Search Results (41)

This article offers a new perspective on Miriam’s red jewel in Nathaniel Hawthorne’s The Marble Faun (1860), interpreting it as a symbol of Jewish femininity, diasporic memory, and aesthetic resistance. Although the jewel has received little critical attention, this study suggests that it plays a central role in shaping Miriam’s identity and in articulating broader cultural anxieties around gender, ethnicity, and visibility. Through intertextual readings of Shakespeare’s Jessica and Walter Scott’s Rebecca and Rowena, the essay situates Miriam within a literary tradition of Jewish women whose identities are mediated through symbolic adornments. In addition to literary analysis, the article draws on visual art history—particularly Carol Ockman’s interpretation of Jean-Auguste-Dominique Ingres’s 1848 portrait of Baronne de Rothschild—to explore how 19th-century visual culture contributed to the eroticization and exoticization of Jewish women. By placing Hawthorne’s portrayal of Miriam in dialogue with such visual representations, the essay highlights how the red jewel functions as a site of encoded cultural meaning. The analysis is further informed by feminist art theory (Griselda Pollock) and postcolonial critique (Edward Said), offering an interdisciplinary approach to questions of identity, marginalization, and symbolic resistance. While not claiming to offer a definitive reading, this article aims to open new interpretive possibilities by foregrounding the jewel’s narrative and symbolic significance. In doing so, it contributes to ongoing conversations in Hawthorne studies, Jewish cultural history, and the intersections of literature and visual art. Full article

The persistence of anti-Jewish and antisemitic stereotypes throughout history, from medieval times to the present, reveals the enduring power of visual and cultural narratives in shaping public perceptions of Jews. This paper examines how Yvan Attal’s film Ils sont partout effectively satirizes these stereotypes, exposing their absurdity and the dangers of such ingrained prejudices. By connecting modern satire to historical instances of antisemitism, this study emphasizes the necessity of challenging and critically analyzing these harmful depictions. While the forms of anti-Jewish and antisemitism evolve over time, the underlying biases remain disturbingly consistent across cultures and eras. Full article

Danielle Abrams’s performance art critically engages with late twentieth-century debates on race, queerness, and identity, positioning her as a vital figure in challenging monolithic and heteronormative structures of identity. Her early work Quadroon (1998), a live performance and four-channel video installation blending music, costume, gesture, and speech, compounds impassioned debates within the art world and beyond around the impact of multiculturalism on identity-based art, the invisibility of Jews of color and other marginalized members of the Jewish community, and the state of Black/Jewish relations in the United States following the Crown Heights riots of 1991. Abrams’s pieces frequently negotiate the tensions and intersections between her Black and Jewish familial heritage and her lesbian identity through the embodiment of semi-fictional personae grounded in family lore, self-perceptions, and cultural stereotypes. This paper explores how Abrams destabilizes the readability of “authentic” identities on the surface of the body in Quadroon via her adoption of personifications of her Black grandmother, her Jewish great grandmother, her identification as a butch lesbian, and her (unsuccessful) teenage attempt at passing for Greek. Pairing video recordings of each character with interludes from an unpublished performance script, I consider the anxieties of passing expressed in the personas of Dew Drop and Janie Bell, and through the lens of Abrams’s diaries, pose Butch in the Kitchen’s potential as an indefinite body to queer socially imposed constructions of monolithic and essentialist identity. Full article

This article discusses Tzvi Avni’s Second Piano Sonata, Epitaph, a sonic commentary on one of the inner tales in Rabbi Nachman’s “The Seven Beggars”. Written between 1974 and 1979, Epitaph not only marks the composer’s act of translation (from words into music and from a textual tale into a wordless and semantically unmarked piano sonata) but also his very turn to ethnographic sources that defied their negative function in a national territorial culture that vilified otherness while separating art from ethnography. Avni’s turn to Rabbi Nachman was part of a bigger shift that saw composers’ dialectical returns to Jewish histories and cultures that were previously repressed from a national culture which dehistoricized the Diaspora to the point of rendering the times and cultures of diasporic Jews a single temporality—ahistorical, contextless, and outside the teleological time of Zionism. With the (re)introduction of diasporic temporalities, non-redemptive poetics became an affordance in the music of Avni or Andre Hajdu (who is also discussed here) while steadily muting the territorial tropes that constituted Hebrew culture. Full article

This article delves into the underexplored intersection of Jewish identities and feminist art. It critically examines artworks by Judit Hersko and Susan Hiller, aligning with evolving identity constructs in contemporary aesthetics. Concepts like “postmemory” link second-generation Jewish artists to past experiences and unveil the erasure of Jewish women’s memory of Jewish genocide. Analyzing Hersko and Hiller’s diverse works, from landscape photography and sculpture to performance art, it underscores their shared pursuit: illuminating lingering “ghosts” of the Holocaust in modern landscapes. Susan Hiller’s The J Street Project represents an ongoing exploration of loss and trauma beyond the Holocaust in Germany, using archives as a dynamic, evolving phenomenon. Judit Hersko’s art calls for bearing witness to a potential climate catastrophe in Antarctica. The article culminates in the exploration of “The Memorial” (2017), an art project by the activist collective Center for Political Beauty that focuses on the resurgence of overt anti-Semitism in Germany. In essence, Hiller and Hersko confront erasures in history and nature, emphasizing justice and repair. Their art, intertwined with a project addressing contemporary anti-Semitism, serves as a testament to the enduring power of feminist art, reflecting, mourning, and transforming a world marked by historical traumas and war. Full article

In medieval bestiaries, knowledge about animals and their behavior is regularly given a Christian moral interpretation. This article explores the use of imagery related to the bestiary tradition in three Hebrew books made around the year 1300, focusing especially on the richly decorated Rothschild Pentateuch (Los Angeles, Getty Museum MS 116). These Hebrew books signal how bestiary knowledge and its visual expression could be adapted to enrich the experience of medieval Jewish reader-viewers, adding to our understanding of Jewish-Christian interactions in medieval Europe. Full article

The emergence of new technologies has dynamized the way in which cultural heritage is documented, preserved, and passed on to new generations; something that determines a paradigm shift in terms of research in this field. Most operations now also have access to the virtual component. In this context, the current study aimed to make accessible through virtual and augmented reality one of the most interesting objectives belonging to the Jewish cultural heritage built in Art Nouveau style in the municipality of Oradea (Romania), which currently functions as a La Belle Epoque Museum. In the study, the techniques of terrestrial, aerial photogrammetry, and terrestrial laser scanning were used to remodel, in a three-dimensional format, as faithful as possible and usable in different applications, the special architecture of the exterior of the monument. This information was doubled by making the interior of the monument accessible through a complete and complex series of panoramic images interconnected within a virtual tour that will be made available to tourists interested in discovering the Darvas-La Roche House. The virtual tour, which includes both graphic, textual, and audio information, represents an innovative approach for the buildings built in Art Nouveau style in the municipality of Oradea, representing a virtual bridge for better promotion of the tourist destination and for the awareness of the local people regarding the importance of preserving and appreciating the local cultural heritage. This is all the more important as this is the first initiative to make the Art Nouveau buildings in Oradea Municipality accessible to the general public in an innovative way. Full article

The colonial visual archive has occupied in recent decades the work of scholars and artists from indigenous and racial minority communities, who revealed it as a major apparatus of historical meta-narratives. This article aims at pushing forward this preoccupation by revealing an additional scene: the art of Mizrahi women, descendants of Jewish communities of Arab and Muslim countries. Relying on a visual culture approach and focusing on an analysis of artworks by Mizrahi artist Vered Nissim, as well as on photographs of Mizrahi women, fund in Zionist archives, I demonstrate how Nissim’s work challenges the racial category of Mizrahi women as “natural workers”, constructed in the Zionist historical meta-narrative. Nissim does so by re-enacting the category’s paradigmatic visual image—the Mizrahi women cleaning worker—in a different way, visually and discursively. Body, voice, and visual image, three instances of the subjectivity of Mizrahi women cleaning workers that were separated, shaped, and mediated through Zionist colonial visual archives unite in Nissim’s work when embodied by a real Mizrahi woman cleaning worker: her mother, Esther Nissim. By casting her mother to play herself over the past twenty years, Nissim creates political conditions for the appearance of her mother as the author of her own history as she orally, bodily, and visually writes it in front of her daughter’s camera. Thus, Nissim joins a transnational phenomenon of global south artists who create political conditions enabling the self-imaging of colonized peoples, empowering the reading of colonial imagery and the historical meta-narratives attached to it through their situated knowledge and lived experience and, thus, constructing a counter history communicated visually. Full article

Well (2020) is an installation by Israeli artists Noga Or Yam and Faina Feigin. It investigates the story of an underground passage in Tel Aviv designed by a British Mandate-era Jewish architect. Starting from this building, the artists’ archival research leads them to the story of a water source which does not figure in the architect’s plan. While the story of the well is unearthed, so is one about the tense relations between the Jewish architect and the Palestinian orange merchant who inhabited the site before 1948. By restaging a hypothetical archive, Well reminds us of the problems inherent in narrative formation and erasure in the context of the Palestinian–Israeli conflict. Noga Or Yam also examined space and water in an earlier work, Black Soldier, White Soldier (2018): with the background sound of water drilling in southern Israel, urban photographic landscapes of Palestinian rooftops covered with water tanks are projected onto the walls. Water, either concealed or lacking, emerges in both works as a vehicle for unearthing a historical narrative that counters the official one. This research article reflects on contemporary art’s engagement with the formation of history, and how such engagement shapes the identity of present-day art in postcolonial realities. Full article

An art-based case study was used to illustrate the therapy journey of a child working through issues related to early adoption. The objective of this case was to review art products and clinical notes systematically, exploring main clinical themes and illustrating both challenges related to adoption and the potential of art therapy to support healing within this context. The methods of investigation and report focused on exploring the meaning of narratives, the art products, and the relational dynamic which emerged during sessions. The results are discussed within the context of the relevant literature, emphasizing considerations for working through adoption challenges in art therapy. Full article

Music occupies a unique and multi-faceted role in spatial representation of the Holocaust, both in terms of documenting its horrors and in cultivating legacy. This uniqueness derives from music’s dual temporal and physical essence as it is represented by written scores that serve as a blueprint, as sonic events that fill both time and space, and as musical instruments that operate as conduits for both. String instruments, in particular, have occupied a vital place in Jewish culture and, consequently, during the Holocaust. In the most tragic sense, some of these instruments even became actual containers of genocidal evidence as with violins played outside concentration camp crematoria that filled with the human ash that fell. This article will demonstrate that, when played, these instruments transform into living artifacts and musical witnesses, with voices that can speak for those who have been silenced, and that the resulting music that resonates from the printed page fills a sonic space that serves as a powerful medium for memory and representation. The phrase “bearing witness” often refers to representing the stories of people, places, and experiences through words, either written or spoken. But material culture also has a role to play in representation. While objects, art, and architecture certainly support language-based witness, they also provide their own unique lens and conduit for testimony. This seems especially true for music, which has the ability to exist as and cross between both words and objects. Nevertheless, music as material witness remains a complex and often understudied aspect of historical testimony. As a result, this paper will explore through an interdisciplinary approach the divergent nature of music as an aural form, as a creative art, and as a cultural artifact and will offer examples of how music can enhance, elucidate, and complicate Holocaust representation. Full article

The Holocaust is a living trauma in the individual and collective body. Studies show that this trauma threatens to be reawakened when a new and traumatic experience, such as illness, emerges. The two traumas bring to the fore the experiences of death, pain, bodily injury, fear of losing control, and social rejection. This article examines the manifestation of this phenomenon in art through the works of three Jewish artists with autobiographical connections to the Holocaust who experienced breast cancer: the late Holocaust survivor Alina Szapocznikow, Israeli artist Anat Massad and English artist Lorna Brunstein, daughters of survivors. All three matured alongside the rise and development of feminist art, and their works address subjects such as femininity and race and tell their stories through their bodies and the traumas of breast cancer and the Holocaust, transmitting memory, working through trauma, and making their voices heard. Full article

The Bedouin and Jewish inhabitants of the southern Israeli desert region share a common desert vista. However, they are diverse, multicultural communities who suffer inequity in access to valuable resources such as water. Between 2019 and 2021, Common Views art collective initiated a socially engaged durational art project with Bedouin and Jewish inhabitants entitled Common Views. The art collective seeks to enact sustainable practices of water preservation as a mutually fertile ground for collaboration between the conflicted communities, by reawakening and revitalizing rainwater harvesting, as part of traditional local desert life. Their interventions promote new concepts of Environmental Reconciliation, aiming to confront social-ecological issues, the commons, and resource equity, grounded in interpersonal collaborative relationships with stratified local communities. Their site-specific art actions seek to drive a public discourse on environmental and sustainable resources, while reflecting on the distribution of social and spatial imbalance. They take part in contemporary art discourse relative to socially engaged practices, yet their uniqueness lies in conflictual sites such as the discord arising from the Israeli-Palestinian conflict, and their proposed model for resolution linking politics with environment. It utilizes renegotiation with histories and heritage, as a vehicle to evoke enhanced awareness of mutual environmental concerns in an attempt at reconciliation on political grounds. Full article