web analytics
April 24, 2014 / 24 Nisan, 5774
At a Glance
Sections
Sponsored Post
Spa 1.2 Combining Modern Living in Traditional Jerusalem

A unique and prestigious residential project in now being built in Mekor Haim Street in Jerusalem.



Home » Sections » Arts »

A Jewish Art Salon Exhibit


Share Button

Seduced by the Sacred: Forging a New Jewish Art

Oct. 3 – Nov. 22, 2010

Mandell JCC (West Hartford) and Charter Oak Cultural Center, Hartford, Conn.

Curated by Richard McBee and Joel Silverstein

http://www.jewishartsalon.com/

 

 

In many ways, it should be a no-brainer for readers of The Jewish Press to make the decision to visit the latest Jewish Art Salon exhibit, Seduced by the Sacred, or, if the trek to Hartford is prohibitive, to immerse themselves in the works online. After all, most readers of this publication are surely already seduced by the sacred – however problematic the definition of both terms may be – and, particularly if they are regular readers of this column, they will be intrigued by the question of new Jewish art.

 

In other ways, however, readers of The Jewish Press might be overqualified for Seduced by the Sacred, and the target (or at least ideal) audience for the show may be people who are less engaged with the usual suspects of Jewish art. Jewish art aficionados will already be aware of many of the show’s participants – Archie Rand, Tobi Kahn, Mark Podwal, Richard McBee, John Bradford, Siona Benjamin and others – and the notion of this art being new is perhaps a bit outdated.

 

But the show, which the curators say covers a “new generation of Jewish artists [who] came of age after the 1970s and craved more authentic religious and cultural experiences,” is vital for those who are not as familiar with Jewish art. One just wishes the catalog provided slightly more guidance for this audience in how to interpret the unique terminology and set of themes and symbols inherent in contemporary Jewish art.

 

“The very nature of the sacred; [sic] beyond proof and rationality, immutable, intractable, once again became desirable and easily connected to the entire history of Judaism,” write the curators, singling out Christian, Buddhist and Hindu artists as creators of religious art that is ritual-based. “Christian art had fixed iconography and history; Jewish art reveled in its own indeterminability. An invisible God and the space of encounter invite radical re-understandings of texts and images.”

 

There have been radical re-readings of Jewish texts and Jewish artists have had to grapple with a semi-visible God (the artists of Dura Europos, and the creators of many Haggadot, have managed to envision God’s hands), but the comparison between Jewish and Christian art is a bit simplistic. Surely some of the iconography Christian artists had “fixed” was based on prior works of art fixed by Jewish artists, and the early visual history of both religious traditions was typified as much by its connectedness and mutual borrowing as it was by its differences.

 

One also wonders why the curators’ statement entirely neglects Islamic visual traditions, though there is certainly a strong element of Islamic architecture in one work in the show, Mark Podwal’s etching, “Jerusalem as the Crown of the Torah” (1984).

 

Mark Podwal. “Jerusalem as the Crown of the Torah.” 1984.

Etching on paper. 8 1/4 x 5 3/8 inches

 

 

Podwal takes the term keter Torah (crown of the Torah) literally, and portrays Jerusalem as the ornament on the top of a Torah scroll (of the Ashkenazi variety). On the top of the crown (which also mirrors the primary position of keter on the Kabbalistic model of the Sephirot) is the Dome of the Rock. Where some Jewish artists try to mask the dome and to emphasize the Western Wall, Podwal gives the Islamic shrine a central position, and the minaret and some trees framing the mosque mirror the pillars flanking the Ten Commandments on the Torah ornament and the handles underneath the Torah. Podwal has formally created a double spine that props the work up, which combines Jewish and Islamic visual elements.

 

Natan Nuchi’s 2005 ink on cotton drawing, “Untitled,” gives new meaning to the expression giving the finger. Thousands of fingers of different sizes and shapes are arranged throughout the 104 inch squared drawing. Some are arranged in rows like battalions of soldier, while others overlap each other in poses that could be aggressive, erotic, comforting or friendly. Richard McBee has written often in these pages on the connection between Nuchi’s fingers and his Holocaust subject matter, and there is certainly something eerie about the amputated fingers.

 

 

Natan Nuchi. “Untitled.” 2005. Ink on cotton. 104 x 104 inches

 

 

The forms in Nuchi’s drawing echoe those of Renata Stein’s “Gateway to Heaven”  (1994). But the rest of the works in the show mostly seem unconnected to each other. Though the curators explain that the show uses the song Lecha Dodi (“Go my beloved”) as a “paradigm for Jewish artists who are willing to encounter experiences greater than themselves,” the only work that seems to respond to the paradigm is David Wander’s 2010 acrylic on paper painting, “Come My Beloved” (the usual translation of Lecha is “come,” though I argue “go” is more appropriate).

 

One work (which doesn’t address the Shabbat service introductory song) is Janet Shafner’s “The Daughters of Zelophehad” (2006). Machla, Noa, Hagla, Milka and Tirtza, the five sisters who appear in Numbers 26, 27 and 36, as well as Joshua 17 and 1 Chronicles 7, made names for themselves by requesting to inherit their father’s portion of land in Israel after his death because he had no sons.  Shafner depicts the five in classical attire in a landscape worthy of Dali. A circle of boulders sits at their feet, and a field of red (evoking lava) in the background sets four of the sisters forward in space.

 

“The Daughters of Zelophehad.” 2006. Oil on canvas. 48 x 84 inches

 

 

According to the artist’s website, the daughters are depicted as “sentinel figures” and are “set against a panorama of walls – ancient and modern, including the politically charged contemporary wall between Israel and her Arab neighbors.” Written upon the red field is the text from the biblical narrative.

 

After reading the biblical texts about the five sisters, one is left with a number of questions about the women. When they approached Moses, did they all pose the question together, or was there a ringleader and four shyer sisters? Were they the epitome of politeness, or were they combative? Did they feel entitled or were they pessimistic about their chances?

 

In Shafner’s vision of the episode, the sisters are animated and they assume active poses. Although the artist calls her own figures sentinels, they appear to me to assume offensive, rather than defensive postures. As they stand on a controversial boundary between Israeli and Palestinian territories, these women reach out to each other and stretch their hands out over the land. Most confidently stand up straight, and the one who crouches seems ready to pounce. If the show is mostly about the passive Shabbat queen of Lecha Dodi, these are enterprising and entrepreneurial women. At a contemporary political crossroads, they cannot help but exude possibility and potential.

 

Shafner’s figures work so well, because they are strong as individuals and as a team. Seduced by the Sacred is perhaps not as powerful a cohesive group of pieces, but it certainly has some individual stars that deserve recognition.

 

Menachem Wecker, who blogs on faith and art for the Houston Chronicle at http://blogs.chron.com/iconia, welcomes comments at mwecker@gmail.com.

Share Button

About the Author: Menachem Wecker, who blogs on faith and art for the Houston Chronicle at http://blogs.chron.com/iconia, welcomes comments at mwecker@gmail.com.


If you don't see your comment after publishing it, refresh the page.

Our comments section is intended for meaningful responses and debates in a civilized manner. We ask that you respect the fact that we are a religious Jewish website and avoid inappropriate language at all cost.

No Responses to “A Jewish Art Salon Exhibit”

Comments are closed.

SocialTwist Tell-a-Friend

Current Top Story
Will Starbucks hire Boycott Movement officials when they find themselves out of work?
Starbucks-SodaStream Link Would Help Destroy BDS
Latest Sections Stories
Schonfeld-logo1

Regardless of age, parents play an important role in their children’s lives.

Marriage-Relationship-logo

We peel away one layer after the next, our eyes tear up and it becomes harder and harder to see as we get closer to our innermost insecurities and fears.

Gorsky-041814-Torah

Some Mountain Jews believe they are descendents of the Ten Lost Tribes and were exiled to Azerbaijan and Dagestan by Sancheriv.

Yom Tov is about spending time with your family. And while for some families the big once-in-a-lifetime experience is great, for others something low key is the way to go.

A fascinating glimpse into the rich complexity of medieval Jewish life and its contemporary relevance had intriguingly emerged.

Dear Dr. Yael:

My heart is breaking; my husband’s friend has gotten divorced. While this type of situation is always sad, here I do believe it could have been avoided.

The plan’s goal is to provide supportive housing to 200 individuals with disabilities by the year 2020.

Despite being one of the fastest-growing Jewish communities in the U.S. – the estimated Jewish population is 70-80,000 – Las Vegas has long been overlooked by much of the Torah world.

She was followed by the shadows of the Six Million, by the ever so subtle awareness of their vanished presence.

Pesach is so liberating (if you excuse the expression). It’s the only time I can eat anywhere in the house, guilt free! Matzah in bed!

Now all the pain, fear and struggle were over and they were home. Yuli was safe and free, a hero returned to his land and people.

While it would seem from his question that he is being chuzpadik and dismissive, I wonder if its possible, if just maybe, he is a struggling, confused neshama who actually wants to come back to the fold.

I agree with the letter writer that a shadchan should respectfully and graciously accept a negative response to a shidduch offer.

More Articles from Menachem Wecker
Menachem Wecker

The exhibit, according to a statement from guest curator Michele Waalkes which is posted on the museum website, “examines how faith can inform and inspire artists in their work, whether their work is symbolic, pictorial, or textual in nature. It further explores how present-day artwork can lead audiences to ponder God, religious themes, venerated traditions, or spiritual insights.”

Weck-051812

It all started at an art and education conference at the Yeshiva University Museum. When one of the speakers misidentified a Goya painting at the Frick Collection, both the gentleman sitting next to me and I turned to each other and corrected the error simultaneously.

One of my favorite places when I was growing up in Boston was the used bookstore on Beacon and St. Mary’s streets. Boston Book Annex could play a used bookshop on television; it was dimly lit and cavernous, crawling with cats, and packed with a dizzying array of books, many of which sold three for a dollar. But used bookstores of this sort, however picturesque and inviting, are a relatively modern phenomena. In the Middle Ages, for example, I would never have been able to afford even a single used book unless I had been born into an aristocratic family. (Full disclosure, I was not.)

Jewish medals, several with Hebrew inscriptions and provocative imagery, were among the gems at The European Art Fair (TEFAF) in Maastricht, Netherlands, as I wrote in these pages two weeks ago. Another mini-trend at the fair, which will interest Jewish art aficionados, was an abundance of works by Marc Chagall.

It’s virtually impossible to ignore the financial aspects of TEFAF Maastricht, the annual arts and antiques fair in the historic city about two hours south of Amsterdam. More than 250 dealers from nearly 20 countries sell their wares—which span from Greek and Roman antiquities to contemporary sculptures—in the halls of the Maastricht Exhibition and Congress Centre, whose corridors are adorned by nearly 65,000 tulips.

Max Ferguson’s 1993 painting Katz’s may be the second most iconic representation of the kosher-style delicatessen after the 1989 Billy Crystal and Meg Ryan film, When Harry Met Sally. Ferguson’s photorealistic painting depicts the deli from an interesting perspective, which is simultaneously inviting and hostile—in short, the dichotomy of deli culture.

The whole idea of an artful pushka (tzeddakah or charity box) is almost a tease, if not an outright mockery. Isn’t there something pretty backward about investing time and money in an ornate container to hold alms for the poor?

Located about nine miles north of Madrid, the Palacio Real de El Pardo (Pardo Palace) dates back to the early 15th century. Devastated by a March 13, 1604 fire that claimed many works from its priceless art collection, the Pardo Palace and its vast gardens were used as a hunting ground by the Spanish monarchs.

    Latest Poll

    Now that Kerry's "Peace Talks" are apparently over, are you...?







    View Results

    Loading ... Loading ...

Printed from: http://www.jewishpress.com/sections/arts/a-jewish-art-salon-exhibit/2010/11/11/

Scan this QR code to visit this page online: