The Liberation of G-D: Helène Aylon’s Jewish Feminist Art
Abstract Helène Aylon (b. 1931) is among the first generation of feminist artists who identified and challenged traditional patriarchal and misogynist readings of ancient religious texts. This article analyzes the discourse and examines the reception of Aylon’s work The Liberation of G-d (1990–1996)...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Brill
2019
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| In: |
Images
Year: 2019, Volume: 12, Issue: 1, Pages: 122-133 |
| Online Access: |
Presumably Free Access Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a Abstract Helène Aylon (b. 1931) is among the first generation of feminist artists who identified and challenged traditional patriarchal and misogynist readings of ancient religious texts. This article analyzes the discourse and examines the reception of Aylon’s work The Liberation of G-d (1990–1996) within the Jewish art world and the American Conservative Jewish community, and her contribution to these two diverse audiences. Despite the work’s confrontation with tradition, some rabbis from the Conservative movement played a significant role in the acceptance of the work and its exhibition in the Jewish Museum in New York and other Jewish institutions. However, they reduced its radicalism, reframing the work as a Midrashic interpretation (a form of traditional rabbinic commentary) that operates within the framework and rules that delineate the traditional Jewish interpretive community. This article analyzes how the rabbis tamed the artist’s activist and critical work. I argue that Aylon challenges the Jewish community with a radical feminist discourse that is often omitted from the dominant discourse of the traditional Jewish community. By analyzing the engagements with and reception of Aylon’s work within the Jewish art world and the Jewish Conservative community, I demonstrate how the artist seeks real social engagement that reaches beyond the walls of the museum, challenging the structures of religious patriarchy while engaging in a dialogue with its representatives. | ||
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