Pub Date : 2022-11-09DOI: 10.1163/18718000-12340164
David Selis
In 1897, Solomon Schechter brought a hoard of Hebrew manuscripts, now known collectively as the Cairo Genizah, to England from Cairo. Along with these manuscripts were several wooden Hebrew inscription fragments from Cairo’s Ben Ezra Synagogue. When Schechter left Cambridge to assume the presidency of the Jewish Theological Seminary of America, these fragments were brought to New York where they were transformed into a Torah Ark. This Torah ark was used at the Seminary for three decades and subsequently exhibited at the Jewish Museum, New York and The Metropolitan Museum of Art. It was featured on numerous postcards and in major works on Jewish art. In 1997, it was deconstructed by the Jewish Museum to extract the medieval inscriptions. This article explores the history, meaning and reception of the Schechter Torah Ark as a window into the complexities of Schechter’s legacy and the history of Jewish scholarship in the twentieth century.
{"title":"“Perhaps The Oldest Piece of Ecclesiastical Furniture in this Country”: The Construction and Destruction of Solomon Schechter’s Cairo Genizah Torah Ark","authors":"David Selis","doi":"10.1163/18718000-12340164","DOIUrl":"https://doi.org/10.1163/18718000-12340164","url":null,"abstract":"\u0000 In 1897, Solomon Schechter brought a hoard of Hebrew manuscripts, now known collectively as the Cairo Genizah, to England from Cairo. Along with these manuscripts were several wooden Hebrew inscription fragments from Cairo’s Ben Ezra Synagogue. When Schechter left Cambridge to assume the presidency of the Jewish Theological Seminary of America, these fragments were brought to New York where they were transformed into a Torah Ark. This Torah ark was used at the Seminary for three decades and subsequently exhibited at the Jewish Museum, New York and The Metropolitan Museum of Art. It was featured on numerous postcards and in major works on Jewish art. In 1997, it was deconstructed by the Jewish Museum to extract the medieval inscriptions. This article explores the history, meaning and reception of the Schechter Torah Ark as a window into the complexities of Schechter’s legacy and the history of Jewish scholarship in the twentieth century.","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46004558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-26DOI: 10.1163/18718000-12340159
Richard McBee
This article describes the process by which eight contemporary Jewish artists – Andi Arnovitz, Judith Joseph, Richard McBee, Mark Podwal, Archie Rand, Joel Silverstein, Hillel Smith, and Yona Verwer – encountered Samaritan culture and created artworks that bridge their new learning about the Samaritans and their own Jewish identities. Their works were integrated into The Samaritans: A Biblical People, an exhibition at the Museum of the Bible in Washington, DC, that debuted in the fall of 2022. This essay integrates interviews with the artists into a larger discussion of their art.
{"title":"Contemporary Jewish Artists Encounter Samaritan Culture, 2020–2022: Artists’ Perspectives","authors":"Richard McBee","doi":"10.1163/18718000-12340159","DOIUrl":"https://doi.org/10.1163/18718000-12340159","url":null,"abstract":"\u0000 This article describes the process by which eight contemporary Jewish artists – Andi Arnovitz, Judith Joseph, Richard McBee, Mark Podwal, Archie Rand, Joel Silverstein, Hillel Smith, and Yona Verwer – encountered Samaritan culture and created artworks that bridge their new learning about the Samaritans and their own Jewish identities. Their works were integrated into The Samaritans: A Biblical People, an exhibition at the Museum of the Bible in Washington, DC, that debuted in the fall of 2022. This essay integrates interviews with the artists into a larger discussion of their art.","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46491065","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-21DOI: 10.1163/18718000-12340162
Katherine Aron-Beller
{"title":"Visual Antisemitism in Central Europe: Imagery of Hatred, edited by Jakub Hauser and Eva Janáčová","authors":"Katherine Aron-Beller","doi":"10.1163/18718000-12340162","DOIUrl":"https://doi.org/10.1163/18718000-12340162","url":null,"abstract":"","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44198975","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-13DOI: 10.1163/18718000-12340161
Meyrav Levy
{"title":"In die Weite – Aspekte jüdischen Lebens in Deutschland. Eine historisch-ästhetische Annäherung / Into the Expanse – Aspects of Jewish Life in Germany. A Historical-Aesthetic Approach.","authors":"Meyrav Levy","doi":"10.1163/18718000-12340161","DOIUrl":"https://doi.org/10.1163/18718000-12340161","url":null,"abstract":"","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49404296","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-07DOI: 10.1163/18718000-12340158
M. Katz
Following two years of heavy COVID restrictions, the Tel Aviv Museum of Art opened the “first-ever retrospective in Israel” of the Japanese artist Yayoi Kusama. Beyond the pioneering artist that is the subject of the retrospective and what it says about the Israeli public that is drawn to her work, the exhibition also invites analysis into the restaging of art exhibitions originating in another country, in this case a German museum, with all the implications that such a venture raises in Israel. In breaking down the curatorial modus operandi of restaging a borrowed exhibition designed by the Gropius Bau Museum in Berlin in Tel Aviv, this paper explores the museological craft of restaging exhibitions. In its original conception, the Gropius Bau focused on Kusama’s art “from a European and particularly from a German perspective,” highlighting Kusama’s “influence” on the European art scene during the time she spent in Germany in the late 1960s. The Tel Aviv Museum made significant changes to this scholarly conceptual core, perhaps sensitive to any claim that positioned Berlin as a cosmopolitan city after the Holocaust, by opting for an “affective” visitor experience. The site-specific textuality of this endeavor foregrounds the Tel Aviv Museum’s performance of itself in its twin roles in the nation’s history and its internationalization of the country’s cultural capital. I suggest that the Kusama exhibition reflects a new direction for the broader practices of art curatorship in the oldest art museum in the country.
{"title":"The Kusama Retrospective and the Future of the Tel Aviv Museum of Art","authors":"M. Katz","doi":"10.1163/18718000-12340158","DOIUrl":"https://doi.org/10.1163/18718000-12340158","url":null,"abstract":"\u0000Following two years of heavy COVID restrictions, the Tel Aviv Museum of Art opened the “first-ever retrospective in Israel” of the Japanese artist Yayoi Kusama. Beyond the pioneering artist that is the subject of the retrospective and what it says about the Israeli public that is drawn to her work, the exhibition also invites analysis into the restaging of art exhibitions originating in another country, in this case a German museum, with all the implications that such a venture raises in Israel. In breaking down the curatorial modus operandi of restaging a borrowed exhibition designed by the Gropius Bau Museum in Berlin in Tel Aviv, this paper explores the museological craft of restaging exhibitions. In its original conception, the Gropius Bau focused on Kusama’s art “from a European and particularly from a German perspective,” highlighting Kusama’s “influence” on the European art scene during the time she spent in Germany in the late 1960s. The Tel Aviv Museum made significant changes to this scholarly conceptual core, perhaps sensitive to any claim that positioned Berlin as a cosmopolitan city after the Holocaust, by opting for an “affective” visitor experience. The site-specific textuality of this endeavor foregrounds the Tel Aviv Museum’s performance of itself in its twin roles in the nation’s history and its internationalization of the country’s cultural capital. I suggest that the Kusama exhibition reflects a new direction for the broader practices of art curatorship in the oldest art museum in the country.","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42736022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-04DOI: 10.1163/18718000-12340163
Richard I. Cohen
{"title":"Thy Father’s Instruction: Reading the Nuremberg Miscellany as Jewish Cultural History, written by Naomi Feuchtwanger-Sarig","authors":"Richard I. Cohen","doi":"10.1163/18718000-12340163","DOIUrl":"https://doi.org/10.1163/18718000-12340163","url":null,"abstract":"","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46679460","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-30DOI: 10.1163/18718000-12340160
J. Skarf
Scholars have often used the Mishnaic tractate Middot, “Measurements,” as the basis for recreating technical drawings of the Jerusalem Temple. Middot was never intended, however, to be used this way. Buildings in antiquity were largely erected without the use of technical drawings, and construction usually began without a fully resolved design. Furthermore, the very idea of copying a building was different, with no expectations of a faithful replica. Instead, Middot was concerned with transmitting the main elements of the Temple. As such, its compilers were willing to forgo the use of diagrams and rely on common, tried-and-true verbal methods for transmitting architectural information.
{"title":"Oral Transmission, Ekphrasis, and Technical Drawings: On the Formation of Mishnah Middot","authors":"J. Skarf","doi":"10.1163/18718000-12340160","DOIUrl":"https://doi.org/10.1163/18718000-12340160","url":null,"abstract":"\u0000Scholars have often used the Mishnaic tractate Middot, “Measurements,” as the basis for recreating technical drawings of the Jerusalem Temple. Middot was never intended, however, to be used this way. Buildings in antiquity were largely erected without the use of technical drawings, and construction usually began without a fully resolved design. Furthermore, the very idea of copying a building was different, with no expectations of a faithful replica. Instead, Middot was concerned with transmitting the main elements of the Temple. As such, its compilers were willing to forgo the use of diagrams and rely on common, tried-and-true verbal methods for transmitting architectural information.","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41984574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-30DOI: 10.1163/18718000-12340157
N. B. Debby
{"title":"The Florence Scroll: A 14th-Century Pictorial Pilgrimage from Egypt to the Land of Israel, written by Rachel Sarfati","authors":"N. B. Debby","doi":"10.1163/18718000-12340157","DOIUrl":"https://doi.org/10.1163/18718000-12340157","url":null,"abstract":"","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41304392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-07DOI: 10.1163/18718000-12340155
S. Fine
{"title":"The Synagogue at En-Gedi, edited by Yosef Porath","authors":"S. Fine","doi":"10.1163/18718000-12340155","DOIUrl":"https://doi.org/10.1163/18718000-12340155","url":null,"abstract":"","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49056976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-07DOI: 10.1163/18718000-12340156
David Sperber
{"title":"Material Imagination: Israeli Art from the Museum’s Collection, curated by Dalit Matatyahu","authors":"David Sperber","doi":"10.1163/18718000-12340156","DOIUrl":"https://doi.org/10.1163/18718000-12340156","url":null,"abstract":"","PeriodicalId":41613,"journal":{"name":"Images","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-07-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64782620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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