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Siona Benjamin's exhibition "Finding Home: The Art of Siona Benjamin" is simply beautiful. Set in the spacious lobby gallery of the JCC Manhattan, it allows for a peaceful (when the kids, nannies and crowds subside) contemplation of this complex artist's meditations on biblical women, war, exoticism and contemporary society.
A blue-skinned woman with at least one wing carries a caged dove in her right hand and has just released a golden bird from her other hand. Her hair is covered by a shawl that rests over a curved dagger (like the Yemenite jambiya) with a sheath decorated with the stars and stripes of the American flag. A corner of the shawl becomes a pair of tzitzit whose strings are wrapped around a lion's arms and midsection, perhaps restraining it. The woman, who represents a self-portrait of the artist Siona Benjamin, stands on a white ball, which unravels to reveal not string but floral patterns that border the painting. Beneath her yellow skirt, the woman wears striped pants that evoke either the uniform of a prisoner or a concentration camp inmate.
Pinpointing modern art's origin yields a confusing situation; leading art history books claim many "fathers" of Modern Art: Gauguin, van Gogh, Whistler's "Portrait of the Artist's Mother" and sometimes Monet's "Impression: Sunrise."