From Obama to Tel Aviv to the New Yorker’s legendary ‘New Yorkistan’ cover,
the brainy Israeli-born painter/writer/blogger explores modern life.
When Barack Obama won the presidency, Maira Kalman was thrilled. It was not only a fresh start for America, she thought, but one for her own work as well: The New York Times was looking for another assignment for Kalman after her wildly successful illustrated blog, “The Principles of Uncertainty,” which documented her own life, debuted in 2006.
Yeshiva University Museum exhibit features a dazzling array
of mostly hand-written Hebrew books.
About six years ago, the curator Sharon L. Mintz was looking for rare printed Talmuds for an exhibit she was organizing at the Yeshiva University Museum. She came across the name of a little-known collector in Switzerland who said he could help. Mintz was flown out to the private home of the collector, but discovered that he had much more than Talmuds.
Whether in “The Nose” or his stop-animation,
artist William Kentridge’s work is unmistakably Jewish.
The Museum of Modern Art’s new retrospective of the work of the South African artist William Kentridge is organized around five themes. “Themes” is something of a misnomer, though, since the five sections of the show coalesce around what might more accurately be described as “distinct bodies of work.” Either way, several themes (and certainly more than five) recur in many sections, with at least one being very hard to ignore: Jewishness, an omnipresent feature throughout Kentridge’s oeuvre.
Enter the room that houses Miriam Stern’s installation piece “Ezrat Nashim” and you’ll be struck by the clusters of women’s figures, 10 in all, standing together in a corner, like oversized paper dolls covered in earth-tone designs.