www.growingupjewish.com

Ruth Shapiro • Judaic Artist

Ruth Shapiro is an artist, nurse, wife and mother, and not necessarily in that order. Shapiro grew up in New Jersey, graduated from the University of Michigan, and lived and worked as a nurse in Boston before settling in Los Angeles with her husband and two children. Shapiro had been working as a nurse for over a decade when an injury from a serious accident in 1981 rendered her unable to work at her previous pace. Since she couldn't handle the physical demands of her job, she decided to take a graduate course in nursing at UCLA. When she couldn't get into the class she wanted, she tried to find a similar class at a local community college. Instead, she stumbled into a class on "lost wax casting" and was hooked. Six classes later, she knew there was no turning back. That was more than 15 years ago. Shapiro occasionally works part time as a nursing consultant, but her heart is in handcrafted Judaica.

TCR: How did you first become interested in and get involved in working with Judaica, and how did your work evolve from where it started to the work you create today?

RS: It was quite by accident that I became a metal artist, enrolling on a whim in a local college for six evenings of lost wax casting. It grabbed me and never let go. A few semesters of jewelry making classes at a local high school and I was on my way.

I've always been a crafter, and in 1983 or so, with two young children at home, I spent some of my free time with the needlecrafts, eventually joining The Pomegranate Guild of Judaic Needlecrafts. This was shortly before I started learning metal work and jewelry, which soon completely dwarfed the textile work. The Judaic content, however, stuck, and I looked for ways to use my newfound, but limited skills to express my religious beliefs. I started carving waxes to make small necklace charms in silver and bronze mezuzah covers (prayer holding boxes for the front door) and progressed over the years to larger and more complicated pieces as my skills developed. I worked my way up to Hanukah menorahs to Miriam's Vessels and the silver ornaments that hang from the Torah in synagogues. Most of my current work is completely done with metal fabrication techniques as opposed to casting.

TCR: How have you pursued your career?

RS: My first show, not quite a year after I had started metalwork, was at Temple Isaiah's Festival of Jewish Artisans, a juried show featuring artists from all over the US and many countries as well. It is probably the first and finest show of its kind. I sometimes think that if I had not made it into that show that first time, I would not have continued in this career. I've subsequently showed there each year for the past 23. As I got "plugged into" the Judaic network via other artists and my growing list of customers, I soon began to travel all around the country to various Jewish conventions (teachers, rabbis, cantors, lay leaders, etc.) and to other synagogues to display and sell my work. I also showed at various wholesale shows, which left no time for further study in classes, so I compiled an extensive library, and learned "cookbook style" for many years. In the past 5 or 6 years, I gave up many of these shows so I would have more time to further develop my work. I joined a metal arts guild whose weekend workshops taught and inspired me. I also went back to a local high school adult jewelry class, to "rev" up my batteries and provide a human contact and a respite from a lonely studio. Recently, I've picked up a few high end non-Judaic shows, and have shown both Judaic and non-Judaic work with positive results.

TCR: Where does the bulk of your business come from?

RS: The best and most enjoyable market for my works comes from conventions and juried shows. My customers are either looking for high-quality Judaica or interesting and inspiring jewelry. Feedback from interacting with these buyers is extremely valuable. I've done well with wholesale shows, and selling to galleries, museums and synagogue shops, but the feedback isn't as good for me. I also have had a website for several years, and I've designed it so the customer has to email me or speak with me to order an item, rather than just plug in a credit card number and an address. This is more satisfying for me, although it may not be as business wise.

I've done many commissions, both for individuals and for synagogues and various organizations. They have been challenging and have forced me to grow when sometimes I would have rather just "done my thing." Mostly they have pushed me into learning new techniques and problem-solving, and I've been very glad to have them.

I can't say I've always made a great living from this art. Keep in mind that I live in Los Angeles, one of the more expensive places to live in America. It's given me a lot more than money however. I'm lucky, however, to have a husband who supports my work and makes it possible for me to continue in the leaner times.

TCR: Do you see any business challenges specific to artists who work in Judaica? How have you overcome them?

RS: The challenges that I see are mostly related to keeping my art fresh. It's always scary to try new things, such as techniques, items that you sell, or even new venues for selling. It feels relatively safe to sell Judaica at a convention of rabbis. It is less so to sell Judaica at a high end show where most people don't have any idea what you're selling. "Those are lovely door knockers!"   When I first started in the 1980's, there were relatively few high-end Judaica artists aside from those who did major synagogue pieces. My pieces were among the most expensive then, even though I've always tried to make them affordable for most people. Now, my prices are considered more moderate (my ability to support myself goes down.) The Judaica field is far more crowded now and the quality of the artists has vastly improved. It's a pleasure to see how this evolution.

One of the challenges I see, to be honest, is that many organizations who used to allow Judaic artists to show and sell our work for minimal fees, have greatly increased these fees, in part to support their conventions, and have pushed out many artists who cannot afford to pay these huge sums, especially when just starting out. Although there are more Judaic artists now than when I started out, we are mostly in the larger cities, and those who are in more isolated locations may have a tougher time getter networked in. Therefore, I recommend joining one of the Judaic art guilds that have sprung up. Networking is extremely valuable for us.

The other challenge I see, is that the market may have become somewhat saturated to some extent, since there are so many Judaic artists now. There are also many, many Israeli artists and businessmen who have brought their goods to the US, since tourism there has floundered in the past few years. I can drop into virtually any gift gallery in any city and see at least a small section devoted to Judaica such as menorahs and mezuzot.

TCR: Have there been major turning points in your career as an artist?

RS: Hmmm... I think when my work sold immediately at my first gallery, Gallery Judaica in Westwood, CA. Also, getting into the Temple Isaiah Festival of Judaic Artisans; Perhaps, my first non-Judaic high end shows, The Brentwood Art Festival and the Contemporary Craft Market in Santa Monica CA. Also, I displayed and sold my work at a major international Judaica show in Jerusalem, Israel. I had a major piece, a Miriam's Vessel, sell at a show in NYC; and a yod, or Torah pointer, of mine was taken into space by a Jewish astronaut, Jeffrey Hoffman, about 10 years ago!

The only challenges I see that are specific to Judaica artists relate to the smaller population we appeal to. Not only are there a very small number of Jews here in the US relative to the entire population, but not all of them are religious or practicing Jews and interested in Judaic art. On the other hand, many Jews do tend to support the arts and they also tend to have collections of Judaica. I try to counter this challenge by making jewelry and other items without Judaic content.

TCR: What has been the most difficult thing you have encountered in your work?

RS: The most difficult thing I have encountered in my work is trying to do everything myself. What I really want to do is to work in my studio all day. What I end up doing is making displays (endlessly changing), keeping the books, doing invoices, taking photographs, keeping up the website, and the thousands of other things designed to keep me away from the shop. This is not specific to Judaica. I have clearly decided over the years to keep my operation small, so I can keep in touch with everything and everyone, and to avoid the challenges of being an employer. This has led to the above challenges, but not necessarily a lower income. It has allowed me to keep doing my art, and kept me from being "the boss." Business insights- I'm not sure I have any to offer! Maybe, "Keep it simple." One of the best things I did, business-wise, was to begin taking credit cards!

TCR: How has the Internet affected your business?

RS: I think the Internet has brought people to me, although I have not approached it yet in a very business-like way. (see above) I have mostly used my website as an online gallery – directing people their in lieu of sending out a catalogue. With my daughter's help, I will soon be positioning my website in a new direction. The other way the internet has affected my business, is that I can more easily find supplies I need. The backside of that is that I think the internet is a black hole where vast gobs of time are swallowed!

TCR: What is the next step for you?

RS: My next step will be to reform my website operation. I will also think about targeted mailings. I will also think about getting back into the wholesale market. All of this takes a backseat, however, to any major bursts of creativity which will trump all else! Since this creativity springs from my Creator, who knows what will show up?!!

Show schedule:

Santa Monica Contemporary Craft Market, November. 4-6, 2005, CA

Temple Isaiah Festival of Jewish Artisans, November 12-13 Los Angeles

Union of Reform Judaism, Biennial Convention, Houston, Texas, November 16-20, 2005

My work is available through: (partial list)

Gallery Judaica, Westwood, CA

Skirball Museum Gift Shop, Los Angeles

University of Judaism Gift Shop, Los Angeles

Yussels's Place, Merrick, NY

Inspiration Gallery, New Rochelle, NY

American Pie, Philadelphia, PA

Artistic Judaic Promotions, online at www.ajp.com

Kolbo, Brookline, MA

The Jewish Museum, NYC, NY

CBL Fine Art, West Orange, NJ

Westside Judaica, NYC, NY

(and at many synagogues in the United States)

Ruth Shapiro
www.growingupjewish.com
310-398-6910
310-871-8719

Table of Contents | Home

---