The Arty Semite

Judy Chicago Returns to London

By Anne Joseph

The work of pioneering American feminist artist Judy Chicago is not for the prudish. Her current exhibition at Ben Uri The London Jewish Museum of Art displays graphic imagery of the male and female form alongside pieces addressing the notion of female subjugation and masculine power. Yet nestled next to artworks that can challenge and shock are collaborative needlework gems of absolute beauty.

Judy Chicago, ‘The Crowning,’ 2009. Courtesy Donald Woodman/ Ben Uri Gallery.

Approximately 170 examples of Chicago’s works are on display in her first U.K. exhibit since 1984. Selected from both her personal archive and from public collections in the U.S., they range from her early feminist images to unseen recent pieces, such as a seven print series, “Retrospective in a Box.” Exploring themes including autobiography, erotica, feminism, pregnancy and birth, the exhibition is contexualized with pieces from artists Louise Bourgeois, Helen Chadwick and Tracey Emin, whose work has tackled similar issues. Two smaller shows are also being held at galleries in Soho and Liverpool.

Chicago’s work has been at the forefront of the women’s art agenda since the 1960s, though she is most renowned for her 1979 installation, “The Dinner Party.” An icon of 1970s feminist art, the work features a huge triangular table and place settings for 39 significant women from history. Along with other works in The Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, where it is permanently housed, the installation helps account for almost a third of visitors at the museum. “People come from all over the world‘to see [it] which attests to its ongoing relevance to both women and men,” Chicago told the Forward by email.

Read more


Permalink | | Share | Email | Print | Filed under: London Jewish Museum of Art, Judy Chicago, Exhibits, Ben Uri, Anne Joseph

Jews in Motion: The Artistry of Josef Herman

By Benjamin Ivry

Courtesy of Ben Uri Gallery
Self-portrait: Among many other inspirations, Josef Herman used himself as a model.

The Polish Jewish painter Josef Herman, who settled in the UK as a refugee, is best known for his monumentally blocky paintings of Welsh miners whom he depicted empathetically while living for over a decade in a Welsh mining town, starting in 1944. Now a centenary exhibit, “Josef Herman: Warsaw, Brussels, Glasgow, London, 1938-1944” traces the artist’s trajectory before he reached Wales. It’s on view at the Ben Uri Gallery: The London Jewish Museum of Art until January 12, and has already produced an eye-opening catalog.

Unlike the voluminous stasis of his Welsh miners, Herman, who died in 2000 at age 89, saw his Jewish forebears as a society in full motion, dynamic and vivid with a baroque or rococo sensibility. In the 1940 painting “Jews Dancing,” figures hurl themselves around in ecstatic abandon with defiantly macabre vigor as if aware that for European Jews, any dance then was a dance of death. Unlike Chagall’s shtetl denizens, Herman’s are too dynamic to care about being winsomely charming. Herman’s figures move energetically even when sitting still, as in “The Explainer,” a drawing from c. 1940-43, in which a bearded man makes a dramatic hand gesture to better drive home an argument.

Read more


Permalink | | Share | Email | Print | Filed under: Rolf Harris, Marc Chagall, Josef Herman, Jacques Callot, Ben Uri




Find us on Facebook!
  • “This is a dangerous region, even for people who don’t live there and say, merely express the mildest of concern about the humanitarian tragedy of civilians who have nothing to do with the warring factions, only to catch a rash of *** (bleeped) from everyone who went to your bar mitzvah! Statute of limitations! Look, a $50 savings bond does not buy you a lifetime of criticism.”
  • That sound you hear? That's your childhood going up in smoke.
  • "My husband has been offered a terrific new job in a decent-sized Midwestern city. This is mostly great, except for the fact that we will have to leave our beloved NYC, where one can feel Jewish without trying very hard. He is half-Jewish and was raised with a fair amount of Judaism and respect for our tradition though ultimately he doesn’t feel Jewish in that Larry David sort of way like I do. So, he thinks I am nuts for hesitating to move to this new essentially Jew-less city. Oh, did I mention I am pregnant? Seesaw, this concern of mine is real, right? There is something to being surrounded by Jews, no? What should we do?"
  • "Orwell described the cliches of politics as 'packets of aspirin ready at the elbow.' Israel's 'right to defense' is a harder narcotic."
  • From Gene Simmons to Pink — Meet the Jews who rock:
  • The images, which have since been deleted, were captioned: “Israel is the last frontier of the free world."
  • As J Street backs Israel's operation in Gaza, does it risk losing grassroots support?
  • What Thomas Aquinas might say about #Hamas' tunnels:
  • The Jewish bachelorette has spoken.
  • "When it comes to Brenda Turtle, I ask you: What do you expect of a woman repressed all her life who suddenly finds herself free to explore? We can sit and pass judgment, especially when many of us just simply “got over” own sexual repression. But we are obliged to at least acknowledge that this problem is very, very real, and that complete gender segregation breeds sexual repression and unhealthy attitudes toward female sexuality."
  • "Everybody is proud of the resistance. No matter how many people, including myself, disapprove of or even hate Hamas and its ideology, every single person in Gaza is proud of the resistance." Part 2 of Walid Abuzaid's on-the-ground account of life in #Gaza:
  • After years in storage, Toronto’s iconic red-and-white "Sam the Record Man" sign, complete with spinning discs, will return to public view near its original downtown perch. The sign came to symbolize one of Canada’s most storied and successful Jewish family businesses.
  • Is $4,000 too much to ask for a non-member to be buried in a synagogue cemetery?
  • "Let’s not fall into the simplistic us/them dichotomy of 'we were just minding our business when they started firing rockets at us.' We were not just minding our business. We were building settlements, manning checkpoints, and filling jails." What do you think?
  • from-cache

Would you like to receive updates about new stories?




















We will not share your e-mail address or other personal information.

Already subscribed? Manage your subscription.