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Keywords = Jewish female artist

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20 pages, 4786 KiB  
Article
Thou Shalt Tell Thy Daughter: Mothers Tell Daughters Their Holocaust Story—Three Case Studies of Contemporary Israeli Women Artists
by Hadara Scheflan-Katzav
Arts 2022, 11(5), 94; https://doi.org/10.3390/arts11050094 - 22 Sep 2022
Cited by 1 | Viewed by 2559
Abstract
The story of Israel and its raison d’être are suffused by memories of the Holocaust, which construct the self-definition and identity of the state. This article examines works by three contemporary Israeli women artists—Dvora Morag, Miri Nishri, and Bracha Ettinger—who subvert the traditional [...] Read more.
The story of Israel and its raison d’être are suffused by memories of the Holocaust, which construct the self-definition and identity of the state. This article examines works by three contemporary Israeli women artists—Dvora Morag, Miri Nishri, and Bracha Ettinger—who subvert the traditional telling of history and enable rethinking of the past as the basis for the individual’s existence in the nation state. Through the works of these artists, official memory disintegrates into fragments of personal memories of the artists’ mothers, enabling a new moral, historical perspective. The reconstruction of history through stories that pass from mother to daughter contrasts sharply with Jewish tradition in which the historical story passes from father to son. The yearly Passover retelling of the Exodus admonishes “Thou shalt tell thy son on that day to say, ‘It is because of what the Lord did for me when I came out of Egypt’”. The two narratives, the Exodus from Egypt and the Holocaust, are told as stories of redemption of the Jewish people—from ruin to resurrection. The art examined here reassesses the past, while unraveling parallels between the stories from a female perspective that reflects a personal moral stance. Full article
(This article belongs to the Special Issue Renegotiating Identity, Reenacting History – 21st Century Art in Israel)
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22 pages, 4568 KiB  
Article
Teresa Żarnower’s Mnemonic Desire for Defense of Warsaw: De-Montaging Photography
by Maria Anna Rogucka
Arts 2020, 9(3), 84; https://doi.org/10.3390/arts9030084 - 28 Jul 2020
Viewed by 4326
Abstract
Teresa Żarnower (1897, Warsaw, Poland–1949, New York, United States), a Polish Constructivist artist of Jewish descent who was forced to emigrate abroad during World War II, became a dominant figure working for the Polish government in exile. She produced a series of photomontages [...] Read more.
Teresa Żarnower (1897, Warsaw, Poland–1949, New York, United States), a Polish Constructivist artist of Jewish descent who was forced to emigrate abroad during World War II, became a dominant figure working for the Polish government in exile. She produced a series of photomontages for a book titled The Defense of Warsaw, which was published in 1942 by a “Polish Labor Group” in New York. Żarnower used her technical expertise in photomontage to create new configurations of war photographs documenting Nazi Germany’s attack on Poland in 1939. She chose this shocking and politically loaded content to gain credibility and global attention for her work. Drawing on Benjamin Buchloh’s essay From Faktura to Factography, the aim of this study is to analyze the factographic paradigm in the usage of war photography and in the context of the esthetics of constructivist photomontage. The focus will lie on its mnemonic and archival functions, further highlighting the montage’s function as a key form of social memory model. Full article
(This article belongs to the Special Issue World War, Art, and Memory: 1914 to 1945)
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