan council for
arts and cultural offirin

435170

the 20th century" Because of space
restrictions, Ulmer was often forced to
make difficult choices, but as a result,
the exhibit has a fluidity that is more
expressive than many chronologies of a
period in art history
"The selection really depended on
how works communicated with each
other on the walls," says Ulmer. "It was
important that they set up interesting
conversations and visual connections
with each other within the gallery."
For example, in the first section of the
exhibit, the viewer encounters a large,
early print by Picasso, titled The Frugal
Repast (1904), which depicts a destitute
couple with a modest meal set before
them.
"This is the beginning of Picasso's
career, and it already shows enormous
accomplishment, particularly with his
use of line," explains Ulmer.
Next to that is an allegorical sculpture
by Paul Manship, which exudes an Art
Deco feel but also underscores a sensitiv-
ity to line, placed next to a pair of Arts
and Crafts-inspired Tiffany candlesticks
and examples of Detroit's own Pewabic
Pottery, which, though vessels, now has
a relationship to the Manship sculpture
through the concept of silhouette and
line.
"It's not what one usually encounters
grouped together in a survey of 20th-
century artwork, but they're all related,"
says Ulmer. "They all come from differ-
ent points of view to a similar place. I
hope people will leave not only learning
more about German Expressionism, for
example, but also how it relates to other
movements within the same time peri-
od.
"I want people to know about the
diversity of the century, how many dif-
ferent ideas were being explored," says
Ulmer. "It's not a linear century but real-
ly a pluralism of styles, in a way more
pronounced than other centuries."
Helping to make this point in
"Surfing the Century" are artists as
diverse as photographers Ansel Adams
and Walker Evans; painters Emil Nolde,
Frank Stella, Keith Haring and local
Tyree Guyton; and sculptors Felix
Gonzalez-Torres and Alberto
Giacometti.
But, says Ulmer, "I can't imagine an
exhibition on 20th-century art without
the contribution of Jewish artists such as
Max Beckmann, Helen Frankenthaler,