Media

Art Speak

From www.art-is-life.com
April, 2003 by Audrey Regan

He answers to two names—Sam Israel and Ivan Spinoza—and, New York lawyer or not, he looks like a slightly disheveled cowboy who might be late for something. One wouldn’t expect a lawyer, in the middle of his work day, to be wearing blue jeans or his file cabinets to be plastered with art and draped in Moroccan fabric; but he is and they are.

A graduate of New York University School of Law, Sam Israel is on a client phone call one moment, and the next, he is Ivan Spinoza, printing art from his computer—one digital montage after another. “I grab images wherever I can find them,” he says, “I just alter them and put them together in my own way.” At this moment in time, Spinoza is experimenting with brilliant, almost fluorescent colors. One is struck by this unique set of circumstances, where the attorney is free to indulge his artistic side; where paintings and legal documents share space on the same desk.

Sam Israel didn’t always have such an integrated setup. For years he was a litigator in a large firm with art being his external hobby. In 1995, he set up a private practice to represent clients in diverse commercial disputes including matters of trademark/unfair competition, copyright infringement, creditor’s rights and restructuring, labor-related issues, commercial fraud, securities and contract interpretation. As a litigator, he has a stellar reputation.

Three years after going solo, he went searching for bigger offices and discovered 594 Broadway in New York's SoHo district, specifically suite 1010 , a lofty space with high ceilings, noble columns and wood floors. The Locus-Media Gallery was born. Here, law would be practised; exhibitions would be curated; a novel would be completed; films would be made and a video production company, Fistful of Pixels, Inc., would be formed. And Ivan Spinoza would have a permanent showplace for his prolific creativity.  

When the gallery is “between shows", its walls are lined with Spinoza’s paintings and drawings, mostly small in scale but rich in finely-penned detail – images of people, facing forward, their large eyes filled with questions; fraught with confusion. You want to ask who they are but you sense the artist would only smile at such a question, or anwer in a way that would require even deeper analysis. Whoever the people in his paintings represent, they have a way of staying with you. Spinoza’s 3D works have him creating connections between accumulated, often heterogeneous objects. His latest sculpture is a mythical universe in a lucite box, comprising statuary, tiny dolls, heads of dolls, angels, elves and two figurines of mothers - the Madonna and a gorilla - each holding their babies. The most prominent figure in the assemblage, though not the largest, is a male in shirt and tie, who seems to be policing the angelic community before him. The sculpture rests on a pedestal in one corner of the gallery, its resin glaze just barely dry.

With only a partition separating the large white art gallery from the not-so-large, pleasantly cluttered law office, it is clear that when it comes to square footage, Ivan the artist wins out over Sam the lawyer.

But, what is Sam Israel/Ivan Spinoza really like?   It might help to examine the nature of the exhibitions he has staged in his gallery; the themes he is drawn to as a curator. One of them, “Return to the Womb Room: An Exploration of Mothers and Others”, was an interdisciplinary adventure into motherhood, sexuality, spirituality, family, loneliness and alienation by an impressive group of New York female artists. That exhibit is forever immortalized in a book by the same name. It sits on a low table in the gallery, along with all the other books—one for every Locus-Media show-- and all created by Sam Israel/Ivan Spinoza himself. If you open the cover of any one of them, you will find it is hard to put down. Here you can see the organized mind, that works so well in law, applied to the arts and a light goes on.

Most of the Locus-Media exhibitions underline a unique, if not rare, insistence upon fairness; of validating everyone, no matter what their race, gender, creed, color or physical characteristics. As an example, Locus-Media held a fashion show to celebrate women of all body types, including tall and thin, athletic and full-figured and interesting in-betweens, providing a debut for Richard Metzger, the first full-figured fashion designer … with proceeds donated to the New York Foundling Hospital . In the first two years of operation, Locus-Media Gallery produced four charity driven events, including a wearable art exhibit, emceed by soap star, Linda Dano. That event raised several thousand dollars for God’s Love We Deliver, an organization which improves the health and well-being of men, women and children living with HIV/AIDS, by alleviating hunger and malnutrition.

For Sam Israel and Ivan Spinoza, the scales of balance are built in. It seems not to be the usual hardwiring. There are no traces of male cronyism and bravado. Still, the hard edges are there—revealed in his anger over certain politicians; about news and information that doesn’t get reported; about the frustration of people forced to accept what has become so difficult to change. Sam makes a casual reference to his childhood; about the importance of knowing “how to leave” when the going gets rough. “I took a three month course,” he explains, “On how to help victims of domestic abuse and I love this work. I try to help people who are being abused to make a plan. They need to find a way out, to get themselves to a better place.”  This confirms a growing realization that he, too, is survivor; that life has not always been easy.

For just a moment, Sam’s office and gallery are quiet. He settles into his chair, crossing his long legs on top of the desk and takes a stab at the wilting salad in front of him. But another call comes in; this time a prospective new client. A pen quickly replaces the fork. Later, as the day wears down, new beings will fly from Spinoza’s imagination; and a new cast of characters will be chosen for permanent positioning in his next, highly-glazed universe on a pedestal.

From New York Lawyer, September 2000

To satisfy their souls, each of these two lawyers needed more space... and they got it, as gallery owners finding their bliss.

By Stephanie B. Goldberg - Photography by Grant Delin

Art and Law, Side by Side: This litigator felt at last he'd found his destiny...in SoHo some families nurture artists, but Sam Israel's wasn't one of them. "The emphasis was on hustling, on making money," says Israel, who spent his Queens childhood painting murals on his bed­room walls and directing movies in his head. But when the time came, he put aside his dreams and chose New York University Law over art school. Yet he never lost touch with that part of himself. For ten years, Israel, 39, played the big-firm business litigator professionally while adopting the name "Ivan Spinoza" for his almost endless output of expressionist paintings, mixed media works and experimental narratives. Then, in the fall of 1998, his two worlds became one as Israel became proprietor of the Locus Media Art Gallery in Soho. Since then, 594 Broadway has become home base for him to curate shows, run a digital entertainment company, exhibit his work, write a novel, make short films and, oh yes, practice commercial law. His dark blue file cabinets are covered with a primitive painted frieze resembling graffiti art to dispel all doubts that this is a conventional law office. His office is tucked inside a walled-off corner of the gallery, but his law library is on display for all to see. It's located a few feet from another conceptual work-an industrial cart laden with fragile glass boxes-which suggests it may be just another work of art. Or not - in this terrain, you're never really sure. At least not as sure as Israel was that Locus was his destiny. "It was almost unconscious. I was looking for a larger office space, saw this space and knew I had to open an art gallery." He embarked on the venture with the bless­ings of his wife, actress Maya Israel, and within a month had organized his first show, "Morphed Out," a cradle-to- grave trip through the eyes of assorted artists. Other group shows have featured paintings inspired by children's books and works exploring women's bodies and sexuality. One scheduled this October is themed around manic-depres­sive illness. Is there an agenda afoot? The gallery's promo literature states that it wants to provoke thought and appeal to diverse audiences-which is not so very differ­ent from what Israel does as a litigator.

MULTI-FACETED MAN, MULTIMEDIA EVENTS
And, like Israel, the gallery pulsates with activity, as each exhibit evolves into a series of readings, lectures and multimedia events tied to its themes. The show on women's body images led to an anti-fashion show featuring models of all shapes and sizes. The gallery hosts the edgy Mad Alex poetry series run by New York poet Elena Alexander, a monthly screenplay reading series by Smoke & Mirrors Creations, a film production company, and musical programs featuring everyone from hip hop artists to jazz virtuoso Marion Cowings. A wearable art show last spring, emceed by soap star Linda Dano, raised several thousand dollars for God's Love We Deliver, an AIDS charity. Israel has squeezed in four charity events in the gallery's two years' of operation. "I believe it's impor­tant to give something back to the planet," he says plain­tively, although he admits the events haven't been terrific moneymakers. Then why do them? "Because at least it's something," says Israel. Then, there are his other endeavors, such as the hostage-drama novel he works on from seven until ten each morning. He's formed "Fistful of Pixels," a produc­tion company that is currently shooting an online televi­sion show, "55 Mercer Street," a sort of MTV "Real World" with product placements-viewers will be able to click on items in each scene, which will link to web sites where the merchandise is sold. He also produces Womb Room, a monthly magazine of art and experimental fic­tion, and documents each of the gallery's shows with a commemorative book. So when he casually discloses he only requires four hours of sleep a night-like President Clinton and Martha Stewart-it hardly comes as a sur­prise. As does the news that he likes to work on five things at once. "I've always worked this way," he says. "I know it discombobulates some people." In fact, being in a room with Israel is like keeping company with one of Nam June Paik's kinetic sculptures of five TVs going all the time. Doesn't any of this activi­ty crowd his law practice? Uh,uh, says Israel, who says he doesn't want for clients. He prefers not working elbow- to-elbow with other lawyers. "I feel I bring a much more balanced perspective. I can frame better arguments because I can take into account the other side's interest. That kind of thinking and orientation is easier when you're outside of the conventional law firm." It's an interesting theory coming from the guy who says, "People seek me out because I have a reputation as a pit bull," and who boasts that his concentration at depositions is keen: "I can levitate objects in the room." And yet his perspective on civil litigation is that of a real­ist: "It's just a chess game where you're moving money around. I'm resigned that my most rewarding cases will come from my pro bono projects." One that he conclud­ed recently saved a tenant from eviction and put the bite on her landlord for years of free rent as a trade-off for his building code violations. "I'm happiest playing David to someone else's Goliath," he notes.

NOT YOUR TYPICAL EVERYDAY LAWYER
Those who worked with him at his first job out of law school recall him as "far from the typ­ical young associate," according to Neil Forrest, the lawyer who supervised him at Finley, Kumble, Wagner, Manley, Myerson, Underberg & Casey. "He would bring in his paintings and talk about acting classes he was taking." Despite Israel's eccentricities, Forrest remembers him as one of the "most talented young lawyers I've ever met." After Finley Kumble's stormy demise (during its brief life, it was dubbed "McFirm" for its overly aggressive expansion) Israel joined Marcus, Montgomery, Wolfson, P.C., as an associate. Soon after the move, however, he was struck with multiple sclerosis, which ravaged his vision, although the disease is now in complete remission. "I was not only the new guy, I was the sick guy whom no one wanted to have anything to do with," he recalls rue­fully. Israel says he used his outsider status well, taking cases no one wanted and accumulating clients. "I was a fifth-year associate and I was bringing in maybe $600,000 worth of business." In 1995, he went solo. "It was slow in the beginning but picked up very quickly," says Israel, who plows most of the fees he receives from legal work into the gallery and his digital film company. After being a loner for so long, opening Locus has been a homecoming of sorts, in which Israel has perpet­ual access to the ultimate clubhouse for hip downtowners. "I can be myself here," says Israel, gesturing to the current show, "Rules of Confinement," an exhibit of works that use boxes as a point of departure. Come to think of it, that's exactly how Israel uses his gallery.

From New York Law Journal: Friday June 11, 1999

Attorneys Dabbling in the Arts Make Galleries of Their Offices

By Victoria Rivkin

AN ARTISTIC ATTORNEY: Manhattan litigator Sam Israel In his SoHo oftice/art gallery last month befom a fashion show to benefit the Foundling Hospital. Behind him fitness model Tinamarie Swafford warms up for the show in front of Celeste Joyce's Self-Portraits.

THE SCENE was definitely haute couture. Models frantically straighten their first designer outfits of the evening preparing for a fashion show, as well-dressed guests study displays of art on the walls celebrating the female form. But the setting for this fashion event at the end of last month was decidedly outre. It is a law office, albeit a trendy one, belonging to Sam Israel, a SoHo litigator. Mr. Israel, who opened the space in October, is using it as a permanent art gallery and performance space intended to focus on political, social, psychological and legal issues. He has held screenplay, book and poetry readings, and presently, his exhibit, called the Womb Room, was kicked off a month ago with performance art that focused on the power of the woman's body. "[It] is intended, among other things, to support and augment my legal practice, as opposed to serving as an entirely independent endeavor," he said. Mr. Israel, 38, who started his own practice three years ago, said that the art gallery has been a great way to network, and has been good for business. "It has a gravity and an intellectual component that was lacking from my law practice," he said. "Also, it gives me an opportunity to get my creative ya-yas out of it," he added. Since October, Mr. Israel and his wife Maya, who organizes the shows, have ventured into producing films and trying to manage a band. Also, this summer, documentaries will be shown in the space.

Yet Mr. Israel is not the only lawyer who has an art gallery in his office. Dolgenos Newman & Cronin, a general practice firm in SoHo, has had an art gallery - called the Workspace Gallery - since 1981. Since the Work- space opened, the lawyers have tried to provide a place for community artists to show their works. Now the six-lawyer firm, which every year holds six to eight painting and sculpture shows by a mix of known and unknown artists, has a curator to arrange the exhibits. Although the firm charges the artists a percentage for works sold, Christopher Bartle, a partner in the firm, said the gallery does not make a profit and is supported by the law firm. Though the gallery is not intended to attract clients, "it makes people feel good about us as a community law firm and probably helps us to retain them," he said. "Although SoHo has changed in the last 15 years, here we try to retain something of the old SoHo. The art has to be visually interesting, critically interesting and have intellectual integrity, and not be tourist art," said Mr. Bartle.

From New York Times: Friday December 4, 1998
Family Fare

From Dickens To Dinosaurs

By Laurel Graeber

For the next month, Ebenezer Scrooge, the Sugar Plum Fairy and the goddess Persephone are all moving to Soho. They're to be among the diverse tenants at Locus Media, a gallery whose philosophy is not just to show art but to celebrate it.

Tomorrow, Locus will do both at a reception heralding the opening of "Winter Fantasies: Original Art From Noted Children's Books and Beyond," a show that includes these fictional characters and many more. On view through January 5, the exhibit consists of about 40 works by the illustrators Melanie Hope Greenberg, Stephen T. Johnson and Kris Waldherr, as well as a detailed sculpture of a baby dinosaur in its egg by Brian Cooley. (His art is the "beyond" in the title.)

At the reception, children will be able to meet most of the artists, as well as "hear dramatized versions of the stories, view them on the wall as paintings and also see the books," said Maya Israel, director of the gallery.

At 2 P.M., actors will bring some of the stories to life: "The Tie Man's Miracle: A Hanukkah Tale," by Stephen Schnur, illustrated by Mr. Johnson; "Down in the Subway," by Miriam Cohen, illustrated by Ms. Greenberg, and "Persephone and the Pomegranate" and "The Book of Goddesses," both written and illustrated by Ms. Waldherr.

"I never have just one reader doing one book," Ms. Israel said, noting that five actors will be involved in "The Tie Man's Miracle," a bittersweet story about a Holocaust survivor. Rather than a static reading, each performance "will be a fun, visual thing," she said.

Parents with holiday shopping in mind can buy prints and posters of some of the artists' work throughout the exhibit's run, as well as the storybooks. Or, if price is not object, they can invest in the art, which ranges from $500 for some of the paintings to $10,000 for a bronze casting of Mr. Cooley's dinosaur sculpture.

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