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Knesset Christian Allies and the Sinai Option
 
US Restricts Air Travel from Africa to Contain Ebola

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Israel Attempts to Insert Reason into UN Debate About Middle East

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Syrian Mortar hits Israeli Golan Tuesday Morning

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Head of Iran’s Top Clerical Body Dies

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Abbas Wreaks Vengeance on Arabs Selling Land to Jews

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Israel’s Government Recruits Citizens to ‘Fight Ebola’

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Beach Boys Cancel Israel Performance

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Jerusalem Light Rail’s New ‘Zero Tolerance’ for Arab Violence

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Rare 2,000 Yr Old Monument to Emperor Hadrian Found in Jerusalem

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Father and ISIS Stone Woman to Death in Syria [video]

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Proposed Conversion Bill, Change in Local Rabbinate Power Nixed by Netanyahu

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Haaretz Smears American Terrorism Expert with Political Hit Job

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Kosher Butcher in Germany Admits Selling Non-Kosher Meat for Years

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RCA Issues Statement Regarding Freundel Matter

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ISIS Wants You – Dead [video]

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Arts
 

Posted on: August 10th, 2011

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Although jokes abound about how punctual German Jews (Yekes) are, the concept of "Jewish Standard Time," presumably mocking the non-Germanic segments of the Jewish population, has earned an entry in Urban Dictionary for "15 minutes late to everything" or "being late to an important event."

 

Posted on: August 3rd, 2011

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Empathy and memory meet in the work of Meer Akselrod (1902-1970), the Jewish Russian artist who defied aesthetic convention and totalitarian dictates to relentlessly pursue his personal artistic vision of painting the Jewish people. His quiet courage in the face of epochal changes that convulsed his Russian homeland cannot be overestimated. They are amply attested to by his artwork, not the least of which are two pen and ink drawings, Pogrom, from 1927 - 1928, currently at the Chassidic Art Institute.

 

Posted on: July 13th, 2011

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Siona Benjamin's exhibition "Finding Home: The Art of Siona Benjamin" is simply beautiful. Set in the spacious lobby gallery of the JCC Manhattan, it allows for a peaceful (when the kids, nannies and crowds subside) contemplation of this complex artist's meditations on biblical women, war, exoticism and contemporary society.

 

Posted on: July 7th, 2011

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Although the subject matter of Marc Chagall's 1910 painting Resurrection of Lazarus clearly comes from Christian scripture, the artist put his decidedly Jewish mark on the image twice over. Chagall depicted both a Star of David and two hands - signifying the priestly blessing - on the tomb from which the haloed Lazarus has emerged. Although Jewish burial traditions tended to represent the priestly hands with the index and middle fingers touching and the ring and small fingers touching and a gap in between, Chagall, perhaps forgetting the convention, elected to spread all the fingers out evenly.

 

Posted on: June 22nd, 2011

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At first glance, the chassid in Ahron Weiner's "In Memorial" looks like he may be wearing an earring on his right ear, which is framed by his dark brown side curl. Further inspection reveals the ear is in silhouette, and the "earring" is indeed white light cast by one of the many memorial candles he contemplates - tributes to the tens of thousands of Jews of Uman murdered in the 18th century and nearly two centuries later by the Nazis.

 

Posted on: June 7th, 2011

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Until one examines the Book of Ruth - which is read on the holiday of Shavuot - artistically and mines the text for visual fodder that would lend itself to dynamic subjects to paint, one is unlikely to realize how passive the book actually is. The overwhelming majority of action verbs have to do with speech, and there is virtually no violence or conflict. Save a spitting in a shoe here or uncovering an ankle there, the book is much more about states of mind and identity than it is about action.

 

Posted on: June 1st, 2011

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Ironically the same quote by art critic Robert Hughes cited in my May 20th review "Chagall and the Cross" namely that Marc Chagall was the "quintessential Jewish artist of the twentieth century," is applicable in our consideration of Chagall's images for his graphic masterpiece, The Bible. Except here it illuminates the truth: his greatness as a Jewish artist is founded on his lifelong obsession with the Torah. No matter how far he strayed from his Jewish roots, even his late-in-life dalliance with Judeo-Christian universalism as surveyed in that review, nothing could compromise his amazing insights and comprehension of the Torah narratives.

 

Posted on: April 28th, 2011

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Hagar and Ishmael, as imagined by the 17th century Dutch Catholic painter Gabriel Metsu, are literally in the doghouse.

 

Posted on: March 23rd, 2011

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There is nothing funny about Siona Benjamin's Megillas Esther (2010). Unlike some contemporary illuminated megillas that emphasize the absurd and outlandish nature of the corrupt Persian court and the buffoonish character of the king, Benjamin takes the Book of Esther quite seriously. She is obviously deeply sensitive to the terrible consequences of God's hester panim (hidden face) in our own time.

 

Posted on: March 16th, 2011

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When the spies Moshe sent to scout the land of Canaan returned with their report, they testified (Numbers 13:32) that the land "eats its denizens," many of whom happen to be giants. In fact the spies, to the extent that their propaganda can be trusted, felt so dwarfed by the Israeli landscape that they claimed they must have resembled grasshoppers to the giants, and even felt like locusts themselves. The description of Canaan in Leviticus 18:28 is no rosier; the land has an allergic reaction to disobedient citizens and literally "spits them out."

 

Posted on: March 2nd, 2011

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Early in Ernest Thayer's poem Casey at the Bat: A Ballad of the Republic Sung in the Year 1888, a "sickly silence" has fallen on the patrons of the game. But when "mighty Casey," with his "sneer curled" lip and defiance gleaming in his eye, comes to the plate, 5,000 throats and tongues cheer for him and 10,000 eyes focus on his every move.

 

Posted on: February 2nd, 2011

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In an interview for an article published in these pages (Aug. 25, 2004), Jewish Bombay-born painter Siona Benjamin discussed her technique of hiding troubling imagery in the seemingly inviting floral and decorative borders of Indian and Persian miniature-influenced paintings. "Under the beauty of miniatures you can hide danger," she told me of her "Finding Home" series. "The beauty of miniatures draws you in-veiling and revealing."

 

Posted on: January 26th, 2011

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Avner Moriah, the well-known Israeli artist, has illuminated the Book of Genesis. No small feat, he has conjured images for all the major narratives as well as alluding to other analogous stories throughout the Torah. He sees the first book of Torah as nothing less than "a poem," a minimalist text that yields an unending series of explorations of the mysteries and conundrums of the human condition. While this is hardly the first nor largest of his explorations of biblical and Jewish narrative, it is easily the most ambitious.

 

Posted on: January 19th, 2011

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One of the aspects of the biblical construction narratives - both those about the Tabernacle in the wilderness in Exodus, and in 1 Kings about Solomon's Temple in the Holy Land - that most troubled and confused me when I was young was the aesthetic status of the structures.

 

Posted on: January 5th, 2011

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Even a poor, unfortunate Jew stranded on an otherwise deserted island, the joke goes, builds two synagogues - one that he attends semi-regularly and the other he wouldn't set foot in if you tried to make him.

 

Posted on: December 30th, 2010

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Every year in the early winter the world-renowned auction house, Sotheby's, presents an auction of Israeli and International (Jewish) Art and Judaica. It is always a delight and Sunday, December 12 was no exception. Since it is an international affair, the foremost experts assemble the finest artworks available. The efforts of specialists Rivka Saker, Sigal Mordechai, Daria Gluck, Esta Kilstein and Jennifer Roth of Sotheby's Israel and Jennifer Roth, Sharon Liberman Mintz, David Wachtel, Elizabeth Muller, John Ward, Jill Waddell, Kevin Tierney here in New York were well rewarded. It was a truly exciting exhibition that frequently surprised one with new insights into many familiar artists.

 

Posted on: December 22nd, 2010

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Beneath Baruch Spinoza's smiling bust on his tombstone on the grounds of the Nieuwe Kerk in the Hague is an inscription of his famous motto, "caute" (written cavte on the stone, see image one), or "cautiously" in Latin. Between that admonition and the dates of his life - 1632 to 1677, cut short by an illness whose identity is hotly debated - is the Hebrew word "amcha" or "amach", Hebrew for "your people" or "your nation."

 

Posted on: December 8th, 2010

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There is something profound and soothing in the ancient Jewish practice of using the euphemism beit chaim, "house of life," to refer to a cemetery. It is as if the rabbis did not even want to coin the phrase beit mavet, "house of death," for fear of inviting the evil eye.

 

Posted on: November 17th, 2010

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"By breaking statues one risks turning into one oneself," says a caption in Jean Cocteau's 1930 film, "The Blood of a Poet." The statement could be a postmodern take on Psalm 115, which declares that those who make idols (which have mouths but cannot speak, eyes but cannot see, ears but cannot hear, noses but cannot smell, hands but cannot feel and feet but cannot walk), "shall become like them, all that place their faith in them."

 

Posted on: November 11th, 2010

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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.

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