Across Israel, Meir Panim responds to the growing needs of the country’s 1.75 million impoverished residents through various food and social service programs.
Art Through Time: A Global View
A 13-part series produced by Thirteen (WNET) for Annenberg Media
Premiered Oct. 10
Jill Peters (exec. producer), Suzanne Rose (series producer), Jennifer Hallam (managing editor, writer producer), and Eva Zelig, Arash Hoda and Gail Levin (producers)
Jewish art buffs might be disappointed by channel Thirteen’s new 13-part series, Art Through Time: A Global View. It takes two entire episodes (one half an hour each) and part of the third episode for a reference to Jewish art to surface. This comes in the person of Shimon Attie (born in Los Angeles, 1957), whose The Writing on the Wall (1991-3) projected pre-Holocaust photographs onto the walls of buildings in the Jewish quarter of Berlin, the Scheunenviertel. Attie’s projections, which were effectively before-and-after photos of particular buildings, are particularly haunting because they reveal how much the neighborhood has changed. Another work of Attie’s that is discussed in the episode is Portrait of Exile (1995), which involved submerging light boxes with portraits of Danish refugees (who fled to Sweden during the Holocaust) in a canal in Copenhagen.
There is nothing wrong with Attie and his work – though it’s not clear that he should be the first representative of Jewish art, as opposed to Jacob Abraham Camille Pissarro, Marc Chagall, Max Liebermann, Amedeo Modigliani and a slew of more contemporary artists like Larry Rivers, R.B. Kitaj or Judy Chicago, though photographer Richard Avedon’s work appears (but is not discussed in a Jewish context at all). One might also argue that opening the discussion about Jewish art with works about Holocaust memory could give the wrong impression about the larger genre of Jewish art, which often deals with much happier and affirmative times in Jewish history and experience, as readers of this column are well aware.
But what is perhaps most troubling is that there was no room to discuss Jewish art in the first episode (Converging Cultures) or the second (Dreams and Visions), particularly since viewers hear about plenty of Christian, Islamic, Buddhist, Latin American, African, Asian and Indonesian Aborigine art in those two episodes.
Unknown artist, Haggadah, Spain, c. 1300. Courtesy of the Library of the Jewish Theological Seminary. From Art Through Time: A Global View.
After Attie, viewers can carry on watching the rest of episode three (History and Memory) – where Attie returns and gets the final word – four (Ceremony and Society, which offers a quick glimpse of a bar mitzvah amidst a larger mosaic of snapshots), and six minutes of five (Cosmology and Belief) before hearing from another Jewish artist, this time Vitaly Komar, of the Russian artist-born duo Komar and Melamid, famous for, amongst other things, teaching elephants in Thailand to paint.
Like Attie, Komar is hardly a representative of Jewish art worth complaining about. Komar’s work, which is very edgy, particularly in its politics, often draws upon Jewish (and other faiths’) symbols, as well as Kabbalah. “Art can create [an] image, which has no equivalent in language,” Komar says later on in the episode, which also addresses the Rothko Chapel in Houston, Texas, showcasing the work of Jewish painter Mark Rothko. But Komar and his colleague Alexander Melamid, have a particular political criticism of the Soviet Union in mind, and is not necessarily the best work to choose if only two Jewish artists are going to be discussed in the entire series.
The Egyptian Book of the Dead from chapter six, Death. Credit:
Unknown artist, Egypt. New Kingdom, 18th Dynasty, ca. 1567 BCE-320 BCE Egyptian Museum, Turin, Italy.
About the Author: Menachem Wecker, who blogs on faith and art for the Houston Chronicle at http://blogs.chron.com/iconia, welcomes comments at email@example.com.
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Her faith she had to hide,
To find out the king tried
But no answer would ever come from
What made this apple decay and grow mold,
This is a message for both young and old.
Purim around here is crazy. And I’m not just talking about the amount of questions I get.
When Hitler entered Prague in March 1939, many Czech Jews managed to escape to Palestine, including Alice’s twin Mariane and her families.
I came to the conclusion a long time ago that I have to do what is right for me – as long as it’s “ halachically kosher” and doesn’t negatively impact on others – and not worry too much about what others think.
Thank you for your amazing letter. I wish you hatzlachah in your new marriage, and may your letter bring more sensitivity to others regarding this issue.
The truth is that you never know what’s going on in a house until you live in it.
A recent occurrence has put it all into perspective for me.
Under the direction of religious studies teacher Mrs. Sharon Ciment, the girls raised a significant amount for this worthy cause.
Shabbos at Young Israel of Sunny Isles is a delight. The beautiful davening and shiurim are followed by a delicious kiddush and seudah shelishit. Yom tovim are times of celebration for the entire community.
The performers stood in front of a wall covered with beautiful graphic designs crafted by H.A. students.
The extraordinary work of Chai Lifeline Southeast reaches as far north as Maryland and as far west as Texas.
Rabbi Weberman is the senior Orthodox rabbi of South Florida. He has been spiritual leader of Ohev Congregation since 1969 and served as president of the Orthodox Rabbinical Council of South Florida since 1979.
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.”
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.
Printed from: http://www.jewishpress.com/sections/arts/the-jewish-art-enthusiasts-guide-to-wnetchannel-thirteens-art-through-time-a-global-view/2010/10/27/
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