The Arts

The Days After

Exhibit on Hiroshima shows previously classified images of the destruction, inviting comparisons to the Holocaust.
08/15/2011 - 20:00
Staff Writer

Whether or not America did enough for Jews during the Second World War has long been debated. But even those who say the United States did far too little concede that had the United States not entered the war and won, Jews might have been killed in far higher numbers than the already atrociously high six million.

The skeleton-like, metal remains of the Tekaya school building in Hiroshima. International Center for Photography

For Argentine Filmmaker, The Past Is Present

A look at the art and truth of the documentaries of Leandro Katz.
08/09/2011 - 20:00
Jewish Week Film Critic

For the artist, the history of the 20th century is a stinging nettle that must be grasped with care and the knowledge that pain will surely follow. For the Jewish artist and the Latin American artist, that certainty is magnified by experience. So how does a Latin American Jewish artist approach the subject of history?

Che Guevara in a scene from Leandro Katz’s “The Day You’ll Love Me.” (Freddy Alborta)

The Fringe Gets Religion

Two Jewish-themed works mine serious spiritual matters at iconoclastic theater festival.
08/09/2011 - 20:00
Special To The Jewish Week
Religion is not the first thing that one thinks of in connection with the Fringe Festival, the smorgasbord of zany, often ribald theatrical fare that springs up every August in New York. But this year’s Fringe includes two plays, both by Jewish playwrights, which take on serious religious themes — a retelling of  the Garden of Eden story and the feverish fictional monologue of a shamanistic rabbi.
The poet Alexander Nemser, whose one-man show is “Moshe Feldstein: Icon of Self-Realization.”

The Jewish Echoes In ‘The Fulbright Triptych’

Forty years after Simon Dinnerstein completed his monumental painting, the complex work is getting a fresh look.
08/08/2011 - 20:00
Staff Writer

Germany was not Simon Dinnerstein’s first choice for a Fulbright grant. But he didn’t have much of a choice. It was 1970, and the Brooklyn-based artist, then 27, was barely making a living. He first applied to work with a noted Spanish painter, only listing Germany, to study the art of engraving in the birthplace of Dürer, as a back up.

“Being Jewish is very complicated, but it’s somehow in my DNA,” Dinnerstein says. Cynthia Dantzic

The Jewish Echoes In ‘The Fulbright Triptych’

Forty years after Simon Dinnerstein completed his monumental painting, the complex work is getting a fresh look.
08/02/2011 - 20:00
Staff Writer

Germany was not Simon Dinnerstein’s first choice for a Fulbright grant. But he didn’t have much of a choice. It was 1970, and the Brooklyn-based artist, then 27, was barely making a living. He first applied to work with a noted Spanish painter, only listing Germany, to study the art of engraving in the birthplace of Dürer, as a back up.

Simon Dinnerstein: The Fulbright Triptych and Selected Works

‘Delirious Realism’ On Screen

Latinbeat festival highlights Jewish role in New Argentine Cinema.
08/02/2011 - 20:00
Special to the Jewish Week

This year’s Latinbeat Film Festival is a vivid reminder that Jewish filmmakers have been at the heart of the New Argentine Cinema for all of its roughly two decades of existence. Among the five new Argentine films playing the event, which opens on Aug. 10, are “Querida Voy a Comprar Cigarillos y Vuelvo,” directed by Mariano Cohn and Gaston Duprat, and “No Return,” directed by Miguel Cohan. You can add their names to a roster of festival veterans that already includes Martin Rejtman, Daniel Burman and Diego Lerman, among others.

The 12th annual Latinbeat Film Festival

Memories Of Home, In 3D

Maya Zack recreates a 1930s Berlin living room, complete with portents of doom.
08/01/2011 - 20:00
Staff Writer

Maya Zack wanted to get every detail right.

She pestered a German Jewish refugee, Manfred Nomburg, about every last detail of the Berlin home where he grew up: the wallpaper, the dining room china, the living room chairs. He had not seen his home in 70 years, when he escaped to Pre-state Israel.

But when Zack, 35, a prize-winning Israeli artist, turned all those details into a life-sized, computer-generated 3D work of art — titled “Living Room,” which goes on view at The Jewish Museum on Sunday — Nomburg did not recognize a thing.

Maya Zack

Sinatra, Under His Skin

Cary Hoffman’s love letter to Old Blue Eyes.
08/01/2011 - 20:00
Special To The Jewish Week

When does idolization cross over into obsession? Cary Hoffman, a shy Jewish kid growing up in postwar Queens, admired Frank Sinatra so much that he dreamed of becoming the singer himself. In Hoffman’s thought-provoking one-man show, “My Sinatra,” now playing Off-Broadway with musical direction by Alex Nelson, the performer interweaves the story of his infatuation with the singing of two dozen of the singer’s standards. His voice is so uncannily similar to Sinatra’s that few can tell them apart.

Cary Hoffman in "My Sinatra."

Memories Of Home, In 3D

Maya Zack recreates a 1930s Berlin living room, complete with portents of doom.
07/26/2011 - 20:00
Staff Writer

Maya Zack wanted to get every detail right.

She pestered a German Jewish refugee, Manfred Nomburg, about every last detail of the Berlin home where he grew up: the wallpaper, the dining room china, the living room chairs. He had not seen his home in 70 years, when he escaped to Israel.

Detail of Maya Zack’s “Living Room” (2009). Courtesy of the artist and the Alon Segev Gallery, Tel Aviv

Remembering Hitler, The Person

From the Fuhrer’s secretary to an uprising survivor, ‘Talking Head’ series features a range of voices from the Shoah.
07/26/2011 - 20:00
Special to the Jewish Week

The film critic and historian Andrew Sarris is fond of saying that sometimes the most cinematic choice in the world is just to show two people in a room talking. When it comes to nonfiction film, despite the derisive phrase “talking heads documentary,” if the subject is interesting enough and the people talking are compelling, Sarris is absolutely right.

Face of a hero: Yehuda Lerner bears witness in Claude Lanzmann’s film about the uprising at Sobibor. New Yorker Films
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