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Walking through Chrystie Sherman’s solo show at the Austrian Embassy in Washington will almost inevitably make viewers rethink their notions not only of what it means to be a Jew, but also what Jews look like. Lost Futures: Journeys into the Jewish Diaspora is the product of six years of traveling, wherein Sherman photographed Jews in communities that are disappearing. Included are images of Jews from Krasnaya Sloboda, Batumi, Privolnoye, Oguz, and Tbilisi in Azerbaijan and Georgia; Santiago de Cuba and Old Havana in Cuba; Teplik and Vinnytsa in the Former Soviet Union, Berdichev, Kiev, Odessa, Shargarod; Aghbalou Village, Arazane Village, and Tunisia in North Africa; and Tashkent, Bombay, Kochin, Parur District, Kottareddipalem, and Alibag in Uzbekistan.
However sad, she compares her photographic project with Oscar Wilde’s famous 1890 novel, The Picture of Dorian Gray, which tells the coming-of-age story of Dorian, a very attractive young man who posed for the artist Basil Hallward. As Dorian discovers more about himself, he realizes to his horror that his own depravity and sins are visited not upon him but upon Basil’s painting. Despite his reprehensible life, Dorian remains forever young and beautiful, as his representation becomes more and more terrifying. Sherman sees her work as akin to Basil’s portrait of “past, present, and future” − but added that, “Lost Futures” is “ultimately a question of the future” − the future of the far-flung Jewish communities.
In “Challah,” a young boy carries a loaf of challah that his father baked to the synagogue. The boy wears a striped polo shirt and a large kippa, and he stands in front of a street and an alleyway where two Cuban children sit. Viewers can compare and contrast the boy with the two children and arrive at a lot of differences. They are black and wear no shoes. He is white, holds a Jewish ritual food, and is dressed nicely. In fact, many viewers might be comforted by the fact that, a loaf of challah is a loaf of challah is a loaf of challah − and they make it the same way in Cuba. But that does not seem to be the point. Sherman’s work is about gathering together − perhaps an antidote to the Diaspora that she represents − and about finding common bonds between Jews around the world, even as they are very different.
I think this is a touchy point for Jewish art. If Diaspora and losing the Temple is supposed to be our punishment for sin, and if we are spread out around the world just as the builders who created the Tower of Babel were, because we were deficient in our faith, then ought Jewish art celebrate those differences?
Is documenting Diaspora an appropriate project for a Jewish artist? I think there is a great risk in becoming enamored of Diaspora, since a multicultural world where people look different and act differently and have different customs sounds far more exciting than one where everyone is the same. Sherman agreed that the aim is to leave the Diaspora and return to Israel, but she was not particularly worried about the notion of memorializing Diaspora.
“As a photographer, to go around and see these really ancient communities that are really steeped in community and history that are drying up is very sad,” she said. “Maybe I just have a problem with things that end.”
MENACHEM WECKER welcomes comments at firstname.lastname@example.org. He is a painter and writer, and resides in Washington, D.C.
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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What better proof do we need than the recent war with Hamas in Gaza, dubbed “Operation Protective Edge,” that transformed the pain and suffering of three families into a sense of unparalleled unity and outpouring of love of the entire nation of Israel?
So many families are mourning, and all along we mourned with them.
In addition to his great erudition, Rabi Akiva was known for his optimism.
What can we do to help him stop feeling so sad all the time?
Children with dyslexia or dysgraphia frequently have problems in social relationships.
Goldsmith himself went on his own “voyage of discovery” to the places where his grandfather and uncle landed and were sent.
Frank proclaimed himself Zvi’s successor and the reincarnation of King David.
Almost immediately the audience began singing and clapping and continued almost without stop throughout the rest of the concert.
As of late, vintage has definitely been in vogue in the Orthodox community.
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/taking-the-diasporas-portrait/2008/10/15/
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