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ndrea Robbins and Max
Becher, a wife-husband photo-
graphic team, are traveling the
world to prepare for an upcoming
exhibit at the Jewish Museum in New
York. The couple's assignment, "The
770 Building," will show how
Lubavitch groups in different coun-
tries are replicating their headquarters
in Crown Heights, Brooklyn.
The two camera artists, also teachers
currently working at the University of
Florida, do not limit themselves to
religious subjects. They have joined
one secular project, Co Landscapes:
Arizona and Namibia, with the works
of nearly 40 other artists in the group
exhibit "Images
of Time and
Place:
. Contemporary
Views of
Landscape."
The group
show, first seen
at the Lehman
College Art
Gallery in New
York City, will
be on view
through May
13 at the Elaine
L. Jacob Gallery
in Detroit.
Other partici-
pating artists,
demonstrating
style ranges
from representational to abstract, have
used paintings, drawings, prints,
installations, sculpture and video to
capture the concept of landscape as
either primary or secondary content.

-

Transportation Of Place

While the photo submission by
Robbins and Becher offers contrast to
the other pieces in the exhibit, the
couple's strong educational and dis-
play credentials fit right in with the
extensive achievements of the other
artists.
"Our work may appear to be
straight photography, but it really ref-

erences something else," explains
Robbins, 41, who also expresses her-
self with film, video and digital media.
"Our primary focus is what we call
`the transportation of place' — situa-
tions in which one limited or isolated
place strongly resembles another dis-
tant one."
In the "Landscape" exhibit, this
artistic team is comparing two areas of
colonization, the American coloniza-
tion of the West and the brief German
colonization in southwest Africa. The
artists, at first seeming to show terrain
that may seem to be one geological
formation, actually bring out details
that differentiate between the roads
and buildings that are part of the
development in Arizona and the true
wilderness of the African territory.

Sally Apfelbaum "Cyan Vertical,
Giverny" 2002/2003, photog) wph.

"Some of our work has referenced
our backgrounds with mine being
Jewish and my husband's being
German," says Robbins, who was in
Michigan to complete a film and
photo project at a Dutch heritage
event in Holland. "We have pho-
tographed what has become a memori-
al at the Dachau concentration camp."

Humorous Aspects

Adam Straus, in contrast, believes that
his Jewish heritage comes out in some
of the humorous aspects of his paint-
ings. Man Pointing to Something
Outside the Painting, completed using