Mel Bochner’s new show at The Jewish Museum involves a lot of reading. The more than 70 drawings and paintings are lists of synonyms, portraits conveyed with words, texts with philosophical leanings and emoticons, too.
Carol Hamoy’s “Sabbath Bride” holds court in a corner of one gallery at the HUC Museum. She’s both stately and heimish. Covered with strips of lace, embroidery thread, buttons, pearls, mesh and feathers, this bride is a tailor’s drawer full of shimmering odds and ends layered on a headless torso. In the words of “Lecha Dodi,” sung on Friday nights, the Sabbath arrives as a bride and departs as a queen.
From the very beginning of the exhibition “Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937,” the connection is made, and underscored, between the Nazis identifying artists whose work was unacceptable, destroying their art and wrecking their careers, and the Nazis (later) identifying people whose very being was unacceptable and murdering them.
Caroline Lagnado |
Special To The Jewish Week
In 2003, when Coalition forces seized Baghdad, a group of American soldiers stumbled upon treasures from the Jewish community of Iraq. While the team had been sent to search for nuclear, biological and chemical weapons in Saddam Hussein’s intelligence building, what they found were nearly 3,000 books and documents that had originally come from synagogues and Jewish organizations. The items were submerged under four feet of water, and the reason they were there in the first place remains a mystery.
As a young boy, Art Spiegelman would copy cartoon strips about Little Lulu and Donald Duck. By 14, he was illustrating his own stories with homemade comics, and at 15 he created and distributed his own satire magazine, Blasé. The magazine had edge; a young woman on the cover of a 1964 edition is asked, “What’s a nice girl like you doing on a cover like this?”