Barbarism cannot triumph. This is what we believe, as Jews and as Americans.
Walking through Chrystie Sherman's solo show at the Austrian Embassy in Washington will almost inevitably make viewers rethink their notions not only of what it means to be a Jew, but also what Jews look like.
Siona Benjamin is a most unusual artist determined to recast Jewish art as a dynamic, cross-cultural phenomenon.
Perhaps upholding Leviticus 19:31, which insists, "Do not turn to those who worship Ob or to wizards; do not desire to become defiled by them,"
The Akeidah casts a very long shadow in the lives of all Jews, every day and particularly at this time of year.
When Abraham built the altar on Mount Moriah, it must have been very painful to know each step brought him closer to losing Isaac, whom the Bible goes out of its way to call his "only son, whom he loved."
The Sistine Secrets by Benjamin Blech and Roy Doliner raises many intriguing issues about one of the most important works of Western art and its creator, Michelangelo Buonarroti (1475 - 1564) as first presented in my review on August 29.
German artist, Albrecht Dürer's woodcut "Samson Slaying the Lion" (1497-98) shows the warrior-prophet with the unkempt hair and beard of a Nazarite, sitting on the back of a lion, whose jaws he pulls apart.
The Sistine Chapel in Rome is at the very heart of the Roman Catholic universe, the pope's private chapel in the Vatican and, notably, is one of the most famous tourist sites in history.
Viewers who read Daniel Weinstein's list of artistic influences on his website will get the impression they are dealing with an unusual sort of Judaica, even before they see the art.
Lag B'Omer is a communal sigh of relief. Historically the plague that consumed 24,000 of Rabbi Akiva's students in the second century did not include the 33rd day of the counting of the Omer.
Marilyn Banner's encaustic painting "Listening" (2008) at first appears to be ironically titled.
Piety and paintings of pious Jews, what a dangerous mix! It takes considerable courage to dedicate oneself to making art, not to mention to do so within the Orthodox community.
What do you get when you mix a Jesuit publishing company, a Reform Jewish scholar, an Orthodox Jewish painter, and a thesis on human-divine encounters?
Upon walking into the synagogue at Hadassah Hospital, one is forced to look up.
When Andrew Jacobs heard about a bungalow colony of Holocaust survivors on Geiger Road in the Catskills, his mind unleashed a series of pardonable stereotypes.
As an artist, when I visit a museum I relish the opportunity to soak up a gamut of aesthetic experiences; the wonderful array of visual and intellectual stimulation that characterizes looking at any kind of art.
Some of history's greatest paintings have explored tragedy, from Francisco Goya's "Saturn Devouring his Son" and etching series on "The Disasters of War" to Pablo Picasso's "Guernica" to John Singer Sargent's "Gassed."
We live apart, we Jews − partially, by God's command and partially, because of age-old enmity from non-Jews.
Italo Calvino's Invisible Cities (1972) imagines a dialogue between the explorer Marco Polo and the emperor Kublai Khan.
Light and shadow typically assume moral implications in literature, where light is often divine and dark symbolizes the unknown and the scary.
The road one chooses in Art, much like life, does not necessarily determine the final destination.
There is perhaps a paradox afoot in conventional American Jewish views on Holocaust memory.
"And it happened after these things that God tested Abraham and said to him, 'Abraham.' And he replied, 'Here I am.' "
When Linda Loman sees that the only people attending her husband Willy's funeral are her sons Biff and Happy and neighbors Charley and Bernard, she wonders what happened to the multitude of mourners that Willy had always promised.