"We have inherited an amputated visual culture, viscously cut off from our artistic forefathers we have every right to lay claim to," exclaimed Archie Rand, artist and professor at Columbia University.
Kristallnacht, the pogrom unleashed by the Nazis on Germany's Jews on November 8, 1938, is considered by many to be the beginning of the Holocaust.
Jews with Hogs (1994) is the first image one encounters in Frederic Brenner's exhibition of photographs of contemporary Jews from around the world currently at the Brooklyn Museum.
There once lived a pious old man in Safed. His great grandparents had come from Eastern Europe to Eretz Yisrael, sometime in the 18th Century.
The need to reassert a shattered cultural identity should be familiar to Jews.
John Bradford's exhibition of nine paintings, done in the 1990's - presents us with a conundrum.
Who are you? Who am I? Questions of cultural identity among artists have raged from the early twentieth century to yesterday's memoir.
There are Diasporas and then there are Diasporas.
When G-d hid His face in the last century, a ruthless history unfolded as tragedy after tragedy descended upon the Jewish people.
That which sparkles and shines as it calls attention to a graceful neck or a shapely face possesses a timeless allure for all humanity.
In his autobiography, My Life, Marc Chagall (1887-1985) recounts a pogrom he witnessed in Russia in 1917.
Rav Shlomo Friedlander, z"l, the fourth Lisker Rav, had a vision.
When Brocha Teichman was a young girl growing up, she always drew pictures.
Sky & Water, a new installation of 106 paintings by Tobi Kahn at the Neuberger Museum of Art in Purchase, New York, concentrates on one esoteric subject: the contemplation of the horizon.
From 1997 to 1998, John Dubrow got to know the World Trade Center fairly well. He made many paintings from a high vantage point on the 91st floor in a temporary studio granted him by the Lower Manhattan Cultural Council.
Itshak Holtz is an artist totally immersed in the Jewish genre. He was born in Poland, grew up in Israel, mainly in the Jerusalem neighborhood of Geula, and for the last 35 years he has maintained homes in both New York and Jerusalem.
The outsider artist has become a fixture of the postmodern age. There are exhibitions, books, symposia and museums documenting artists who create outside the accepted norms of "fine art." The French artist Jean Dubuffet along with Andre Breton first defined outsider art as Art Brut (Raw Art) in 1945 and collected examples of work they considered "uncooked" by either classical or contemporary cultural influences.
Some artists are very deliberate; planning, plotting and calculating each aesthetic move to nurture an elaborate artistic program or a growing career. They are proud to assert control over their creativity.
A group show, like the one at the Brooklyn Jewish Arts Gallery opening on May 15, is notoriously difficult to view. The uniqueness of each artist's perspective fractures the experience into unrelated segments.
The Contemporary Art/Recent Acquisitions exhibition, on view until July 27 at the Jewish Museum, is a multi-media event that poses more questions than it answers. The exhibition includes six videos, eight large photographic works of various kinds, some luxuriously mounted on aluminum panels, one assemblage, one steel sculpture with touch sensitive light sockets, two drawings and one acrylic painting.
The Holocaust was the largest mass murder in human history. It casts an indelible shadow over everything that follows, twisting morality and normative values in unfathomable ways. The vast complicity of Western Civilization in the pre-meditated murder of six million Jews taints all culture and intellectual life to this day.
Autour du Coq Rouge (Around the Red Rooster), painted in 1982 by a 95-year-old Marc Chagall (1887-1985), the most famous Jewish artist of the 20th Century, puzzles us with its mysterious loveliness and grace. The Chagall bursts upon us in a passionate torrent, scintillating our visual sensibilities with pinks, hot violets and lush greens that are only partially soothed by the flickering blues of distant skies.
A farbrengen is a gathering of Hasidim in the presence of their holy Rebbe to learn Torah and hear his words of wisdom. This exhibition is such a gathering. The hitherto unseen photographs by the photographer Jerry Dantzic present the collective fabric and texture of the Lubavitch community. The Torah life of a hasid is seen in a joyous wedding dance, tender moments at the bedeckening and under the chupah, a l'chaim to the Rebbe, and rapt attention at leining on Purim morning.
All Jewish Art depends upon the choice of subject as the primary vehicle to elicit meaning. Style, composition, form and innovation operate in the context of the theme drawn from Jewish texts, commentaries, Midrashim and history. For the artist, that initial choice inevitably influences the artistic agenda of what follows. In the Sarajevo Haggadah, one of the most treasured masterpieces of the Jewish people, the artist's choice of Biblical passages molded the intellectual shape and tone of this 14th Century Catalonian masterpiece.
Some people may believe Jewish Art is a simple endeavor. All you need is a Jew who makes art and voila, Jewish Art! I say to these cultural determinists, not so fast. You think Jewishness flows in the blood like chicken soup.