Friday, July 12, 2024

A00232 - Soma Golden Behr, Trailblazing Editor at The New York Times

 

Soma Golden Behr, 84, Dies; Inspired Enterprising Journalism at The Times

The first woman to serve as the paper’s national editor, she focused on issues of race, class and poverty, drawing prizes, and rose to the newsroom’s top echelon.

Listen to this article · 6:35 min Learn more
Soma Golden Behr stands at a microphone, gesturing with one hand and grasping the podium with the other.
Soma Golden Behr in 2007, hosting an event for The New York Times Scholarship Program. As the newspaper’s national editor and an assistant managing editor, she helped shepherd Pulitzer Prize-winning series.Credit...Michelle V. Agins/The New York Times

Soma Golden Behr, a longtime senior editor at The New York Times who was a centrifuge of story ideas — they flew out of her in all directions — and whose journalistic passions were poverty, race and class, which led to reporting that won Pulitzer Prizes, died on Sunday in Manhattan. She was 84.

Her husband, William A. Behr, said her death, in the palliative care unit of Mount Sinai Hospital, came after breast cancer had spread to other organs.

Ms. Golden Behr, whose economics degree from Radcliffe led to a lifetime interest in issues involving inequality, was instrumental in overseeing several major series for The Times that examined class and racial divides. Each enlisted squads of reporters, photographers and editors for intensive, sometimes yearlong assignments.

“How Race Is Lived in America,” overseen with Gerald M. Boyd, who would become The Times’s first Black managing editor, peeled away the conventional wisdom that the country at the turn of the 21st century had become “post-racial.” Its deep dives into an integrated church, the military, a slaughterhouse and elsewhere won the paper the Pulitzer Prize for national reporting in 2001.

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Another series, “Class in America,” published in 2005, was an examination of how social class, often unspoken, produced glaring imbalances in society. Both the race and the class series were subsequently published as books.

Earlier, in 1993, Ms. Golden Behr had overseen a 10-part series, “Children of the Shadows,” which pushed past stereotypes of young people in inner cities. The reporter Isabel Wilkerson won a Pulitzer in feature writing for her searing portrait in that series of a 10-year-old boy caring for four siblings.

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A black-and-white photo of Ms. Golden Behr, holding a telephone receiver and smiling at the camera at a desk piled high with books and newspapers.
Ms. Golden Behr at work at The Times in an undated photo. Credit...The New York Times

Hired by The Times as an economics reporter in 1973 after 11 years at Business Week magazine, Ms. Golden Behr was often one of the few women, or the only woman, at the table. She was the first to lead the national desk, appointed in 1987, and, after a promotion to assistant managing editor in 1993, she was only the third woman from the newsroom to appear on the masthead, its top echelon of editors.

“At five feet, 10 and a half inches tall, her presence could fill just about any room, and she rarely had to worry about men talking over her, which gave her an advantage over many women at The Times,” Adam Nagourney wrote in “The Times,” his 2023 book on the contemporary history of the paper.

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Mr. Nagourney, a Times reporter, described Ms. Golden Behr as “cerebral, contemplative and explosive, all at once,” and quoted her as saying, in an interview, “I’m a word salad; I explode a lot.”

Jonathan Landman, a former deputy managing editor of The Times, whom Ms. Golden Behr plucked from the copy desk to edit national correspondents, said her style had been markedly different from that of other desk heads.

“She wasn’t an editor who said we need X to write Y,” he said. “She’d say, ‘We gotta think about housing!’ What would then come after that was interesting conversations and memos, and she’d get people thinking thematically in ways that were different. It was something.”

Though Ms. Golden Behr was a female pioneer, mentoring other women at the paper, she did not see herself as an ideological feminist.

In 1991, during her time as national editor, the paper came under heavy fire over a profile of a young woman who had accused William Kennedy Smith, a nephew of Senator Edward M. Kennedy, of rape. Critics inside and outside the newsroom accused the newspaper of voyeurism and of shaming the woman, who as identified by name, and who was said by a friend, quoted in the article, as saying she had “a little wild streak.”

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At a contentious newsroom-wide meeting in a Times auditorium, Ms. Golden Behr defended the article. “I am shocked by the depth of the response,” she said, adding, “I can’t account for every weird mind that reads The New York Times.’’

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Ms.  Golden Behr in a portrait, smiling.
Ms. Golden Behr was the first woman to serve as the newspaper’s national editor and only the third to be on the masthead.Credit...The New York Times

Soma Suzanne Golden was born on Aug. 27, 1939, in Washington, D.C., the eldest of three children of Dr. Benjamin Golden, a surgeon, and Edith (Seiden) Golden.

She graduated with a B.A. from Radcliffe College and an M.S. from the Graduate School of Journalism at Columbia. In 1974, she married Mr. Behr, a social worker and a psychoanalyst. The couple lived in Manhattan and Hopewell Junction, N.Y.

Steven Greenhouse, a former business and labor reporter at The Times, recalled that when Ms. Golden Behr was lured in 1973 from Business Week, where she was chief economics writer in Washington, it was considered a coup.

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“Making the coup even bigger at the time, Soma was a star who was a woman,” Mr. Greenhouse said. “She was hugely respected in the economics field.”

Four years later, Ms. Golden Behr was named to the Times editorial board. She was the only woman exclusively writing editorials, often on women’s issues, gay rights and inequality.

“After a few years, she said something like, ‘I don’t know that I have any more opinions, I’ve said it all,’” Mr. Behr recalled. She moved on to edit the Sunday business section for five years.

Besides her husband, she is survived by their daughter, Ariel Behr, who works for a nonprofit that finances affordable housing; their son, Zachary Behr, an executive at the History Channel; four grandchildren; and a sister, Carol Golden.

On retiring from journalism in 2005, Ms. Golden Behr became director of The New York Times College Scholarship Program, which paid four years of expenses for students who had excelled academically, despite difficult circumstances like homelessness.

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When its funding was cut back, Ms. Golden Behr and a partner, Melanie Rosen Brooks, created a similar independent program in 2010, Scholarship Plus — an extension of Ms. Golden Behr’s desire to address inequality. Scholarship Plus, funded by donors, supports 20 students from poor backgrounds annually, supplementing their college financial aid so they can avoid student loans, attempting to put its scholars on equal footing with affluent peers.

Ms. Golden Behr sometimes missed the camaraderie of the newsroom. She would invite journalists she had worked with over the years — all of them women — to her home on the Upper West Side. Until the pandemic ended the gatherings, as many as 30 women would attend, driving from as far away as Boston.

Wednesday, July 10, 2024

A00231- Nancy Azara, Artist Who Was One of the Founders of the New York Feminist Art Institute

 

Nancy Azara, Sculptor Who Created a Haven for Feminist Artists, Dies at 84

She helped establish the New York Feminist Art Institute. In her own work — monumental pieces carved from found lumber — she evoked ancient feminine imagery.

Listen to this article · 7:35 min Learn more
A black-and-white photo of Nancy Azara, a young woman dressed in black with a serious expression on her face. She stands in front of an abstract sculpture.
Nancy Azara in the early 1970s, when she and other like-minded feminist artists began to sketch out ways to support artists like themselves who were largely shut out of the contemporary (and very male) art world.Credit...via Nancy Azara Studio

Nancy Azara, a sculptor who evoked ancient feminine imagery in her carved and painted wood pieces, and who in 1979 was a founder of the New York Feminist Art Institute, a school run by and for women artists, died on June 27 in Manhattan. She was 84.

Her wife, Darla Bjork, a psychiatrist and artist, said the cause of her death, in a hospital, was congestive heart failure and complications of scleroderma, a rare autoimmune disease.

In the heyday of the women’s movement — and of feminist consciousness-raising — in the early 1970s, Ms. Azara and other feminist artists began meeting in their downtown Manhattan lofts, to explore their approach to art making and to sketch out projects that would support women artists like themselves, who were largely shut out of the contemporary (and very male) art world.

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On the West Coast, Judy Chicago and Miriam Schapiro had created a women’s art program at the California Institute of the Arts, out of which they formed a collective called Womanhouse and presented a groundbreaking exhibition in an abandoned Hollywood mansion. Inspired by its success, Ms. Azara and Ms. Schapiro, who had returned to the East Coast, began to conceive of an independent school at which art would be taught to women, by women.

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A black-and-white photo of five women in an art studio, two of them sitting in chairs and the others sitting on the floor.
Ms. Azara, front left (in a sweater), with her New York Feminist Art Institute co-founders, from left: Miriam Schapiro, Carol Stronghilos, Irene Peslikis and Lucille Lessane. The other founder, Selena Whitefeather, was not present.Credit...via Nancy Azara Studio

The institute began with great fanfare. Ronnie Eldridge, the feminist activist and politician who had worked for Mayor John V. Lindsay of New York, helped them to secure a space in the Port Authority building on Spring Street. The advisory board included, among others, the artists Louise Nevelson and Faith Ringgold; the feminist author Kate Millett; the art historian Linda Nochlin; and the activist Gloria Steinem. At a fund-raising gala in the spring of 1979 at the World Trade Center, Ms. Nevelson was the guest of honor, introduced by Carol Bellamy, who was then the City Council president.

Ms. Schapiro dropped out of the institute early on; she and Ms. Azara had competing visions for it. But the other founders — the painters Carol Stronghilos and Irene Peslikis; Selena Whitefeather, a video artist; and Lucille Lessane, an administrator who had worked for community organizations — stayed on.

By 1981, the institute had its own space on Franklin Street, in a building bought by Dr. Bjork. She was the only one of the group with a regular salary and a car, she said, which was helpful because she could ferry artists like Ms. Nevelson and, later, the sculptor Louise Bourgeois to events and help Ms. Azara distribute brochures and posters throughout the city.

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A colorful assemblage of carved and painted pieces of wood.
Ms. Azara’s “Maxi’s Wall” (2006). She began to work in wood, she said in 2015, because “it has a history; it’s more alive than canvas.”Credit...Nick Ghis, via Nancy Azara Studio

In the early days, there were workshops led by Ms. Chicago, the painter Elaine de Kooning and Ntozake Shange, author of the landmark theatrical work “For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf,” who taught poetry. Ms. Azara led workshops in making what she called visual diaries, a technique she had begun in her consciousness-raising groups. At the time, she was trying to quit smoking and needed to do something with her hands, so she began to draw images illustrating the topics that the women around her were discussing. Realizing that it was a way to unlock the creative process, she worked to refine and teach the technique to others.

The school was promoted in Ms. magazine and The Village Voice, and women flocked to it. But with arts funding drying up, its finances were always precarious. Still, the women kept at it. The operating costs were defrayed somewhat by renting the first floor to the Ceres Gallery, which was also devoted to feminist artwork.

Nonetheless, the New York Feminist Art Institute closed in 1990.

“It changed my life completely,” said the sculptor Phyllis Rosser, who had been working as a contributing writer for Ms. when she began attending Ms. Azara’s workshops and sculpture classes. “We all thought this would become a big movement in art and feminism, to have women taught by women artists who were feminists. But it got harder and harder to raise money as feminism was attacked politically.

“It didn’t become the great movement we thought it would be,” she added, “but it did help a lot of women.”

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A group of red and gold wood carvings showing raised hands, feathers and other images.
“Passages,” Ms. Azara’s 1999 assemblage of wood carvings painted with gold, aluminum leaf and rich reds — “the color of blood, of sacrifice, of death, and of rebirth,” in the words of Phyllis Chesler, the feminist psychologist and author.Credit...via Nancy Azara Studio

Annunciata Jean Azara was born on Oct. 13, 1939, in the Dyker Heights section of Brooklyn, and named after her mother, Annunciata (Como) Azara. Her father, Joseph Azara, owned an air-conditioning company.

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She studied fashion design at Finch College, a two-year women’s liberal arts college in Manhattan. That was a hard sell for her conservative Roman Catholic parents, because they did not believe in educating women. (She convinced them that Finch was socially appropriate.)

They were even more disapproving when Ms. Azara left home and moved, alone, to Forsyth Street on the Lower East Side. She worked as a costume designer in the theater and on the side made hats that were sold at Bonwit Teller, the Fifth Avenue department store. But she knew she wanted to be an artist, and she went on to study painting at the Art Students League of New York. She remained determined to earn a bachelor’s degree, however, and did so, in 1974, from Empire State University.

She married Maximilian Olivas, a trumpet player, in 1966, and they moved to a loft on Mercer Street. They separated in the late 1970s and divorced in 1992. Ms. Azara met her future wife in 1979, when Dr. Bjork took a sculpture class that Ms. Azara was teaching at the Brooklyn Museum.

“It took me two years to convince Nancy to have a fling,” Dr. Bjork said. “She said she didn’t want to ruin a friendship.” Together since 1981, they married in 2011, when same-sex marriage became legal in New York.

In addition to Dr. Bjork, Ms. Azara is survived by her siblings, Victoria and Joseph Azara; her daughter, Nana Olivas, an artist; her stepson, Maximilian Mark Olivas; and a granddaughter.

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A black-and-white photo of Ms. Azara, again dressed in black and looking very serious.
Ms. Azara in 2018. Women flocked to the art school, by and for women, that she helped create in 1979. But its finances were always precarious, and it closed in 1990.Credit...Grace Roselli, via Nancy Azara Studio

Though she trained as a painter, Ms. Azara began working in wood because, she said “it has a history; it’s more alive than canvas.”

Ms. Azara was interested in primitive archetypes and ancient spiritual traditions, and she at first made rough-hewn pieces of plump, bulbous shapes meant to evoke early goddess imagery; other works resembled totems and religious relics. Her pieces were massive, using found lumber — planks harvested from her Manhattan neighborhood, fallen trees from her house in Woodstock, N.Y. Later, she began to work with gold and aluminum leaf and egg tempera in rich reds and blues, often charring the wood, too.

Ms. Azara’s “deep magentas,” the feminist psychologist and author Phyllis Chesler said, “are the color of blood, of sacrifice, of death and of rebirth.” Ms. Azara, she said, “resurrected a more pagan archetype of the Great Mother for the mother-starved daughters of patriarchy.”

The critic Holland Cotter, reviewing Ms. Azara’s 2000 show at the Donahue/Sosinski Gallery in SoHo for The New York Times, wrote that her gilded pieces had a “Byzantine or South Asian splendor.”

In an interview for the International Foundation for Women Artists in 2015, Ms. Azara said: “I used to find the most brutal battered piece of wood, and then once you carve into that piece of wood it just opens up. I just love that part of it.”

She added: “I use wood that speaks to me; in other words, there’s something about it I feel an affinity for. One could explain it’s similar to meeting a person for the first time that you feel like you might have known before or you feel definitely you want to be this person’s friend. So the wood and I decide we could kind of be friends.”