Art

I used to wear tie-dye. A lot of it. I also used to wear awkward length skirts, brightly colored shirts, and sparkly jewelry. It was a middle school phase; everyone is entitled to one. But it was also more than a phase. It was the time before I cared what people thought of me. 

It is a general truism that in a society which prioritizes one’s physical appearance over one’s personality, dressing outside of the established norm is often a form of social self-ruin. It is also a general truism that the delicate ecosystem of Jewish private school isn’t the place most conducive to experimentation with gender expression through clothing. 

Art as a form of healing. Art as a form of escape. Art as a form of human connection, or livelihood, or emotional fulfillment. Art as everything that you need it to be. 

While my Jewish views are different from Helène’s, she and I have similar artistic views. Just like Helène, I think art can be utilized as a powerful weapon to fight various forms of oppression and injustice. I believe that art ought to be used more often in the everlasting fight for gender equality. 

This Rosh Hashanah, I’m thinking about change. We look at transformation as something that happens overnight, but if the women I learn about every day at JWA are any indication, change happens in surprising ways and at unexpected times. It can be sudden or slow, a product of one determined action or years of effort.

This year, photographer and Catskills native Marisa Scheinfeld mounted her first museum exhibit, “Echoes of the Borscht Belt.” We spoke to Marisa about her haunting photographs, what drew her to the ruins of the famed Jewish play land, and why the Catskills are so important to Jewish American culture. Don’t miss Part I of JWA’s interview with Marisa!

This year, photographer and Catskills native Marisa Scheinfeld mounted her first museum exhibit, “Echoes of the Borscht Belt.” We spoke to Marisa about her haunting photographs, what drew her to the ruins of the famed Jewish play land, and why the Catskills are so important to Jewish American culture.

In a society where we’re constantly told what we should love and what we should hate about ourselves, we can forget that our bodies belong to us. There is little space for women to create their own narratives, express their own fears, and admire their own features. Artist Miriam Ross gives women the opportunity to do exactly this in her project, The Body Journey.

Boxes of slide reels still cover my repurposed kitchen table. To help with storage, a nearby closet offers enough space for a whopping twelve boxes for a total of sixteen, all compiled by my paternal Grandfather. I’m no mathematician but I can easily calculate that, with sixteen boxes of eighty slides, there must be over twelve hundred squares of film.

I set the water on my stove to boil and flicked on the kitchen radio, which was, as usual, set to NPR. The announcer was giving an update on the ebola crisis, now listing fatalities from a recent accident, now discussing the stock market—I changed the channel. I’d had a long enough day already and had no desire to sit and listen to the ongoing string of bad news. I flipped through channels until I hit a pop station that wasn’t in the middle of a commercial break. As I pulled out plates and pasta sauce, a new song played in the background.

In my hometown, December means more than just early evenings and the optimism  of an impending winter break. It takes on significance beyond any of the holidays, concerts or changes in the weather. Instead, December means Cotillion, the prom-like event that has groups of high school students talking endlessly of dresses and limousines, pre-parties and after-parties, and definitely not the etiquette that the dance is supposed to teach.