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THE ART of the QUESTION: Paintings by SAMUEL BAK PARDES II, 1994 Oil on Linen 51 X 77” BK311

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THE ART of the QUESTION: Paintings by SAMUEL BAK PARDES II, 1994 Oil on Linen 51 X 77” BK311 THE ART OF THE QUESTION: Paintings by SAMUEL BAK PARDES II, 1994 Oil on Linen 51 X 77” BK311 Front Cover Image: TIMEPIECE, 1999 Oil on Canvas 32 X 40" BK735 CREDITS: Design: Leslie Anne Feagley • Editors: Destiny M. Barletta and Justine H. Choi • Photography: Samuel Bak and Keith McWilliams © 2009, Pucker Art Publications Printed in China by Cross Blue Overseas Printing Company THE ART of the QUESTION Paintings by SAMUEL BAK ACKNOWLEDGEMENTS ith the generous support of Pucker Gallery, AT DREW UNIVERSITY: Gabriele Hitl-Cohen, Director of the three institutions—Wabash College, Drew Korn Gallery; Sara Lynn Henry, Professor of Art History, University, and DePauw University—are col- Emerita and former Chair of the Art Department; Maxine laborating to bring to our campuses Samuel Beach and Anne Yardley, Deans of the Drew Theological Bak’s artwork. For both liberal arts and theological teaching School; Ann Saltzman, Director of the Center for Holocaust and learning, the art of Samuel Bak offers a unique oppor- and Genocide Studies; J. Terry Todd, Director of the Center tunity to engage students, faculty, staff, and our institutions’ for Religion, Culture, and Confl ict; Jonathan Golden, Direc- many publics with the questions rooted in our most basic tor of Hillel; Heather Murray Elkins, Chair of Religion and understandings of what it means to be Jew and Christian, the Arts at Drew; Andrew Scrimgeour, Director, and Ernest liberally educated citizens, and human beings. Just as Bak’s Rubinstein, Theological Librarian, of the Drew University work unites traditions and themes of artistic production Library; and James Hala, NEH Distinguished Professor of from Michelangelo to Mantegna, so too his paintings invite the Humanities. our three institutions to engage in the shared task of raising the most fundamental questions of academic and religious AT DEPAUW UNIVERSITY: Janet Prindle; Robert Bottoms, life lived after the Shoah and the shared search for the elu- President Emeritus, and Director of The Janet Prindle Insti- sive Tikkun Olam. tute for Ethics; Beth Hawkins Benedix, Associate Professor Over the next eighteen months, different elements of this of Religious Studies and Literature and Coordinator of the exhibition will make their way to the Eric Dean Gallery and Program in Jewish Studies; Michael Mackenzie, Associate Lilly Library at Wabash College, to Drew University’s Korn Professor of Art; Russell Arnold, Assistant Professor of Re- Gallery and University Library, and to The Janet Prindle ligious Studies and Faculty Advisor to DePauw Hillel; Neal Institute for Ethics at DePauw University. Danna Nolan Abraham, Executive Vice President and Vice President for Fewell, Professor of Hebrew Bible at Drew University; Academic Affairs; Linda Clute, Assistant Director of The Christine White, Associate Professor of English at DePauw Prindle Institute; Martha Rainbolt, Professor of English; University; and Gary A. Phillips, Dean of the College and Douglas Cox, Emergency Management Coordinator and Professor of Religion at Wabash College are coordinating Director of the Nature Park at The Prindle Institute; Mi- the effort. We wish to thank colleagues who have contrib- chael Atwell, Director of the Eric Dean Gallery; Nicholas uted in various ways to make the exhibitions happen: Casalbore, Graduate Intern at The Prindle Institute; mem- bers of the Faculty Advisory Board for The Prindle Insti- AT WABASH COLLEGE: Michael Atwell, Director of the tute; Josh Goldberg; Kaytie Johnson, Director and Curator Eric Dean Gallery; Doug Calisch, Chair of the Art Depart- of DePauw University Galleries, Museums and Collections; ment; John Lamborn, College Librarian and Director of and Reverend Gretchen Person, Director of Spiritual life. Lilly Library; Dena Pence, Director of the Wabash Center for Teaching and Learning in Theology and Religion; Char- AT PUCKER GALLERY: Bernie and Sue Pucker, Owners and lie Blaich, Director of Inquiries at the Center of Inquiry in Directors, who have made this collaboration possible; the the Liberal Arts; Jeana Rogers, Instructional Media Spe- Pucker Gallery staff who have overseen the exhibition and cialist; Todd McDorman, Associate Professor and Chair of catalogue production, in particular Destiny M. Barletta, Jus- the Rhetoric Department; Stan and Nancy Seibel; Henry tine H. Choi, and David Winkler; and Leslie Anne Feagley, Knight, Director of the Cohen Center for Holocaust Studies catalogue designer. at Keene State College; and the Education Division of Lilly And fi nally, our enduring thanks to Samuel Bak himself Endowment, Inc. whose life and life’s work teaches us the art of the question. ■ PAINTINGS BY SAMUEL BAK 3 LAST MOVEMENT, 1996 Oil on Linen 55 X 63" BK434 4 THE ART OF THE QUESTION SAMUEL BAK and the ART OF THE QUESTION he art of Samuel Bak entrances. It also disquiets. of good and evil haunting abandoned tables; handmade rain- Dismembered fi gures of fl esh, metal, wood, and bows fashioned from war debris; petrifi ed arks stranded in stone. Broken pottery, rusted keys, petrifi ed teddy congealed waters; ghetto children assuming the identities of bears, discarded shoes, fl oating rocks, uprooted the biblical heroes Noah, Moses, Isaac, David, and Jesus; Mi- trees.T Splintered chess pieces. Fractured rainbows. Books chelangelo’s transcendent father god disappearing into thin air turned buildings, tablets turned tombstones, memorial can- or thick smoke; Dürer’s melancholy angel deported from the dles turned crematoria. Mute musical instruments, fl ight- edge of the Enlightenment to the brink of apocalypse; Rem- less doves, mechanized, immobile angels, crucifi ed children, brandt’s angels blindfolded and impotent to stay the slayer’s ladders leading nowhere. And yet: pears and paradise, new hand. Exploring, reworking this range of cultural, religious, sprouts on severed branches, sunrises in sunsets. The admix- and personal metaphors, Bak produces a visual grammar and ture of color and catastrophe, Genesis and genocide, Exodus vocabulary that privileges questioning: How does a fragment- and expulsion, remnant and ruin. Michelangelo, Rembrandt, ed, murdered world cohere? How should we now interpret Mantegna, Dürer, de Chirico echoed and subverted. Para- the milestones of Western civilization? What can traditional doxes. Ambiguities. Excesses. Artistic, cultural, religious, Jewish and Christian symbols, stories, ceremonies, convic- and even personal, icons deconstructed, reconstructed, and tions possibly mean in a century that has witnessed the Shoah continuously questioned. and countless other catastrophes? Why should we, and how do Indeed, engaging the art of Samuel Bak demands a high we, now remember the children murdered by Nazi hatred? tolerance for quandary. Viewers fi nd no easy meanings here, Why should, how does, facing past atrocity prompt us to con- only questions. In his works intimate worlds, grand land- front present innocent suffering? And how does our involve- scapes, symbolic narratives, and personal artifacts have ment in political, social, economic, and religious systems im- been destroyed, and yet provisionally pieced back together. plicate us in the suffering of so many? Bak’s visual questioning Although they can never be made whole again, “we can,” has become a consuming passion; past, present, and future all Bak says, “still make something that looks as if it was whole fall subject to an interrogation intended to interrupt. and live with it.” 1 Scenes of destruction and construction, of We detect in Bak’s brushstrokes echoes of Rainer Ma- tentative survival, of tenuous restoration, of a living on “as ria Rilke’s sage advice to a young poet: “...love the questions if,” ply us with questions of how shattered lives and icons themselves as if they were locked rooms or books written can be imagined of a piece with Tikkun Olam, the Rabbinic in a very foreign language....Live the questions now.”2 Bak concept of “repairing the world.” lives, loves, indeed obsesses over, the questions, even as, pre- A child prodigy whose fi rst exhibition was held in the Vil- cisely because, they disrupt. Images of keys, key holes, bro- na ghetto at age nine and whose paintings now span seven de- ken locks, blank canvasses, blindfolded, mute and mangled cades, Bak weaves together personal and cultural history, past fi gures accentuate the elusiveness of answers, the imposition and present, to articulate an iconography of his experience of of interpretation, the failure of artistic, intellectual, religious, Shoah and his perceptions of a world that lives in the shadow and moral imagination to represent the irreparable, to ac- of the crematoria chimneys. His iconographic tapestry is rich count for the suffering of the innocent. We stand affl icted with threads of irony and reverse patterns: books burning in consciousness and conscience, on the doorsills of Bak’s without being consumed; covenantal tablets standing as head- locked rooms just within reach of books so foreign that they stones and substituting for crypts; the fruit of the knowledge fl oat without words, burst into fl ame, sprout from trees, and 1 Cited in Lawrence Langer, “The Holocaust Theme in the Paintings of Samuel Bak” in Samuel Bak Retrospektive 1946-97 at the Panorama Museum in Bad Frankenhausen in 1998. Originally Tape HVT-618 in the Fortunoff Video Archive for Holocaust Testimonies at Yale University. 2 Rainer Maria Rilke, Letters to a Young Poet, trans. Stephen Mitchell (New York: Random House, 1984), 34. PAINTINGS BY SAMUEL BAK 5 MOYSHELE, 2008 Oil on Canvas 48 X 24” BK1219 6 THE ART OF THE QUESTION assemble into ghostly makeshift buildings. Passageways into possible in and for our own wounded worlds? Where do we an irretrievable past and an uncertain present and future, go from here, and who awaits us along the way? Bak’s works are thresholds: They “take us a certain way and These are the questions Bak poses to himself and to us then leave us, having shown us a road.”3 with his fractured, cobbled-together constructions of life-in- The road is strewn with broken bits of personal and cul- death.
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