Chillul Tefila Bifarhesia, as well as halachicly challenged verbiage and dress, are external manifestations of a critical lack of personal yiras shomayim which has lethal consequences.
The world is complicated. Surely it seems that Divine justice is elusive. God’s role is frequently masked and our human situation is terribly fragile. Yet according to artist Batya F. Kuncman our condition is “most promising.” Her optimistic artwork is designed to illuminate this shadowy nature of our existence and strives for clarity and ultimate closeness to God. In “Landscapes for Humanity,” currently at the Philadelphia Museum of Jewish Art, images of infants are the tools she uses to explicate her belief.
Initially more modest, Believer (2010) lures us into a child-like view of the universe. A little babe is standing chest-deep in what appears to be a river, transfixed by an orange butterfly fluttering just out of reach. The innocent child reaches up attempting to grasp at the elusive creature or perhaps to set it on its journey of freedom. And therein lies the tension and mystery of Jewish prayer. The artist maintains that we must see this image as an expression of Hannah’s seminal prayer (1 Samuel: 1:10). Indeed the methodology of “service of the heart” is her gift to us, captured in the image of a child grasping at the wonder of a fleeting creature. Our attempt to connect with the Divine is elusive and filled with wonder, just as this child grasps and yet does not connect. Prayer is mysterious.
Kuncman ups the ante in The Great Communicator, a startling image of a full figured infant on a sandy seashore. His hands are held together in concentration as he tilts his enormous head to glance at the viewer. Behind him is a rich green ocean as the presence of Divine authority that supports this powerful infant. This child, surely inarticulate and yet intrinsically filled with wisdom and strength, represents no less than King Solomon, the paragon of all human wisdom. And yet, this child carries his kingly burden without a care, filled with humility. In his dream Solomon responds to God’s offer of limitless bounty with modest insight; “I am but a little child therefore give your servant an understanding heart to judge your people, to distinguish between good and evil (1 Kings 3:7).” More than any of the other images, this brown-eyed child looks us right in the eyes, his penetrating gaze searching out our understanding and intentions. Will we respond to his needs as he grows and assure that he reaches his full potential? The answer and outcome is surely in our hands.
Her companion photograph, leAhava, reveals a similar meaning in a shockingly personal way. We see a close-up of one person’s left eye. The eye is open looking straight at the viewer, framed by its upper and lower lids. Irregular eyelashes punctuate the exposed eyeball. Only once you notice the Torah letters inscribed neatly across the light brown iris does the image become considerably more than a portrait of one eye. Indeed in making out the text one can only see a cropped view of three lines of the second paragraph of the Shema. While leAhava is legible as is most of naf’shehem only a bit of d’ganechha appears around the lower edge. Somehow this bizarre image concretizes the realization of how we indeed internalize the words of Torah and how deep within us our acceptance of mitzvos should and can be. Here the text operates as an engine of meaning, proclaiming that the commandment to love God (l’Ahava) must infuse our very souls (nafshehem) and to do so results in our sustenance (diganechha). The experience of realizing what the artist is getting at is electrifying. In one image she has restated the fundamental meaning of this essential Torah passage.
By insisting on linking the power of the visual image with complexities of sacred text, literally brought into the image, Kuncman has raised the dialogue between the observant community and the visual arts to a new level of sophistication. Once the text operates this way, as partner to the visual, it cannot be relegated to the role of ancillary reference. Similarly the visual cannot operate as mere illustration of sacrosanct holy writ. Both elements are forced to work together, commenting on and strengthening each other in a powerful visual/textual partnership. The new and exciting meanings that come out of this union are part of the inspired future of Jewish art.
About the Author: Richard McBee is a painter and writer on Jewish Art. Contact him at email@example.com
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Dear Dr. Yael:
Do you really believe that the Internet is the reason why the divorce rate is so high among young couples? This may be so in some cases, but what about the fact that many singles are pressured to get married at a young age despite not having any idea what they are looking for in a mate? And add to that the fact that many are pressured to make a decision about marriage after dating for a very short period of time.
From the moment they stand under the chuppah, newlyweds have two years to enjoy the special bliss that new love brings. This new finding, reported by the New York Times, is based on a study undertaken by American and European researchers. 1,761 people who got married and stayed married over 15 years were followed. The research shows that after two years the couples moved into a more companionable state in their relationships.
Shel Silverstein’s 1974 poem “Where The Sidewalk Ends” is intended to paint a magical picture of a world of peace and serenity far away from the “black and dark streets.” At the time, perhaps the end of the sidewalk was a place that was “measured and slow.” Today, however, for many parents, where the sidewalk ends can feel like a scary place.
The next chapter of the award-winning novel.
Florida is famous for sparkling water. We have the beautiful Atlantic Ocean and Gulf of Mexico surrounding our coast. We have bays, lakes, canals and, of course, an incredible abundance of swimming pools in homes, resorts, apartment complexes and city parks.
The buzz is back as Camp Gan Israel Florida Overnight gears up for another fantastic summer, CGI Florida style. What makes CGI Florida so different from all the other overnight camps? It’s all in the details.
Leah Katz, a TeenZone camper at Oorah’s TheZone summer camp and an 11th grader at Midwood High School, read her winning essay about how TheZone changed her views on Judaism at the Jewish Heritage Awards Ceremony held at Brooklyn District Attorney Charles Hynes’s office in April. The purpose of the Jewish Heritage Essay Contest is to acquaint public school students with Jewish history and customs and to help foster a deeper understanding of Jewish culture. The contest is open to students of all ethnic and religious backgrounds. Leah’s essay is reproduced in full below.
Moshe Sharett, the head of the Jewish Agency’s Political Department, visited Egypt in 1945. In Cairo he met a most remarkable young woman, a beautiful journalist who was the darling of Egyptian high society – from high-ranking military brass, to culture icons and Muslim sheikhs, to the court of King Faruk.
The two proceeded to talk about everyday things and surprisingly her mother-in-law did not find anything else to criticize. This occurred a few more times, with my client changing the topic every time by complimenting her mother-in-law or mentioning something positive about her.
There is always a lot of confusion surrounding sensory processing disorder – mainly because there are many different diagnoses that fall under the catch-all phrase sensory processing disorder (SPD). Among them are three specific subcategories:
The doctor had warned us that even if we did everything right and followed the protocol after the follicle was of the right size, there was no guarantee of success. Fertilization still had to occur, and just like couples do not necessarily become pregnant every month, we had no way to know if we were actually expecting for two full weeks.
The next chapter of the award-winning novel.
In the eyes of the ram lies the artist’s commentary on the Rosh Hashanah piyyut “The King Girded with Strength.” From the Tripartite Mahzor (German 14th century), this illumination simultaneously echoes the piyyut’s praise of God’s awesome power and expresses the terror of actually being a sacrifice to God. The ram is but a reflection of Isaac. It is all in the eyes.
Reaching back in time to reclaim a family for herself and, in a yahrzeit moment, to rekindle lives snuffed out, Diana Kurz’s paintings stand as testaments to victims of the Holocaust. After a successful 20 year career as an artist and teacher, (with a strong feminist bent), in 1989 Kurz happened upon a few surviving photos of her own relatives “who disappeared during the war.” Suddenly her past opened up and possessed her. This spring (April 4 – May 2, 2012) a series of these paintings was shown at the Art Gallery at Kingsborough Community College, CUNY.
Examining a choice selection of drawings done by Itshak Holtz over 30 years ago is a rare pleasure that allows for the appreciation of his unique sensitivity and insights. I was afforded that pleasure at the inaugural exhibition of the Betzalel Gallery in Crown Heights this past May. Although this modest selection of 25 drawings and watercolors of this paradigmatic frum artist ranges from 1963 to 1999, the majority of the works is from the 1970s and reveals a special aspect of his inner artistic soul. The selection of images could easily narrate the fabric of ordinary Jewish life.
Earlier this year I was presenting my survey of Jewish art, “A Jewish Art Primer,” in a West Hartford, Connecticut synagogue and during the intermission a local artist, David Holzman, introduced himself to me. He relayed his rich and fascinating artistic background and then produced a portfolio of 8 black and white prints that he generously gave to me as a gift. As a tantalizing glimpse into recent work, they are truly amazing and I would like to share them with you.
Boris Schatz (1866 – 1932) had a revolutionary vision. He believed that the creation of a new modern Jewish visual culture would become a major force to both articulate a Jewish national identity and sustain the Zionist enterprise. In 1904 he approached Zionist leader Theodor Herzl with the proposal to establish a national arts and crafts school in Palestine and got his blessing. Tragically Herzl died later that year, but the Zionist leadership in Vienna assumed responsibility for the project and its funding.
The exhibitions that precede Judaic auctions are rather special events for anyone who has a feeling for the fabric of Jewish life as it has been lived for the last 500 years. Not only is one afforded the opportunity to see a wide variety of Judaica, books, manuscripts and Jewish art of considerable historic importance, but if something strikes your fancy; intellectually or acquisitively, you can actually handle the objects. For most artwork the thrill is in seeing it up close and judging the brushstrokes and details of a painting or watercolor. One stands in the exact proximity as the creator did.
The auction at Christie’s in Paris this May 11 of a Tuscan Mahzor, created and illuminated in the 1490’s, will be an extraordinary event. This rare example of illuminated Jewish art has not been seen publically in over 500 years and, aside from tantalizing internal suggestions, lacks conclusive identification of the scribe and illuminators. Because the gold-tooled goatskin binding was made about 50 years after the manuscript and has a different coat of arms than those found in the machzor, it is assumed that this prayerbook may have quickly changed hands.
One thing is certain about Robert Feinland – he has shuls on his mind. His career has spanned over 40 years, exploring landscape, cityscape, sculpture and abstraction. For many of those years he has focused on the relentlessly changing urban landscape of New York, feeling the necessity to document and, in some way preserve, the physical fabric of the city he loves. A selection of recent paintings, most concentrating on the Crown Heights community, is currently at the Chassidic Art Institute. Many of the images are of shuls.
Printed from: http://www.jewishpress.com/sections/landscapes-for-humanity-paintings-by-batya-f-kuncman-2/2010/11/03/
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