My article “MBA Recommendation Letters: 5 Tips for Convincing Admissions to Say Yes” appears on the blog Brazen Careerist.
Posted by Menachem Wecker on September 10, 2014
Among the more than 200 items which are slated to appear in the Library of Congress exhibit “The Civil Rights Act of 1964: A Long Struggle for Freedom” in Washington, D.C. — which will be on view until September 12, 2015 — are documents written by civil rights leaders, newspaper clippings, legal briefs and artwork.
According to a library release it constitutes “some of the most important materials in [its] collection,” and it “will highlight the legal and legislative challenges and victories leading to its [Civil Rights’] passage, shedding light on the individuals — both prominent leaders and private citizens — who participated in the decades-long campaign for equality.”
What there won’t be are troves of artifacts tying Jewish activists to the struggle for civil rights. “It’s not a show that specifically deals with the role of Jews in the Civil Rights movement,” said Betsy Nahum-Miller, one of three directors of the exhibit. But, she added, Jewish elements exist.
Read more of my Jewish Daily Forward article “Jews of the Civil Rights Movement.”
Posted by Menachem Wecker on September 9, 2014
Nowhere, perhaps, is the distinction between interior and outside space more pronounced than in Edgar Allan Poe’s “The Masque of the Red Death.” Prince Prospero and his privileged colleagues hole up in “the deep seclusion of one of his castellated abbeys,” which is decorated with the prince’s “eccentric yet august taste.” The outside world, plagued by the Red Death, “could take care of itself,” Poe writes. All sorts of pleasure “and security were within. Without was the ‘Red Death.’”
No masked corpses traipse through the 18th-century German castle Schloss Ettersburg in Janaina Tschäpe’s 2004 film “Lacrimacorpus,” but the artist, who was born in Munich in 1973, clearly meant to address outside ugliness permeating and contaminating beauty within. The castle, which housed dignitaries like Goethe, overlooks the concentration camp Buchenwald.
The film’s title refers to a mythical creature that, when captured, melts into tears and bubbles. The dancer in “Lacrimacorpus” wears a dress, a large bonnet suggestive of E.T. and a ring of balloonlike bubbles around her neck. She twirls for a few minutes in the castle parlor before collapsing on the floor. Outside is the shadow of the crematorium; inside, death has gained its foothold.
“Lacrimacorpus” is one of 10 works on exhibit in “Total Art: Contemporary Video,” on display through October 12 at the National Museum of Women in the Arts, in Washington, D.C.
Read more of my Jewish Daily Forward article, “The Wonder Women of Video.”
Posted by Menachem Wecker on September 6, 2014
The ark at Cleveland’s Orthodox Green Road Synagogue looms on an intimidating platform above the congregation. Alternating tan and umber rays — evocative of the divine lights that emanate from the sun in ancient Egyptian art and of St. Francis’s stigmata in Christian paintings — culminate in diamond-shaped niches above the chairs reserved for synagogue officials. There is, as one would expect, an eternal light, and beneath it, a depiction of the Ten Commandments: the double-humped variety recalling the McDonald’s logo.
But the two fierce beasts guarding the ark in the synagogue — which traces its roots back to immigrants from Marmaresher Sziger, Hungary, who built a congregation in Cleveland’s Woodland Hills neighborhood in 1910 — are unusual.
Instead of naturalistic lions, symbolic of the tribe of Judah and of the rabbinic injunction to be “strong as a lion” for morning services, Green Road’s ark features a pair of winged lions. (I initially mistook them for Gothic-styled griffins, but Marc Michael Epstein, professor of religion at Vassar College, corrected me; they are Beaux Artes, art nouveau, or Victorian neo-Gothic, and they lack the eagle heads one expects of griffins.)
Read my article “All God’s Griffins Got Wings at Cleveland Synagogue” in the Jewish Daily Forward.
Posted by Menachem Wecker on August 5, 2014
Growing up in central New Jersey in the early 1950s, Allen Hirsh knew virtually nothing about Judaism as a religion. “My family was rather typical of the community: extremely left-wing labor Zionists,” he said of his parents, who spoke Yiddish at least half of the time in the house. Hirsh’s father, a chicken farmer-turned-landscaper, went to kheyder for 11 years and “was considered a Yiddish language scholar by other farmers,” Hirsh said. His father, he notes, took several “extended trips” to Israel during the Suez crisis “to help build the fledgling chicken industry at Kibbutz Gesher HaZiv in northern Israel.”
As a young adult, though, Hirsh, a Silver Spring, Maryland-based biophysicist and artist, turned to his faith. After what he describes as a “tumultuous period” in his life as a neurophysiology graduate student at Columbia University, he studied Jewish mysticism as part of what he calls “my teshuvah.”
“It has long sat in the background of my life,” he said, “but its rich concepts of an infinite God are compatible with my theological, artistic, and scientific instincts.”
Those instincts, honed at Caltech prior to Columbia and in a doctoral program in plant physiology at the University of Maryland, College Park, have led Hirsh down a rare path. The self-declared “abstract gardener” — whose digital print “Early in the Big Bang” is on display in the exhibit “Fireworks” (through July 27) at Washington’s Foundry Gallery — maintains an exotic garden.
Read more of my article “Mystical Gardening and Digital Art” in the Jewish Daily Forward.
Posted by Menachem Wecker on July 31, 2014
Soon after she assumed the makeshift stage during her July 16 performance at the Washington D.C. JCC, Flory Jagoda, 90, lit a candle. “Sephardic women always believed in light, in a candle,” she told the audience of about 125 people. “With these candles,” the Bosnian-born artist sang in Ladino, “We pray to God … to grant us a healthy life.”
A few songs later, however, an accidental thrust of the guitar sent the candle flying, and for a split second before it was clear whether a firefighting team would need to be summoned, the assembly’s collective heart skipped a beat. “Let’s just sing,” said Susan Gaeta, one of the two musicians accompanying Jagoda, defusing the mood.
The candle was encased in a glass box, so catastrophic danger probably wasn’t too likely. And Jagoda, for her part, has seen music do the exact opposite of destroy. “I did save myself with music,” she said, recounting her parents placing her alone on a train out of Croatia in 1941. “Don’t open your mouth,” her father had told her. “Just play your harmonica.” (Throughout the performance, Jagoda used the word “harmonica” to refer to an accordion.)
At 90, Jagoda appears to have a healthy sense of humor about her performances. In response to a false start on one song, where the trio wasn’t in the same key, she told the audience, “You know at my age, I don’t hear good.” Eying her colleague Howard Bass, she said, “He’s going to play beforehand, which is good, because it leaves me a good in.” Without batting an eye, Bass told her, “I’m just playing what you wrote!”
Read more of my article “Sephardic Legend Keeps Singing at 90” in the Jewish Daily Forward.
Posted by Menachem Wecker on July 21, 2014
Looking at an image of a serpent encircling an apple branch, most of us will think of the snake from the Garden of Eden. In popular lore, Adam and Eve’s consumption of the taboo meal from the illicit Tree of Knowledge of Good and Evil, as it is called in the Bible, resulted in their expulsion from Eden. But actually, in Genesis, the original couple’s departure from Paradise had a lot more to do with God’s anxiety that Adam and Eve would eat from the Tree of Life.
Those who don’t study medieval theology or history or Judeo-Christian mysticism extensively likely haven’t heard nearly as often of the Tree of Life as of the Tree of Knowledge. It comes as no shock, then, that artists have continued to probe the tale of the couple who had it all, lost everything, and had to rebuild and endure despite having never forgotten the taste of the perfect life they’d once enjoyed.
According to Jennifer Scanlan, the story “takes up only a few verses in the Bible, Genesis 2:8-3:24, with just four main characters and a simple narrative that continues to resonate.” Scanlan is guest curator of the Museum of Biblical Art’s exhibit “Back to Eden: Contemporary Artists Wander the Garden.” The exhibit traces some of the ways that contemporary artists have addressed Eden in their works, whether intentionally or unintentionally; their treatments often probe the relationship between people and nature. In recent centuries, that power structure has changed, Scanlan notes. Where man was once dwarfed by and subject to threats from nature, the roles have reversed. “Most people only encounter truly dangerous snakes in zoos,” she writes. “Yet these symbols persist as remnants of a time when people had a different relationship with nature.”
Read more of my Jewish Daily Forward article “Getting Back to the Garden (of Eden).”
Posted by Menachem Wecker on July 21, 2014
Although it stands still, Meret Oppenheim’s “Table with Bird’s Feet” (1983) brims with kinetic energy. The work comes exactly as advertised; had it not anticipated “Beauty and the Beast” by some eight years, it could have been a remnant of the magical castle’s set, and at first glance, the viewer is thrilled that the sculpture is encased in glass, as it appears on the verge of walking off of its podium and clear out of the museum.
An avian table is just the sort of thing one might expect from Oppenheim, whose plainly titled “Object” (1936) consists of a cup, saucer and spoon lined with fur. There is something foreboding about the table, which evokes, perhaps, the footed bathtub in Joanna Cole’s popular children’s book “Bony-Legs,” but the fur tea set has even less promise as a functioning object. It might hold water, but the drinker is sure to finish her snack with a mouth full of hair.
The hairy teacup does not appear in the exhibit “Meret Oppenheim: Tender Friendships,” on view at the National Museum of Women in the Arts in Washington D.C. through September 14, but the table and a variety of other works and letters are present.
Read more of my review, “Meret Oppenheim’s Magical Tables and Teacups” in the Jewish Daily Forward.
Posted by Menachem Wecker on July 21, 2014
Writing about music — the famous saying sometimes attributed to Elvis Costello — is like dancing about architecture. Seeking clarity in the synaesthetic may be extremely difficult, but as a new exhibit at the Walters Art Museum in Baltimore demonstrates, painting musical subjects can be extremely revealing, nuanced and instructive.
The 21 medieval and Renaissance objects in the Walters exhibit “Seeing Music in Medieval Manuscripts” through Oct. 12, collectively make a compelling case for an artistic program designed to highlight the multidirectional and often contradictory significance of music and the roles it has played in both religious and secular life…
Read more of my article “In medieval manuscripts, music was both heavenly and hellish” in Arlington Catholic Herald.
Posted by Menachem Wecker on July 17, 2014