by: Brittany M. Powell on November 10th, 2014 | Comments Off
Credit: Brittany M. Powell
Crossposted from The Bold Italic
In 2012, after struggling with a significant loss of income from my photography business following the 2008 economic decline, my debt skyrocketed, and I made the difficult decision to file for bankruptcy. This inspired my interest in investigating how debt affects our identities and how we relate to the world. Debt is publicly enforced and highly stigmatized but is almost always privately experienced. It is in many ways an abstract form without material weight or structure, yet it has a heavy physicality and is a burden in a person’s everyday life.
The Debt Project is a photographic and multimedia exploration into the role that debt plays in our personal identities and social structures. I began the projectby asking subjects to sit for a formal portrait in their homes, surrounded by their belongings, in a way that’s reminiscent of the early Flemish portrait-painting tradition, and answer a series of questions on camera about their debt. I also asked them to handwrite the amount of debt they are in and tell the story behind it.
To see more of Brittany M. Powell’s photos, visit the Tikkun Daily Art Gallery.
by: Warren Blumenfeld on November 10th, 2014 | Comments Off
Credit: Creative Commons/MMSC10
I believe one of the litmus tests by which a society can be judged is the ways it treats its young people, for this opens a window projecting how that society operates generally.
Adultism, as defined by John Bell includes “behaviors and attitudes based on the assumption that adults are better than young people, and entitled to act upon young people without their agreement. This mistreatment is reinforced by social institutions, laws, customs, and attitudes.” Within an adultist society, adults construct the rules, with little or no input from youth, which they force young people to follow.
by: Lisa Bigeleisen on October 28th, 2014 | Comments Off
Credit: Carol Rossetti
When Carol Rossetti began posting her illustrations from her “Women” series online earlier this year, she had no clue the images would generate a following of 184.7K Facebook users.
Rossetti, 26, a graphic designer from Belo Horizonte, Brazil, illustrates women using kraft paper and colored pencils. Each drawing features a portrait or figure with a hand-lettered message in response to many kinds of discrimination, addressing issues such as sexism, body image, self esteem, gender identity, and ageism to name a few.
To see more of Carol Rossetti’s illustrations, visit the Tikkun Daily Art Gallery or check out the artists’ Facebook and Tumblr pages.
by: Arlene Goldbard on October 25th, 2014 | Comments Off
I forgot to notice that this past May was the tenth anniversary of my blog, which I started in 2004 to coincide with the publication of my novel Clarity. It has a small but devoted following. And if you’re interested, you can buy it used for a song. I still think it would make a good movie…
I started thinking what I might have learned in this decade-plus.The first thing that came to mind was this: people have been calling me an optimist for most of my life, but I didn’t accept it as one of my true names until quite recently. Partly, that was about expanding my definition of the word. An optimist, I now believe, is someone who sees great possibility in the human project (not someone, as I once supposed, who is certain that all is for the best in this best of all possible worlds, pace Voltaire).
Still, I don’t totally get this about myself. I grew up in a world of low expectations and lower hopes, where adults understood themselves as refugees from and survivors of history, and I was regularly counseled not to want too much. I asked my husband to help me think about it: why, with my history, am I an optimist when so many others who have walked similar paths are anything but?
His answer made perfect sense to me: “Because you’re all about changing things. You have to believe it’s possible. A person can’t be as oriented to change as you are and be a pessimist. What would be the point?”
by: Arlene Goldbard on October 17th, 2014 | Comments Off
This past weekend, activists streamed into Ferguson, Missouri, for Ferguson October, a “weekend of resistance” comprising actions and events organized by Hands Up United, Organization for Black Struggle, Missourians Organizing for Reform and Empowerment, and other partners “to build momentum for a nationwide movement against police violence.” Protestors marched and staged civil disobedience, shut down commerce, and draped banners from freeway overpasses. Activists posted an open letter that began this way:
Here in Ferguson, our community has come to know terror on American soil. A public slaying so gruesome it harkened images of the lynchings from the most heinous moments in history, for young and old to see.
This is a moment of great beauty and meaning, in which those who desire a nation of justice and love are rising to summon it forth. Some carried a mirrored coffin in a ceremonial procession to the police department, calling to mind the Shinto version of The Golden Rule: “The heart of the person before you is a mirror; see there your own form.”
What will come of this?
by: Howard Cooper on October 9th, 2014 | Comments Off
Inside of a sukkah, a temporary hut constructed during the festival of Sukkot. Credit: Creative Commons/Carly Lesser & Art Drauglis
Just as the lulav that we shake on Sukkot, the festival of rest amidst the desert wanderings, is made up of three different trees — palm, myrtle and willow — I want to share with you another group of three that I’m going to bind together and wave in your direction. And we’ll see if we can add in that exotic etrog element along the way.
Over the last few months I happen to have seen three films, each as different from the other as are the species that make up the lulav. Taken together, they add up to more than the sum of their parts.
by: Roni Finkelstein on October 8th, 2014 | Comments Off
Ruth Golmant believes in the process of creating art as a powerful tool for healing. The art therapist located in Stafford, Virginia lives with one husband, two children, two invisible disabilities, and her ever-evolving Jewish spirituality.
After studying art as an undergraduate at Mills College in Oakland, California, Golmant moved to Virginia to complete a degree in art therapy at George Washington University. Upon graduation she began working with patients in St. Elizabeth’s hospital’s acute trauma unit, where she realized the power of art amidst pain. She recalled:
by: Melissa Weininger on October 6th, 2014 | Comments Off
One of David Mitchell’s literary preoccupations is interconnectedness, the way that, as the theory goes, the flapping of a butterfly’s wings might change the course of history (or at least the weather). Or, say, the way that a trapped and depressed FAA contract worker might set a fire that cancels your surprise trip to Chicago to see your dad who’s recovering from a hip replacement (still not over it!). Mitchell makes connections, so when I’m reading him I see connections.
David Mitchell's novel, The Bone Clocks, focuses on central themes of Yom Kippur. Credit: Melissa Weininger
As I was reading The Bone Clocks, his new novel, in which one of the peripheral characters rides a Norton motorcycle, I happened to see a guy wearing a Norton T-shirt at the diner near my house as I ate brunch with my family. As I re-read the review of the book in the New York Times Book Review, I noticed that the review underneath it (yes, I still get a hard copy of the paper) referred to events that took place in January 1967, the year my husband was born. And the world shrinks a little bit, everything stitched together a little tighter.
Perhaps that’s why I was tempted to see so many of the themes of the season in this book, even though there’s nothing remotely Jewish about it (and organized religion generally comes in for a beating – more on that later). Reading during Rosh Hashanah and the beginning of the Yamim Noraim, the ten days between the New Year and Yom Kippur, the day of repentance, I felt like the novel had something to say about so many of the central themes of the holidays: memory, death, rebirth, mortality, choice and free will, and second chances. These are Mitchell’s touchstones, the big questions he goes back to again and again in all of his novels, but The Bone Clocks brings them together both abstractly – in the form of recurring characters and names, places and events, both within the world of this novel and across his oeuvre – and concretely, as a largish subplot (more later on why it seems like the main plot but isn’t) focuses on a group of immortal souls and their fight against those who would induce immortality by artificial and predatory means.
by: Dalia Hatuqa on October 6th, 2014 | Comments Off
The first stage of making a stucco and glass window involves preparing a wooden frame to hold up the finished product. It features a cavity that is later filled with liquid plaster. Credit: Dalia Hatuqa / Al Jazeera
Originally published in Al Jazeera
East Jerusalem – The Dome of the Rock is one of the most memorable Islamic landmarks in the world, a place for solemn prayer and a refuge for those seeking respite. On any given afternoon, the sun shines through its stained-glass windows, casting vibrantly coloured shadows onto small groups of Quran reciters by the colonnades of this religious site.
One of the oldest works of Islamic architecture, the octagonal building, made of marble and glazed tilework on the outside, is in constant need of care. This delicate job falls solely on the shoulders of a small department – the al-Aqsa Mosque and Dome of the Rock Restoration Committee – which is in charge of renovating and replacing the windows and roof for both sites.
by: Annie Pentilla on October 3rd, 2014 | 1 Comment »
Nomy Lamm sits amid a nest of prosthetic legs durring Sins' 2009 annual performance. "Hear my bird song. I am so beautiful. I am waiting for you. Hear my bird song," Lamm sings. Image Courtesy of Sins Invalid; Photograph by Richard Downing ©
When Sins Invalid co-founders Patricia Berne and Leroy Franklin Moore Jr. put on a live event in San Francisco in 2006, they didn’t know it would blossom into a years-long collaboration. That night poets, dancers, and performance artists from the Bay Area and beyond filled the stage with emotionally powerful, erotic work, leaving audience members deeply moved – some of them walking away in tears. “We often say we started out of friendship,” recalls Berne.
Why did the first Sins Invalid performance mean so much to everyone involved? Perhaps because that night was the first time many audience members had been to a venue in which a majority of the performers were people with disabilities. And for many of the performers, this was the first time they’d been given a space to affirm their humanity as sexual beings, challenging a culture that tells us that love and sex are the sole property of young, thin, able, white bodies. “I needed to see the show,” says Berne, who became the director at Sins Invalid. “I needed to see this work in the world.”