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Too Jewish or Not Jewish Enough
Displays of Jewish ritual objects in public, non-Jewish settings by Jews are a comparatively recent phenomenon. So too is the establishment of Jewish museums. This volume explores the origins of the Jewish Museum of New York and its evolution from collecting and displaying Jewish ritual objects, to Jewish art, to exhibiting avant-garde art devoid of Jewish content, created by non-Jews. Established within a rabbinic seminary, the museum’s formation and development reflect changes in Jewish society over the twentieth century as it grappled with choices between religion and secularism, particularism and universalism, and ethnic pride and assimilation.
Gardens and Ghettos
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1989. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived
Occident and Orient
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The Art and Artists of the Fifth Zionist Congress, 1901
Martin Buber and friends successfully lobbied the congress for inclusion of cultural Zionism into the official agenda of the Zionist organization, resulting in the establishment of the Bezalel Art Institute in Jerusalem in 1905. In the first book of its kind, Gilya Gerda Schmidt places this art exhibition in the context of political Zionism as well as anti-Semitism. Jews had been denied the opportunity to be creative, and religious Zionists feared that Jewish culture would usurp religion within the Zionist movement. Hermann Struck, an artist and Orthodox Jew, became a founding member of the religious Zionist Party, further supporting Buber's assertion that culture and religion were not at odds. The forty-eight works of art in the exhibition were created by eleven artists, all but two of whom were famous in their lifetime. Until now, their works had been largely forgotten. In the last decade, contributing artists—Ephraim Lilien, Lesser Ury, Jozef Israels, Struck, and Maurycy Gottlieb—have enjoyed a revival of their work.
