Crossposted from Haaretz
He may not be the most popular artist in the local Israeli scene, but the rising prices for works by Yaacov Agam at the close of 2010 signify his stature as one of the most important kinetic artists in the world. Perhaps the time has come for us to take stock.
On a wintry evening last week at Sotheby’s Auction House in New York, about 50 people (plus a large number of buyers via telephone and Internet) gathered for the sale of 112 works by great Israeli artists, both veteran and contemporary (Reuven Rubin, Nachum Gutman, Gal Weinstein, Adi Nes and others), and one Yaacov Agam, who has never quite belonged to any clique. Two of his pieces sold at prices far beyond the estimates they’d been given; pieces by the same Agam who made headlines last year when his “4 Themes Contrepoint” sold for a record amount for Israeli art — $326,500.
In this, the second annual Forward Fives selection, we celebrate the year’s cultural output with a series of deliberately eclectic choices in film, music, theater, exhibitions and books. Here we present five of the most important Jewish music releases of 2010. Feel free to argue with and add to our selections in the comments.
The Bowls Project
By Charming Hostess
Jewlia Eisenberg has been something of a hidden treasure since the release of her 2001 album “Trilectic,” a conceptual exploration of the writings of Walter Benjamin and Asja Lacis, and her 2004 follow-up, “Sarajevo Blues.” With Eisenberg’s latest album, created with her band Charming Hostess, she may finally be getting the credit that is her due. Inspired by ancient Babylonian mysticism and featuring a mix of Hebrew lyrics and American-style rock ‘n’ roll, “The Bowls Project” is another counter-intuitive combination by this talented avant-pop composer.
Read the Forward’s review of ‘The Bowls Project’ here.
Crossposted from Haaretz
No one seems to question the historical and architectural importance of Bosel House, a spacious, eight-dunam compound in a green forest at the entrance to Safed. It is a splendid building in a European-Arab style, an important icon of the glory days of modern architecture in Israel. Bosel House has been at the center of an endless correspondence — for years — between the authorities, the forces for preservation and the owners. There have been big plans for it, for a student dormitory complex and for a luxury hotel for Kabbala-loving tourists, but it always falls between the cracks.
Part of Bosel House has become a popular events venue while the condition of its other part (or what remains of it) is degenerating. And all of this right under the authorities’ open eyes.
In this, the second annual Forward Fives selection, we celebrate the year’s cultural output with a series of deliberately eclectic choices in film, music, theater, exhibitions and books. Here we present five of the most important Jewish films of 2010. Feel free to argue with and add to our selections in the comments.
By Avi Nesher
Set in Haifa in the aftermath of the Six Day War, Avi Nesher’s “The Matchmaker” follows a matchmaker and Holocaust survivor named Yankele Bride and his young protégé, Arik. Through the eyes of his 16-year-old protagonist, Nesher explores the coming-of-age of a teenager and a country dealing with the trauma of the Holocaust as well as more recent military triumph.
Watch the trailer for ‘The Matchmaker’ below and read the Forward’s review here.
Chibi Vision, “your new favorite science fiction hip-hop boy band” talks about the Jewish love-hate for Christmas.
The Israel Philharmonic Orchestra is celebrating its 75th anniversary this year, but what does its future hold?
LABA, a Jewish house of study for culture-makers at New York’s 14th Street Y, has come out with the second edition of its journal on the never-boring theme of Eros. Contents include Forward-contributor Elissa Strauss on Lilith, the “world’s very first woman on top,” Ruby Nadar on Eve and the serpent, and Stephen Hazan Arnoff on what happens when you invite women into rock and roll’s boy’s club.
Matthew Sharpe finds the future of the Middle East in Alan Dershowitz’s “The Trials of Zion.”
Jerome A. Chanes writes about writing about writing about the Holocaust.
Mordechai Shinefield isn’t a woman, but he likes listening to them sing.
Philologos sneaks across the border.
Laurence Klavan appreciates some underappreciated plays.
In the subculture of Christmas mixtapes Bill Adler is a very important Jew. For close to 30 years, the Manhattan music maven has put out “Xmas Jollies,” which just may be the most eclectic Yuletide mixtape on the planet. Adler has what musicians refer to as very big ears and for many of his 300 or so friends — Jews, as well as gentiles — his Jollies mixtape is a major part of the holiday soundtrack.
“My northern star in this has always been Santa Claus, not Jesus,” Adler told The Arty Semite.
A Detroit native who married outside the tribe (his wife is the TV chef and cookbook author Sara Moulton), Adler decided to create his own Christmas soundtrack in the early 1980s when he started celebrating the holiday with his in-laws in New England. The goal was to assemble an hour of music that would serve as an antidote to what he felt was “the oppressive corniness of the holiday.”
Hats off to New York Times music critic Ben Sisario for posting this rousing holiday song by one Sister Albertha Harris Lewis on his blog. Our question is, who is Sister Albertha Harris Lewis, anyway? One thing is for sure though: Anti-Semitism never sounded so good. Please share any info in the comments and listen to the song after the jump.
Ken Krimstein is the author of “Kvetch As Kvetch Can: Jewish Cartoons.” In his previous posts he wrote about how to be a Jewish cartoonist, making it as a professional and kvetching and wining. His blog posts are being featured this week on The Arty Semite courtesy of the Jewish Book Council and My Jewish Learning’s Author Blog series. For more information on the series, please visit:
Each Thursday, The Arty Semite features excerpts and reviews of the best contemporary Jewish poetry. This week, Rodger Kamenetz introduces “The Change” by Alicia Ostriker. This piece originally appeared on August 3, 2001, as part of the Forward’s Psalm 151 series. It is being published here online for the first time.
Ms. Ostriker has published nine books of poetry, full of biblical and Jewish themes with a feminist approach. Her most recent book, “The Little Space: Poems Selected and New” (Pittsburgh, 1998), was a National Book Award finalist in 1998. “The Nakedness of the Fathers: Visions and Revisions” (Rutgers, 1994), her study of Midrash, may also be read as an autobiography.
In this suite of five poems, Ms. Ostriker touches deeply on the experience of role reversal. The simple story line is familiar: A daughter removes her aging mother from her home, sells her house and places her in a nursing home. We see the mother stripped of her familiar surroundings and of her dignities — but we see the speaker, the poet, also reverting. Ms. Ostriker’s carnal, unflinching view brings us back to the pity of the body and reminds us of our vulnerabilities and our tenderness.
Crossposted from Haaretz
Leonid Jacobson bears the distinct honor of being both the only Jewish choreographer active in the Soviet Union during the Communist era and a man who won praise from Mikhail Baryshnikov and Natalia Makarova after they defected to the West. The search for Jacobson has brought dance historian and researcher Janice Ross to Israel.
“When I was a dance critic, I kept hearing about a Jewish choreographer whose works were amazing, but no one had ever seen them outside of Russia,” says Ross. “There was an attempt to erase him. His work was either prohibited or censored or repressed for years during his lifetime.”
In the 1980s Ross learned that in San Francisco, not far from where she lived, there was a ballet teacher called Irina Jacobson who taught technique in an unusual way. Ross found out she was the widow of the choreographer, who died in 1975.
Ken Krimstein is the author of “Kvetch As Kvetch Can: Jewish Cartoons.” In his previous posts he wrote about making it as a Jewish cartoonist and kvetching and wining. His blog posts are being featured this week on The Arty Semite courtesy of the Jewish Book Council and My Jewish Learning’s Author Blog series. For more information on the series, please visit:
Crossposted From Under the Fig Tree
The recent announcement of the impending nuptials of David Lauren, son of the celebrated fashion designer Ralph Lauren, and Lauren Bush, George W’s niece — and, I hasten to add, a former Princeton student of mine — has set tongues wagging. Following on the heels of a slew of highly placed mixed marriages, this one appears to seal the deal: Intermarriage has become de rigueur.
At the turn of the last century, mixed marriages, especially those that crossed social as well as religious lines, also fanned the fires of the nation’s gossip sheets. One of the most infamous, even downright scandalous, of the lot took place between Rose Pastor, a recently arrived East European Jewish immigrant, and James Graham Phelps Stokes, a true-blue American, if ever there was one.
Ken Krimstein is the author of “Kvetch As Kvetch Can: Jewish Cartoons.” In his last post he wrote about making it as a Jewish cartoonist. His blog posts are being featured this week on The Arty Semite courtesy of the Jewish Book Council and My Jewish Learning’s Author Blog series. For more information on the series, please visit:
He won a slew of awards, had his books translated into multiple languages, and captured the soul of Jewish Montreal in novels like “The Apprenticeship of Duddy Kravitz” and “Barney’s Version” — both adapted into big-budget Hollywood productions. But Mordecai Richler doesn’t merit the renaming of a street or other public place in the Plateau neighborhood of his youth, the borough’s administration has decreed.
The proposal is “misguided” and reminiscent of a “Soviet mindset…to be renaming streets after figures,” Mile End councilor Alex Norris told Montreal weekly The Suburban. The paper reported that “Norris didn’t approve of The Suburban’s suggestion to name the area in front of [legendary deli counter] Wilensky’s as ‘Carré Richler,’ because it is an open intersection and it’s ‘not a public square.’”
Crossposted from Haaretz
The company charged with reinstating the heirs of Holocaust victims who had assets in Israel will provide a large chunk of its funding this year to the Cameri Theater.
The Company for Location and Restitution said that it will distribute a total of NIS 5 million this year for Holocaust commemoration and education activities. Of this sum, the Cameri will receive NIS 1.4 million to enable tens of thousands of soldiers and students to see the play “Ghetto.”
The company, which was founded in 2007, is obligated by law to allocate funds from unclaimed assets to help Holocaust survivors in need as well as to fund Holocaust memorial and education projects.
Ken Krimstein is the author of “Kvetch As Kvetch Can: Jewish Cartoons.” His blog posts are being featured this week on The Arty Semite courtesy of the Jewish Book Council and My Jewish Learning’s Author Blog series. For more information on the series, please visit:
As with Henry Hathaway’s 1969 film, Joel and Ethan Coen’s remake of “True Grit” (which is really another, truer, adaptation of Charles Portis’s novel) follows a young girl in pursuit of her father’s killer. Played here by new recruit Hailee Steinfeld, the impossibly precocious Mattie Ross hires a surly, drunken, tough-as-nails federal marshal (Jeff Bridges) to help her track the horse thief (Josh Brolin) what gunned down her pappy. It’s a cut-and-dry revenge story, where good guys win and bad guys lose. It’s less a self-aware ode to the studio Western than an inheritor of its most simple and enduring charms. And it’s seductive. Deceptively so.
From January 13 to 16 at different venues in the Garden State, The New Jersey Symphony Orchestra will perform alongside works by Mendelssohn and Smetana, “Dover Beach” a 1941 setting for baritone and orchestra by Edward Toner Cone, a composer and much-loved music professor at Princeton.
Cone, who died in 2004 at age 87 after open-heart surgery, was a nephew of the famed art collectors Etta and Claribel Cone, whose generosity has enriched such institutions as the Baltimore Museum of Art. Etta and Claribel were themselves the subject of 2008’s delightful “The Cone Sisters of Baltimore: Collecting at Full Tilt” from Northwestern University Press, and will be further honored with an exhibit, “Collecting Matisse and Modern Masters: The Cone Sisters of Baltimore” from May 6 to September 25, 2011 at The Jewish Museum.
What do fantasy writer J.R.R. Tolkien, Yugoslavian dictator Josip Broz Tito, Brazilian soccer star Pelé and financier George Soros have in common? They all share an interest in Esperanto, an invented language whose goal is to unite humankind.
“Nekredebla,” you might be thinking (that’s Esperanto for “incredible”). But not so quick — other well known figures have also supported the language, including Leo Tolstoy, the grand old man of European letters.
On December 15 some 70 Esperanto enthusiasts descended on a building near the United Nations for the Universal Esperanto Association’s Zamenhof Symposium 2010. The meeting drew people from a wide range of ages, religions and backgrounds. Human rights lawyer Ugoji Eze, born of a Jewish mother and Nigerian father and a member of Young Israel of West Hempstead, was not an atypical participant.