Pascal Croci's graphic novel, Auschwitz, begins with a question to a witness from Auschwitz-Birkenau, "How long have you been keeping all this to yourself?"
Had Gadya, the playful, threatening and ultimately reassuring song that ends many Seder evenings among Ashkenazi Jews, has a long history in the Haggada.
The foundations of a Jewish life may be discerned in three outstanding works of Jewish art that I had the pleasure to preview for the Kestenbaum auction scheduled for March 30, 2004.
We all attempt to reap sustenance from the past. Our collective heritage acts as a foundation of cultural values necessary for us to build into the future.
Jewish Art has always been burdened by Jewish history.
Remember. The commandment to remember reverberates throughout the Torah, starting with the Exodus from Egypt, continuing to Receiving the Torah and finally climaxing in the weekly remembrance of the Sabbath itself. Embedded in the six remembrances is the commandment to, "remember what Amalek did to you on the way" (Devarim 25:17).
Authority, as the Gemara in Sanhedrin says, makes the world go round.
Mikhail Gleizer was born at the end of the Second World War in the Soviet Ukraine under the reign of the dictator Joseph Stalin.
Brilliant flags cascade atop two majestic mountains, sullied by throngs of horses and soldiers' shining steel armor reflecting the blinding sunlight.
Poised between imminent moral danger and the irrepressible drive to do the right thing, director Menachem Daum and cinematographer Oren Rudavsky have seared together a complex portrait of an Orthodox family who confront their painful past in the new documentary, Hiding and Seeking.
Exile is punishment; exile is a constant reminder of our fallen status; exile fills us with longings for a permanent home we cannot possess.
I was transfixed the first time I saw Moses und Aron, the 1933 opera by Arnold Schoenberg.
It could have been a travesty. Indeed, think of a musical of Akeydes Yitskhok, frivolous singing and play-acting the most awesome and sacred drama in the Torah!
The wide variety of bric-a-brac that fills a soldier's pockets, backpack and other gear becomes the medium of exploration in Tim O'Brien's "The Things They Carried," his examination of Vietnam era soldiers.
Elie Wiesel encapsulates the problem of Holocaust art by insisting that, "Auschwitz defies imagination and perception; it submits only to memory. It can be communicated by testimony, not fiction."
The curtain rises to reveal a towering wall of translucent glass behind which the chorus sings 'Te deum laudamus, You are G-d, we praise You,' to the provocative chords of the church organ.
Transmission is everything. The life's blood of a people is dependent upon many kinds of transmission; oral, scribal, Talmudic and anecdotal.
Wassily Kandinsky (1866-1944) and Arnold Schoenberg (1874-1951) were two of the most important modernist artists in the early twentieth century.
"We have inherited an amputated visual culture, viscously cut off from our artistic forefathers we have every right to lay claim to," exclaimed Archie Rand, artist and professor at Columbia University.
Kristallnacht, the pogrom unleashed by the Nazis on Germany's Jews on November 8, 1938, is considered by many to be the beginning of the Holocaust.
Jews with Hogs (1994) is the first image one encounters in Frederic Brenner's exhibition of photographs of contemporary Jews from around the world currently at the Brooklyn Museum.
There once lived a pious old man in Safed. His great grandparents had come from Eastern Europe to Eretz Yisrael, sometime in the 18th Century.
The need to reassert a shattered cultural identity should be familiar to Jews.
John Bradford's exhibition of nine paintings, done in the 1990's - presents us with a conundrum.
Who are you? Who am I? Questions of cultural identity among artists have raged from the early twentieth century to yesterday's memoir.