Cover Story

Mitzvah Beautifier Moss’s Jewish art ranges from architecture to calligraphy

By David Geffen

IN 1983, a friend told me about an artist who was showing the first few pages of a ground- breaking handwritten and illuminated Hagga- da on parchment that he was commissioned to create. As David Moss – a Jerusalemite who made aliyah that year – described his deeply researched, inventive and innovative use of Hebrew lettering and imagery, I was struck by his enthusiasm and his creativity. It was a memorable meeting which I’ve carried with me for the many decades that I’ve followed Moss’s development and career. Moss, a fifth-generation Ohio Jew born in Youngstown in 1946, was raised in Dayton in a home overflowing with creativity instilled by his father, Jack Moss, a composer, poet, inventor, writer and musician. He attended a liberal arts school, St. John’s College in Santa Fe, where he devoted himself to the classics of the western world. After college, he wanted to immerse himself in his own Jewish civili- zation and set off to to prepare for en- rollment at the Jewish Theological Seminary of America. It was in that Moss experienced what he calls, “his magical moment.” A local Torah scribe calligraphed the Hebrew alphabet on a scrap of paper and handed it to him. He describes his deep, visceral response to these letters. He began copying them, composing words and inscribing Biblical passages. Moss attributes his entire, multifaceted artistic career to this moment and to the ex- plosive, creative power he intuitively sensed to be present in these 22 letters. “As I was falling in love with the Hebrew letters, I came to learn about an antiquated Jewish art form – the hand-illuminated marriage contract – the An image of the Set Table from David Courtesy www.bet-alpha-editions.com; ketubah. I saw examples of the charming, lov- Moss’s Haggada. © David Moss 2020, Reproduction: Yael Herman DAVID MOSS DAVID ingly created folk art ketubot from the Mid-

10 THE JERUSALEM REPORT JANUARY 25, 2021 The Moss Haggada. The few pages I had seen ended up becoming a 100-page, large format

MATAN KATZ manuscript which took three full years to complete Moss defines his artistic process, as one of head, heart and hand and the Haggada is a prime example of this. “By ‘head’ I mean a deep immersion in the texts and ideas of our literary tradition. To be Jewishly authentic a work must be firmly based in our sources.” He spent nearly the entire first year just studying Jewish sources on the development of the Haggada over the centuries, its tradi- tional and scholarly commentaries and its art history in the medieval illuminated man- uscripts in whose shadow he sensed he was working. His second principle is “heart.” He explains: “This represents the creative part of my work. I imbue every work with a fresh, surprising innovation for the viewer. For every section of the Haggada I sought to find an inventive new approach.” For the first page, Moss meditated on the very notion of beginnings. He realized that the Exodus itself was a beginning – the birth of the Jewish people – and that every beginning was essentially about potential. He summariz- es: “Every beginning contains the whole.” As the border of page one he wrote out the entire text the Haggada in two intertwining micrographic strands. This also exemplifies his final principle – the hand – ”my obsessive striving for perfect crafting of every work.” David Moss at work in his Jerusalem studio To dramatize the verse, “In each and every generation, you must see yourself as if you dle East, and the exuberant baroque contracts himself as he interviews them about all as- personally came out of Egypt,” Moss depicted from Italy,” he says. “I asked about who was pects of their relationship, their Jewish com- small portraits of Jews from “each and every creating these today, and was informed that mitments, their family, and their dreams for generation” throughout history – nine men on this art form had died out years before and their marriage. All this he seeks to synthesize one page and nine women on the facing page. the ketubah had become a drab, printed form in the final work. The scope of his work in this Between each portrait he affixed an actual filled in by the rabbi and hidden away in a field is conveyed in a book he produced called Mylar mirror. When the book is closed each drawer by the couple.” Love Letters. Jew sees himself or herself. As we open the Moss was determined to revive this beauti- The ketubot, reproduced include exquisite, page we can actually see them seeing them- ful Jewish art. He started by making ketubot detailed floral patterns, delicate paper-cut selves in the facing mirrors, and then when for young friends getting married. People saw borders, hand-gilded lettering, bold modern fully open, we see ourselves in the mirrors. the results and began to commission him. graphics, intricate micrographic designs in- In Aumie Shapiro’s review in the London Word began to spread when he wrote the arti- corporating whole biblical books and whim- Jewish Chronicle, we read: “When I handled cle on ketubah-making in the first Jewish Cat- sical fantasies. Nanette Stahl, Judaica Curator it, I trembled because what I saw was, in my alog. The real break came in the early 1970s of the Yale Library comments: “David’s art is view, the greatest Haggada ever produced.” when the editor of National Jewish Monthly, exquisite. He single-handedly reintroduced The manuscript was completed in 1986 and the B’nai B’rith magazine, became enamored ketubah illumination into modern Jewish life delivered to Richard and Bea Levy, the cou- of David’s unique combination of tradition and has created ketubot of stunning beauty ple who commissioned it. But in a sense, that and contemporary expression and ran three and majesty.” was just another beginning with even more cover stories on Moss’s ketubot within a few The artistic techniques Moss honed in his potential. years. ketubot both for newly-wed couples and for When the late Neil and Sharon Norry of For Moss, the creation of a ketubah is an anniversaries served him well for the major Rochester saw photographs of the Haggada, intimate collaboration between a couple and work for which he is probably best known, they immediately decided it could not just be

THE JERUSALEM REPORT JANUARY 25, 2021 11 Cover Story DAVID MOSS MOSS DAVID MOSS DAVID DAVID MOSS DAVID © DAVID MOSS 2020, COURTESY WWW.BET-ALPHA-EDITIONS.COM COURTESY 2020, MOSS DAVID ©

Ketuba of Miriam Oles and James A page from Moss’s Haggada; © David Moss The UCLA Hillel stairway mobile designed Weinberger 2020, Courtesy www.bet-alpha-editions.com by Moss

hidden away in a collector’s home. They es- David sees parallels with his original work on pluralism. For the large multipurpose room tablished Bet Alpha Editions to create a per- Ketubot. “The process is surprisingly simi- divided for prayer into sections for three de- fectly faithful, limited edition facsimile repli- lar. But instead of interviewing a couple, I’m nominations, he designed three identical glass ca in Verona, Italy and subsequently, a trade listening to everyone in an organization to Torah arks each fitting snuggly into the cen- and deluxe editions were produced making determine exactly what their mission, goals, ter of accordion dividers. “Acoustically, each the work widely accessible. dreams, vision, challenges are. For me a minyan is separated, but visually all the glass Moss’s Tree of Life Shtender project exem- building should not just house an institution arks line line up so that each group glimpses plifies his love of the overlooked and the un- but must play an active role in enhancing and the alternative ways of prayer of their fellow derappreciated. Shtender is the Yiddish word furthering its organizational goals, just like students,” he says. for a simple, personal wooden lectern/stand. their board, staff and programming do.” To further stress the diversity of Hillel’s Dozens are found in yeshivot and traditional David has been on the architectural design population and programming he designed a synagogues. team for both remodeling projects such as mobile containing the whole text from Eccle- Moss calls them “the overlooked workhors- The UJA Federation of New York and Con- siastes – “For every thing there is a time and es” of Judaica objects. He was intrigued by gregation Beth Shalom, Seattle as well as for season.” the artistic potential of this object and com- new construction like the Fuchs Mizrachi As you ascend or descend the three-story pared the Shtender’s use to his triad of head, School in Cleveland, the Hillel Foundation, staircase, the Hebrew verses magically come heart and hand. The Shtender was indeed the UCLA and the Akibah Yavne Academy, Dal- into sight. For the main hallway, Moss creat- place of both prayer and study spiritually unit- las. His vision ranges from the macro to the ed glass floor tiles to recreate the 2,000-year ing the Jewish heart and head. But he imag- micro. For the campus in Dallas he laid out Diaspora journey from Israel to Los Angeles. ined an unprecedented kind of Shtender that the buildings to reflect their modern orthodox A map of each of the stops along the jour- would serve as a small treasure chest to house and Zionist ideology. Jaynie Schultz, one of ney is inscribed on each tile and beneath one all our hands-on daily, weekly and annual rit- the funders, said: “I cannot adequately ex- glimpses actual soil brought from each land. ual objects. press the genius of this man. David took what In 1989, Shelly Dorph, the head of all the Intimately collaborating with the fine wood could have easily turned into a basic school Ramah summer camps, approached Moss. He artist, Noah Greenberg of , David pro- building, and by understanding the character saw that camping was getting more special- duced an exquisite Shtender that contains each and hearts of the entire school community, ized and challenged Moss to figure out how object carved with realistic plants of the Land has helped us design what will clearly be- to move beyond “arts and crafts” to bring art of Israel including a siddur, a charity box, a come one of the most beautiful campuses in with Jewish meaning into the camp setting. tefillin box, Shabbat candelabrum, challah the southwest.” In the intense program he developed, he board, Kiddush set, havdalah set, shofar, lu- The school was awarded the architectural shepherds groups of motivated campers as lav, etrog, hanukkiah, Purim Megillah, Seder prize for best design of all construction proj- they create a professional, permanent Judaic plate and omer counter. Over 100 examples ects in Texas for 2006. work of art for the camp. He insists on com- are in homes, museums and synagogues. ing with nothing in mind and begins by de- From the three-dimensional Shtender, it MOSS SEES the core values of the Hil- termining some important issue of concern to was a bold but natural step into architecture. lel Foundation at UCLA as inclusivity and the children.

12 THE JERUSALEM REPORT JANUARY 25, 2021 Topics have been as varied as overcoming walled, large space in Chutzot Hayotzer (just exciting work, pausing at many of the illustra- cliques, reducing harmful gossip, increasing across from Moss’s own studio/gallery) out- tions, I asked Moss why he decided to create the kindness quotient, ecological awareness side the Gate, they do hands-on art pro- the Bentcher. and bringing Israeli reality into the camp. gramming for groups from Israel and abroad, “I wanted to present the standard grace after “Once we have determined an issue I take host a rotating artist-in-residence program, meals prayer in a popular, accessible format them through the entire artistic process from have changing exhibits of Jewish art, and cre- for children and teens so it’s a comic book. problem definition, to creative problem-solv- ate free major public events for the holidays This prayer is often rushed through and sung ing (I teach them a powerful group prob- from Haggada fairs, to large communal sing- by rote. I wanted to slow the reader down and lem-solving process called Synectics) to de- alongs, to hands-on workshops. vividly express the beautiful meaning of the sign, to scrounging materials to actual hands- Having heard about Moss’s impactful ed- poignant words, ideas and values expressed.” on construction to dedication of the complet- ucational work in camps and schools, a ma- An outstanding example of Moss’s diver- ed artwork to the entire camp,” he says. “The jor foundation approached Moss in 2015 to sity is the contrast between his sophisticat- sense of accomplishment and the pride they bring his artistic/creative/educational vision ed, three-year Haggada project with another experience is stunningly empowering.” into Jewish day schools. Partnering with his fascinating Haggada he once showed me. It Moss leads a similar month-long program Kol HaOt team, the Teachers Institute for the was made from scratch by a group of students for gap-year students through the Midresh- Arts was established. Now in its fifth cohort, David led at a day school in Boston in an in- et and Yeshivat Torah V’Avodah program this fully-funded program, open to any day tense week of work. The deeply meaningful where each year they create a new Jewish school in North America, brings art and Ju- illustrations in watercolor, crayon, colored public art project for Jerusalem. The program daic teachers from each school together for pencils, paper cuts and moving parts jump out director described the process: “The highly an intensive week long institute followed by at you. Moss had drawn from these teenagers motivated group of young people decided to constant support, mentoring, site visits and something they never knew they had in them- conceive, create, design and implement an immersive project based learning throughout selves. Revealing hidden creative depths, event/happening/art installation in one of the the year. At a joint colloquium in the spring whether in Jewish texts, or Jewish souls busiest and most public spaces in Jerusalem: the schools share the work their students have seems a foundation of his work. Square.” accomplished. I had the privilege of first seeing the fin- Though people of all walks of life and re- “It’s been fantastically gratifying to see how ished Moss Haggada in 1998 at the Library ligions walk through this area, sadly, they much these teachers have grown and the im- of Congress Exhibit “From the Ends of the remain strangers to each other. With Moss’s pact we’re having in the schools,” Moss says. Earth: Hebraic Treasures of the Library of guidance, “There is such joy in experiencing how our Congress.” I thought to myself: “In Jerusalem the group creates its own response to this team in Israel and our three brilliant, dedicat- I saw a couple of pages of this work in prog- situation. “With lots of punch and aesthetic ed mentors in the States empower one anoth- ress, and now it is a treasure for all the ages elan, the students were able to get strangers to er. Artmaking can be quite solitary; but this is to come.” open up, interact, work together, talk to each collaboration of the highest order.” The curator of the exhibit, Prof. Abraham other and learn from each other,” he says. About ten years ago Moss had an idea of Karp wrote in the catalogue, “Though Moss how to help spread his artistic vision. He is marvelously inventive in his illuminated DAVID MOSS is married to Rosalyn, origi- decided he’d create an ongoing series of pages, he has consciously striven to have nally from Chicago, a teacher of Hebrew and limited edition, signed prints, artist books, them reflect the variety of artistic expressions modern Hebrew literature whom he says is objects and called it a “minyan,” figuring 10 of those before him who had made Hebrew “amazing, supportive and talented.” They live committed subscribers would make it worth manuscripts and books things of beauty.” in Jerusalem’s Baka neighborhood and have starting. He got a wonderful response and his Karp’s enthusiasm comes through in these four married children – all of whom are en- ‘minyanaires’ (now many times more than final words: “His Haggada is a splendid addi- gaged in education – and 15 grandchildren. 10!) delight in receiving these surprises a few tion to the bibliophile book, the most authen- “All the families are now living within a times a year. The pieces range from small del- tically Jewish art form.” 10-minute walk of us,” Moss says. icate traditional paper cuts with micrography Entering Moss’s crowded studio is a unique He has been an artist in residence in sev- and real gold leaf to large bold multicolored Jewish and artistic adventure. Here I could eral locations, from the Magnes Museum in serigraphs. One of his subscribers described actually witness the blooming of these di- Berkeley and Brandeis-Bardin Institute in what happens when they receive their surprise verse works on his small drawing board as California to Mishkenot Sha’ananim and Hut- package. Neither of the couple will open it his “head heart and hands” almost magically zot Hayotzer in Jerusalem. without the other. They dedicate an evening bring not only new works of art, but new art A recipient of the Jesselson Prize for Con- to unwrapping it together, carefully reading forms to life. temporary Judaica Design, awarded by the Is- Moss’s detailed description of the meaning of On his website, davidmoss.com, Moss rael Museum, his works have been exhibited the piece and marveling at the work. describes himself as a “Mitzvah Beautifi- in museums and libraries around the world. Even when he fell through the loft in his er – Illuminator, Animator and Transformer In 2010, Moss together with his daughter studio and was forced to be in bed Moss used of Jewish texts, objects, spaces and souls.” Elyssa Moss Rabinowitz, Rabbi Matt Ber- his confinement to create the OMG Bentcher, Perhaps this is his own way of summarizing kowitz and Yair Medina founded Kol HaOt, the Jewish blessing after meals, with whim- what seems to be his lifetime mission: Giving which is dedicated to using the arts to illu- sical calligraphy and images animating the fresh, creative, artistic expression to Juda- minate Jewish life. In their charming, stone- pages. As I walked my fingers through this ism’s deepest insights. ■

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