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Aaron
Rubinstein
an interview
by Marbeth Schon
March 24th, 2010
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Aaron Rubinstein began life in 1928 in Poland. He was the youngest of
seven children. Music and art were
common place at home and each of the children
exhibited promising talent. By the time he was eleven, Aaron's geographical area
was plagued by unrest and turmoil. In 1939,
when the Nazis invaded Poland, the Rubinstein family was told
they had to make a decision to either leave everything they knew and had
worked for and become Russians or be over taken by the Germans.
They chose to leave their homeland for the unknown and
arrived by way of cattle cars to Siberia only one month prior to
the Nazis removing any evidence that Jews ever existed in their
village.
Living in Siberia was a great hardship
for the family, but
Aaron’s eldest sister learned of a possible escape for her
youngest brother. The Polish government (in exile) and the
Soviet authorities agreed to allow the emigration of close to
one thousand Jewish children. Aaron Rubinstein was allowed to join this
group, known as the Tehran Children. He left his family and was
taken to Tehran where he lived in an orphanage set
up by adult refugees with the help of the Jewish community. Six
months later, in 1943, the eight hundred sixty-one children and
three hundred sixty-nine adults reached
Palestine. Aaron was fifteen when he arrived in Ein Harod, a
Kibbutz that was well known for producing artists.
After
serving in the
Israeli army, Aaron entered the teacher’s college in Tel Aviv.
After graduation, he began teaching all subjects, including art, to the
large immigrant population, very much in need of education. He
also earned an administrator’s degree and became a principal in
Ashkelon, Israel. In 1960, the Rubinstein’s, Aaron and and
his wife Rachel,
were given the opportunity to become exchange teachers with the
United States. They left for Chicago where Aaron continued his education at the Chicago Art
Institute and taught in the afternoon. The family moved six
times back and forth between countries and, while living in
Minneapolis, Aaron received another bachelor's degree at the
Minneapolis Institute of Art, majoring in sculpture with a minor
in jewelry. In 1968 the Rubinsteins finally settled in
Cincinnati, Ohio and Aaron left teaching to concentrate on his
first love – art and sculptural jewelry.
Aaron and Rachel created Modern
Art Jewelry, Original Designs by Aaron, a company that
translates sculpture into wearable art. Aaron became a master
in the lost wax casting process and designed thousands of
molds. His cast Bible wedding bands, with the uniquely detailed raised
letters, can be seen all over the
world. Aaron does not sketch anymore--he manually manipulates the
sterling silver and gold to achieve his sculptural designs. His
passion is to use natural or faceted stones which he compliments
with intricate silver and gold designs. After the tragic loss,
in 2004, of his beloved wife and partner – Rachel, Aaron’s
daughter Haguit joined the company. Modern Art Jewelry,
Original Designs by Aaron has exhibited original work in San
Francisco, Los Angeles, Dallas, Chicago, Atlanta, Palm Beach,
New York, and most recently in Philadelphia. Aaron now at the
age of 82, enjoys creating new designs and exhibits at local art
festivals.
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Aaron Rubinstein at
his workbench |
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The
interview:
Marbeth Schon
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Aaron
Rubinstein
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Hello
Aaron, how are you?
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Wonderful, I'm still alive
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| Thank
you very much for your willingness to do this interview with me.
It's an honor. |
My
pleasure, because you are a nice person, otherwise I wouldn't do it.
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| Thank
you. |
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You are
a survivor in so many ways--you survived the holocaust, hunger,
being displaced, separation from family and you have lived a long
life with a great career. You have endured many economic
hurdles. Do you consider yourself blest?
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Yes, It
is a miracle! |
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Sterling hair
pin, c. 1963 |
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Sterling pendant
with pearl, c. 1964
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| What
special qualities of yours do you think have allowed you to be so
successful considering what you have had to overcome in your
life? |
I had a
good teacher |
| Who was
that?
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Stalin
was a good teacher. Stalin from Russia
He taught me
to fight and survive the situation.
Because he used to
say in Russian, "If you will not adjust yourself, you will die."
We were very lucky. We were one of the few families who
survived--all of us!
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Sterling pendant ,
c.1965 |
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Sterling earrings,
c. 1966 |
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Your jewelry touches people when they wear it--not only physically,
but as personal artistic expression. Women all over the world are
enjoying your creations. Does this give you a sense of
completion-- that you are leaving something beautiful for
generations to come.
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.....an
artist has an obligation to leave a trace from the present
generation. Every generation comes, but the quality of art is left
for the next generation. If you are going someplace to
different countries, and I have been in most countries throughout
the world, you judge the country and the population by the art that
is left behind.
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| That is
right. It is often the art that is discovered by archeologists--the
art and the crafts survive and this is how we learn about the
people. |
Exactly,
it is a refection--a mirror of that generation.
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| And it
changes quite a lot.
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It
changes, yes. And if you are going to study art history and
look in different museums at what they achieved in their generations
compared to ours--the more you will see from other countries, from
other places-- the art reflects in the creation of the artists,
because in his mind he builds up a reflection of the art from all
over. That's why I used to visit a lot of museums. I
have visited most of the museums in the world several times and
compare (the art) to our generation and our place and this is what
(has) really helped me to create without any problem, without
drawing, without preparing, it comes by itself.
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| It is
all in your mind--you have absorbed it. |
It is in
the mind already. |
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Sterling pendant,
c. 1966
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Sterling earrings,
c. 1967
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| Are you
pleased that you have passed the love of creating art to you family,
like Haguit for example? Did you encourage her to be an
artist?
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Yes, I did.
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| You
started as a teacher in Tel Aviv. Was there a definite movement
towards modernism in Israel at that time?
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Oh Yes,
there was a great movement in Tel Aviv to the modern art. They
contributed a lot. About three years ago or more, I went
to the museum, I was surprised, that in some places they gave too
much freedom to themselves to create the modern art, but they have
beautiful work, beautiful art.
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| What
artists about that time might have influenced you? That would
be in the 1950s and the early 1960s, I believe--people
like Chagall and Kandinsky?
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Exactly.
Chagall. I have seen the original work of Chagall and compared
to others--they are great pictures. The Louvre has a lot of Chagall.
In the Louvre you have to spend at least a week.
I have been in St.
Petersburg, in Russia--the great museum--they have Chagall in St.
Petersburg because he is originally from Russia so they have a huge
room just for Chagall. Their are 300 museums in St. Petersburg
and, according to the guide, you have to be over there three years
to see all of them. There is so much from Chagall , from other
artists. It is unbelievable.
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Sterling earrings
with ebony, c. 1967
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| Were you
making any jewelry when you were in Tel Aviv or were you doing
mostly sculpture?
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In Tel
Aviv, already, I worked in sculpture and in jewelry--both fields. I
used to teach art there, also. I started to work with jewelry in
1949 and I graduated from the artists school in Tel Aviv and started
to work in jewelry.
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| Did you
know any of the Israeli jewelers that were producing modernist
jewelry at that time--people like Rachel Gera? |
Yes. At
that time, in my time, in the early time, there were better
artists than now, because most of them immigrated. |
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Don't
forget--this is a question of the situation, because jewelry was a
major thing for the Jewish people because they used to wander from
one country to another and they could take, in a small bag, all
their creations. That's why they moved more to diamonds and jewelry
and creating. This is one of the reasons. They could survive when
they were pushed out by wars and bad leaders so they could take that
and move to another country and start again to do their professions.
That is one of the reasons jewelry is one of the professions in the
Jewish community.
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Sterling &
ebony pendant, c. 1967
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| Why did
you decide to go to the US, to Chicago, in 1960?
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As an
exchange teacher. They invited me as an exchange teacher to teach
the Bible and history. Because the first profession of mine
was a teacher. I moved into that because the government gave
scholarships to people who went into teaching because we had a lot
of immigrants in Israel, so with $200.00 a year, you finished the
teaching college. This is why--I didn't have money so I took
this opportunity and finished as a teacher at the art college--in
the art of general education.. in the beginning I was a regular
teacher in Israel and when I finished the teaching college for all
subjects--over there, starting as a teacher, you had to teach all
subjects--everything. So, when I graduated from the regular
college, I immediately went to the art college.
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| You must have had a love for art from the very beginning. |
Yes, I
actually spent about fifteen years on my education. |
When you
went to Minneapolis, to study at the Minneapolis Institute of Art,
is that when you studied with Christian Schimdt?
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Yes,
that is one of the greatest schools.
He used to be my
teacher. He admired me and we became very close friends because he
saw something unusual in me. In his studio he would teach me
the rest of the education. |
| He
(Schmidt) has always been a favorite of mine. I love the way
he used naturalism in an abstract way. I've heard your work
described this way--that it is naturalistic, but also abstract at
the same time. Was Schmidt an influence on your jewelry?
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Yes,
usually Christian Schmidt used to cast a lot. He also created his
own jewelry from scratch, but mostly he cast. In the beginning
I used to cast, too and I created my tools myself. I could create
pieces that no one else dared to do--like 6" x 6" diameter--one
piece to cast--very unusual. I used lost wax and also used to cast
in fire bricks. I used to engrave into fire bricks and melt the gold
and silver and pour directly into the bricks. One was on the
cover of the Weekly Magazine of Cincinnati (from 1971). It was an
unusual piece that had been cast into the fire brick. |
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Cast Sterling cuff,
c.1973
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The
photographs that Haguit sent me are of excellent vintage modernist
pieces. Where are those pieces now?
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Some of
them I kept. I used to keep the best pieces. I sold
pieces in the museum stores throughout the country. When they
came to the show that I used to have in New York, people from all
over the world would buy from me.
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We like
your jewelry because of the beautiful wearable designs, but also
because the pieces are signed and the customers get to know the
maker. They love the fact that they know who made their jewelry and
it is one-of-a-kind.
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To
duplicate a piece takes me more time than to create a new piece.
That's why it is mostly one-of-a-kind. For me to put together
eight new designs a day is not a problem, because if I duplicate, it
takes more time because I have to measure the pieces exactly.
I don't like it, but there are a few pieces that are fabricated over
and over. I wish you could come to Cincinnati to see the
collection and the tools that I created myself. Today, you
cannot create pieces that compete with other artists if you can't
produce the tools to create them. If you are a good engineer,
a good tool maker, you can create and compete with other people. |
You had
to compete in the marketplace. There is something to be said
about being an artist, creating beautiful jewelry, doing all that
and also being able to make a living. That is a whole other part of
it.
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Exactly.
You have to be the best in all aspects--an engineer, a technician
and a creator.
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Sterling pendant &
chain, c.1980
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| I like
the way you design around stones. Do stones sometimes dictate your
designs or help you with your designs? |
Yes. |
And I
love the stones you pick such as amber, azurite, topaz, raw
amethyst, etc. They are very rich in colors and textures. Do you
prefer the colored stones to say diamonds or emeralds--precious
stones, etc., or is that a decision made because of cost.
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Cost.
Because the average person does not have the money--because my
philosophy is that every person, if he has money or doesn't have
money, should be able to afford a piece of art jewelry and to create
according to his pocket.
I am creating as much
as I can so that everyone can afford a piece of jewelry. |
| A very
good mantra. |
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I'm sure you have made
some very special pieces with expensive stones.
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I create it now
because I have been in South America two years ago and have seen
Aztec designs so I created a full line of new designs that is close
to that. I am using diamonds and precious stones, too. We use a lot
of diamonds for custom work. |
Do you
do a lot of commission work?
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Yes, I
do. If people have some stones from the family, I can create
for you something unusual from the stones. I get stones from all
over the country.
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Who are
some of your most famous customers? I have head that there
were presidents wives, movie stars?
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Yes,
many movie stars because I used to show in art expositions in Los
Angeles for thirty years and they used to buy and I didn't know how
it came to be that one of the presenters from the US government
bought one for Mrs. Gorbachev. And Miss Universe bought one of
my pieces--a beautiful piece! |
That is
exciting!
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Parure for Mrs.
Gorbachez, sterling silver, topaz
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Parure for Miss
Universe, sterling silver
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Do you
have one piece of either jewelry or sculpture that you consider your
masterpiece or do you have a lot of masterpieces?
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A lot of
masterpieces. Sculpturing requires more space. and this
is why I stopped doing the big sculptures (measuring 4.5 feet high
made of steel and plaster). I have them at home, but
I create many up to eight inches and I don't want to sell them. |
So
jewelry is your sculpture now.
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Yes, that's why I'm
mostly into jewelry because it is easier to produce and also to
create faster than a piece of sculpture.
They came from Washington from the Kennedy Center and ordered,
from me, pendants to sell in the gift shop. The front was a picture
of the building. They are beautiful and it took a lot of time to
create them. They were silver. |
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Sterling pendants
for the Kennedy Center
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Is there
something you haven't done that you would like to do in the future?
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To
become younger. |
So what
would you say to someone, today, who wanted to do what you do--who
wanted to make a living creating jewelry--what would you tell them?
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First I
would suggest to them to visit and go all over the world to see what
is going on somewhere else. To burn into their mind the
different kinds of jewelry and art that exist in other places.
This way it will help him to create something different and more
sophisticated.
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| It is
seeing, then. |
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I greatly appreciate your spending time with me on the phone. |
My
pleasure. |
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"A Touch of
Nature," sterling collar with branch coral |
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back to the top
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Interview with Aaron Rubinstein by Marbeth Schon
www.mschon.com
Photographs courtesy Aaron and Haguit Rubinstein
Biographical by Haguit Rubinstein-Towler, from
http://modernartjewelry.net/
Your
comments are invited.
Feedback Form
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