Near the end of his long and productive life, Nicolas Poussin was commissioned in 1660 to paint an unusual series of paintings called the "Four Seasons".
Howard Salmon first celebrated his bar mitzvah as a 44-year-old. He and six others attended a class at Temple Emanu-El in Tucson, Arizona, and each one prepared one aliyah of the Torah reading.
First there was the word. It was spoken on the mountain and we were afraid. Then it was written fire on fire.
Swastikas have been popping up lately in the most unusual places.
When an artist creates, intention - elementary to the creative process - is paradoxically secondary to the finished work.
Pegging Arthur Miller a Jewish playwright is a dangerous enterprise.
Such a nice story the Megillah Esther is, don't you think?
The opening sentence of Saul Bellow's 1953 novel, The Adventures of Augie March, which begins, "I am an American, Chicago born - Chicago, that somber city - and go at things as I have taught myself, free-style," arguably did as much as any novel to put Chicago on this century's literary map.
Some artists' iconoclastic, bohemian behavior gets them into trouble.
JT Waldman's Megillat Esther is brash, loud and groundbreaking.
At first glance, Moritz Rabinowitz and Baruch Spinoza have very little in common.
The Holocaust was "Ground Zero of the Greenwald-Kahana family."
Miriam Beerman's paintings have appeared in more than 100 exhibits, including a solo show at the Brooklyn Museum, a first for a woman artist.
Ludwig Schwarz's 2000 assemblage of seven altered thrift store-bought paintings, "Untitled (Born to Be Mild)," can be said to evoke Piet Mondrian's abstract works, which rely heavily upon a simple palette and the grid.
To encounter God is an elemental quest of mankind.
Lynn Russell's current exhibition at the Chassidic Art Institute challenges us with a piety that resists all easy answers.
Art criticism is often a messy business that has a lot to do with passing judgment.
The Gates of Paradise have arrived in New York, and anyone interested in experiencing one of the great masterpieces of the Early Italian Renaissance cannot afford to miss this current exhibition at the Metropolitan Museum of Art.
Puppeteers are supposed to be jolly sorts, who associate with Sesame Street, the Muppets and Mister Rogers's Neighborhood.
The varieties of Jewish art are always a delight to explore, but occasionally an exhibition comes along that provides surprises and insights that trouble even the most assured of viewers.
When Mark Godfrey first stumbled across Peter Eisenman's Memorial to the Murdered European Jews in Berlin, he did not recognize it.
Much like the Jewish people themselves, the legacy of Jewish Art has miraculously survived seemingly endless assaults over the past two centuries.
One of the greatest insights Jacques Derrida laid out in his conceptualization of Deconstruction was that a thing can coexist with its opposite, and in fact, neither can be properly understood without the other.
The L.A Story, a selection of works from 10 contemporary Los Angeles Jewish artists currently at the Hebrew Union College - Institute of Religion Museum, poses the question of what exactly constitutes Jewish Art and what is its condition today on the West Coast.
The smile is as unmistakable as the pointed white beard, long flowing side curls, black hat, robe and thick white socks.