Yeshiva University Museum has received a grant of $135,900 to expand its Re-Imagining Jewish Education Through Art program. The grant comes from The Covenant Foundation, and is part of the $1.2 million in grants approved by the foundation in January. The foundation plans to distribute a total of $1.7 million this year.
According to a press release issued by YUM, the program follows a model of “creative aesthetic education” created by the Lincoln Center Institute for the Arts and applies it to Jewish education. The museum will partner with the Lincoln Center Institute to train teachers in New York and elsewhere.
YUM has already run the program in three New York high schools — Heschel High School, SAR High School, and Yeshiva University’s Marsha Stern Academy (MTA) — as well as at the Kings Bay YM-YWHA. The museum plans to expand the program to at least six Jewish day schools. Gabriel Goldstein, a project director and independent curator, and Ilana Benson, a museum educator, will administer the program.
Among the Nazis’ persecuted minorities were Jewish and non-Jewish artists, musicians and writers branded “degenerate” by the regime.
“Radical Departures: The Modernist Experiment,” an exhibition currently showing at the Leo Baeck Institute/Center for Jewish History in New York, gathers together work by these “degenerate” artists, including Georg Stahl, Samson Schames, David Ludwig Bloch and others.
Although compact, the exhibit presents a whistlestop tour through the major European art movements from the turn of the 20th century, taking in German Expressionism and Weimar Modernism, through to the Second World War period, and the Surrealism and Abstract art of the postwar era.
On Wednesday, Deborah Lipstadt wrote about eerie anniversaries. She is the author of the new book “The Eichmann Trial.” Her 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:
I have spent much of the past few weeks talking about my new book, “The Eichmann Trial.” I don’t want to make this blog entry about the book. (To be blunt, I’d rather have folks read the book.) But something has struck me in the talks and interviews I have conducted.
For so many people the issue of the Eichmann trial remains Hannah Arendt. They seem to have a hard time conceiving of the Eichmann trial independent of Arendt’s “analysis.” I am speaking of who abhor what she said as well as of those who espouse her views.
When the anti-immigration laws of the early 1920s effectively sealed the gates of the United States to would-be immigrants, the Jews of Eastern Europe who had arrived en masse between 1880 and 1920 could no longer hope to see their loved ones join them in America. Instead, those who could afford to traveled abroad, visiting the cities and towns they had left behind. Often, they brought with them amateur film cameras, which were increasingly popular in the 1920s, to capture the world of their childhoods.
These films are the subject of “16mm Postcards: Home Movies of American Jewish Visitors to 1930s Poland,” a new exhibition at the Yeshiva University Museum in collaboration with the YIVO Institute for Jewish Research, which will have its opening on Tuesday November 9 at New York’s Center for Jewish History.
Tearful laughter, raunchy story telling, and punchy witticisms are not the typical ingredients one expects to find in a tribute to a late literary legend. Then again, Grace Paley and ‘typical’ never met.
Last Tuesday the Center for Jewish History and Jewish Women’s Archive paid homage to the poet, short story writer and political activist, who passed away in her Vermont home in August 2007. The evening consisted of a panel discussion with excerpts from Lilly Rivlin’s new film, “Grace Paley: Collected Shorts.” The film, which premiered at the San Francisco Jewish Film Festival in July, will be shown at a selection of upcoming festivals on the East Coast, including the New York Jewish Film Festival in January.
Inspired by Paley’s vast collection of short stories, Rivlin’s film tells the tale of a woman whom a colleague described as “a very small woman who was a giantess.” Rivlin, a writer and political activist herself, shared her experience creating the film: “The challenge about making a film about Grace Paley is that she was a political animal and I saw her everywhere, and the challenge was to make a film about someone who did it all.”
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