A unique and prestigious residential project in now being built in Mekor Haim Street in Jerusalem.
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. The “menagerie of sights and sounds” in Weinstein’s work draws upon the sacred and the secular: Hallel, Tehillim (Psalms), Kohelet (Ecclesiastes), the Israeli city Tsfat (Safed), South Beach, Rabbi Shlomo Carlebach, the Breslov singer Yosef Karduner, Rastafarian reggae musician Bob Marley, American rock band Alice in Chains, Chassidut, Dr. Seuss, Israel-based Lubavitcher painter Baruch Nachshon, the 1998 comedy “The Big Lebowski,” and Weinstein’s wife Leah Malka and son Aron.
On his site, Weinstein explains his seemingly incongruous inspirations with a quote from Psalm 100: “Serve Hashem with gladness, come before him with joyous song.” In an interview, he elaborated. “The concept of living daily life from a Torah perspective means that you don’t need to separate from society,” Weinstein wrote in an e-mail. “On the contrary, we need to bring a piece of G-d down here to our everyday lives. We are all influenced by many different things. The key is to channel it all into a worthwhile direction.”
Weinstein points to British writer Aldous Huxley, author of the Utopian novel and psychedelic drugs-influenced Brave New World and The Doors of Perception, to respond to the charge that his works are contradictory. “The Torah has so many twists and turns and can be understood on myriad levels,” he said. “Each door you open opens another door.”
Scavenging the text for visual elements to appropriate, a classical artist might show the prophet with a white beard, dressed in a biblical tunic, screaming at a chaotic mass of irreverent bystanders who turn their backs on him, mock him, and maybe even throw things at him. Perhaps a few believers in the crowd cover their faces in fear, or fall to the ground weeping.
But Daniel Weinstein’s “Yirmiah 5:22″ shows a very different scene, which does not even include Jeremiah. In the print, three bearded Chassidim, wearing big white kippot over their flowing side curls, run not to synagogue but along the beach. They wear sunglasses and carry surfboards decorated with logos that evoke “Hot Wheels”.
Daniel Weinstein’s prints are certainly an acquired taste, and some viewers will no doubt examine them quickly and decide that they are too mesmerizing and hypnotizing, too colorful and too funky. But the form and the content come together in “Seventh Hakafa,” wherein hundreds of Chassidim (who appear somewhat abstracted and inhuman) dance around in circles in a spiral that descends to the center of the painting. “‘On Simchat Torah,’ goes the Chassidic saying, ‘we rejoice in the Torah, and the Torah rejoices in us; the Torah, too, wants to dance, so we become the Torah’s dancing feet,’” writes Weinstein in the accompanying poem. “The choreographic style of traditional Hakafot − Revolutions − reminds us there is no beginning and no end.”
Indeed there is an eternal and dizzying aspect to the Jewish tradition and its holidays. Perhaps classical paintings, with their muted colors and naturalistic treatment, cannot arrive at the sort of Jewish experience Weinstein captures. If Hakafot are supposed to be passionate circular dances, why shouldn’t they be depicted as psychedelic?
MENACHEM WECKER welcomes comments at firstname.lastname@example.org. He is a painter and writer, residing in Washington, DC.
For more information on Daniel Weinstein’s art, see his site: http://www.danweinsteinsart.com/.
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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The plan’s goal is to provide supportive housing to 200 individuals with disabilities by the year 2020.
Despite being one of the fastest-growing Jewish communities in the U.S. – the estimated Jewish population is 70-80,000 – Las Vegas has long been overlooked by much of the Torah world.
She was followed by the shadows of the Six Million, by the ever so subtle awareness of their vanished presence.
Pesach is so liberating (if you excuse the expression). It’s the only time I can eat anywhere in the house, guilt free! Matzah in bed!
Now all the pain, fear and struggle were over and they were home. Yuli was safe and free, a hero returned to his land and people.
While it would seem from his question that he is being chuzpadik and dismissive, I wonder if its possible, if just maybe, he is a struggling, confused neshama who actually wants to come back to the fold.
I agree with the letter writer that a shadchan should respectfully and graciously accept a negative response to a shidduch offer.
Alternative assessments are an extremely important part of understanding what students know beyond the scope of tests and quizzes.
Your husband seems to have experienced what we have described as the Ambivalent Attachment.
The goal of the crusade is to demonize and hurt Israel.
The JUMP program at Hebrew Academy was generously sponsored by Evelyn and Dr. Shmuel Katz.
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/chassidic-surfers-and-psychedelic-judaism-daniel-weinsteins-art/2008/08/20/
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