The Celebrate Israel Festival on May 31 at Pier 94, slated to be the largest gathering to date of Israeli-Americans in New York.
Light and Peace: Trees, by Elizabeth Barakah-Hodges. Acrylic, 2006.
Gather Us in Peace from the Four Corners of the Earth, by Marcia Talmage Schneider. Acrylic, 1999.
Heaviness and Tenderness, by Tamara Wasserman. Oil, 1999.
Sisters “heavy” and “tender,” your signs are the same and repeated.
Bees and wasps will be sucking a heavy voluptuous rose.
Man is dying. The sand will grow dark and less heated.
And the sun of the past will be carried in blackness away.
Oh, the heaviest bee heaves, and the most tender tenets,
Repeating your name, oh, it’s harder than raising a stone!
I am left with a single and ultimate worry to ponder,
Golden worry, the burden of time to resolve.
And like darkening water, I drink of this turbulent air.
Time is turned by the plough, and a rose is an aspect of soil.
In a leisurely turmoil, those heavy and most tender roses,
Menachem Wecker is a painter, writer and editor based in Washington, D.C. He welcomes comments at . His painting, “The Windows of Heaven” will be on exhibit at the JCC of Greater Baltimore as part of an exhibit opening March 25.
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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Birobidzhan railway station sign is the world’s only one spelling the town’s name in Yiddish letters
She’s seen as a poster child for The Jewish Home’s efforts to reach beyond its Orthodox base.
Girls don’t usually learn Gemara. Everyone knows that.
“Can I wear tefillin in the bathroom?” That was the question US Private Nuchim Lebensohn wrote to Mike Tress, president of the Agudath Israel Youth Council, in a letter dated November 18, 1942. Lebensohn was not your typical young American GI. Polish by birth, he was forty-three years old and married when he was drafted […]
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This therapist kept focusing on how “I could do better,” never on how we could make the marriage work.
Mistrust that has lingered after the fiasco in Ferguson, Missouri, has edged the issue forward.
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Two weeks of intense learning in the classroom about Israel culminated with Yom Ha’Atzmaut. Students attended sessions with their teachers and learned about history, culture, military power, advocacy, slang, cooking, and more.
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Rabbi Yisroel Edelman, the synagogue’s spiritual leader, declared, “The Young Israel of Deerfield Beach is looking forward to our partnership with the OU. The impact the OU has brought to Jewish communities throughout the country through its outreach and educational resources is enormous and we anticipate the same for our community in Deerfield Beach as well.”
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.)
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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.
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Printed from: http://www.jewishpress.com/sections/jewish-women-artists-talk-about-their-work-part-three/2007/04/02/
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