‘Shifting The Gaze’ explores groundbreaking Jewish women artists and Judaism’s role (or lack thereof) in shaping their perspectives.
Special To The Jewish Week
What is the connection between Judaism, feminism and art?
Though it's on the view at The Jewish Museum, “Shifting the Gaze: Painting and Feminism” is not a survey of Jewish feminist art. Rather, through a concise presentation of just 33 works — most of them paintings — as well as through a searchable website accompaniment, it is a brief look at the museum’s sometimes complicated relationship with women artists.
The pioneering, nonagenarian Jewish journalist is a perfect documentary subject; fortunately, the film landed the perfect director as well.
Special to the Jewish Week
Ruth Gruber, the subject of a wonderfully economical and crisp documentary, "Ahead of Time," is a magnificent one-of-a-kind figure in 20th-century Jewish history. Gruber is the product of, she recounts with a grin, "a shtetl called Brooklyn. … Everybody there was Jewish." She was a prodigy who entered New York University at 15 and earned a doctorate from the University of Cologne at 20. But the attractions of the academy couldn't compete with the turmoil of worldwide economic depression, the New Deal at home and the rise of Fascism in Europe.
Hans-Jurgen Syberberg plumbs the German character,
and film history, across more than seven hours in
‘Hitler: A Film from Germany.’
Special To The Jewish Week
The 1970s was the age of heroic avant-gardism, a period of out-sized works — the lengthy “operas” of Robert Wilson, the monumental portraits of Chuck Close, Thomas Pynchon’s “Gravity’s Rainbow,” William Gaddis’ “J.R.” It was a time of omnivorous works that strove to include the entire world — self-referential, bombastic, difficult endurance tests fueled by a frequently thrilling blend of audacity, encyclopedic knowledge and testosterone — nowhere more so than in film, and nowhere in film more than in the films of Hans-J
Jane Ziegelman explores the immigrant experience and the primacy of food in ‘97 Orchard.’
Jewish Week Book Critic
I remember a round coffee table, made of smooth wood and a glass top that revolved, that stood at the center of my parents’ living room for many years. In the days when I wasn’t much taller than the table, my cousins and I would run alongside it as we turned it, and then sit on the edge for a ride, much like a private merry-go-round. The glass top broke several times, but even as we got older and it became less a ride and more a place to serve food, it was my favorite piece of furniture. With yet another new glass top, it now sits in my sister’s home.