Y의 노먼 E. 알렉산더 유대인 생활 센터는 우리가 누구인지 소개하게 된 것을 자랑스럽게 생각합니다.: 가치 도보 여행, 매달 다른 인도주의적 가치를 대표하는 지역 예술가들의 전시.
우리의 목표입니다, 코로나19 현실 속에서, 지역 예술가를 홍보하고 북부 맨해튼 지역 사회에 예술에 대한 접근을 제공하기 위해. 일반적으로 우리는 이 예술이 Y의 벽에 표시되기를 원하지만, 현재 COVID 관련 제한 사항으로, 우리 지역 예술가들을 우리 지역 사회의 거리로 데려오는 것이 우리의 목표입니다..
1월: 정당성
‘Isabella’
Solvent Transfer on Watercolor Paper, 2017
By Linda Smith
lindacsmith.com | instagram.com//laughing_linda
Linda Smith is an artist and art educator, who started a non-profit organization while living in Kigali, Rwanda, called the TEOH Project, which provides cameras and art classes to children in Rwanda, Ghana, and the Bronx. She has been commissioned by the United Nations to provide photography classes to survivors and former perpetrators of the 1994 genocide in Rwanda. She earned her BA from Syracuse University, MA in Communications at Goldsmith College at the University of London, and MFA from the University of Connecticut. Her work has been exhibited in the United Nations, embassies, and universities.
Gal Cohen의 큐레이터 노트
galcohenart.com | instagram.com/galshugon
‘Isabella’ is a mixed-media work showcasing a 1911 young immigrant from Italy to the US. It’s part of the series “Sojourners,” where Smith manipulates archival photographs of family members who immigrated from Italy to the US to echo the cross generational complexities that are inherited to the process of Immigration. The haunted look on Isabella’s face and the ghostly reflection of her image speaks to the rooted conflict and collective memory of the migration and immigration movements — the vulnerability and displacement, along with the reinvention of life itself, embedded with hopes for a safer, brighter future. Questions of justice, equality, and human rights are key to processes of migration and immigration around the world, as the wide range of by-choice migrants, through refugees and asylum seekers reveal the built-in inequality in contemporary societies, especially amidst the current global refugee crisis.
정당성
랍비 아리 퍼텐, 노먼 E. 알렉산더 유대인 생활 센터 디렉터
Justice is at the center of the American myth. The average school day begins with a recitation of the Pledge of Allegiance in which students declare the US to be one nation… “with liberty and정의 for all.” Though this mantra is so regularly repeated, our lived experience often indicates that정의 is, perhaps, not always the reality which we experience, but rather a dream towards which we aspire.
The classic image of정의 (based on the Roman goddess of Justice, Iustitia) is ablindfolded woman with a set of scales in one hand and a sword in the other. This representation plays on the concept of sight asserting that정의 needs to be impartially applied without regard to wealth, power, or any other status. In theMidrash Tanhuma (Shoftim 8:1), we are reminded, “When the judge sets his heart on a bribe, he becomes blind to justice and is unable to judge [a case] honestly.” Justice must be directed without the imposition of external factors. When sight is allowed, it clouds judgement, distancing정의 from its appropriate application.
Interestingly, in the book ofDeuteronomy (22:1-3) there is an explanation as to the application of정의 in the return of lost property that also utilizes the image of sight. The final verse insists, “and so too shall you do with anything that your fellow loses and you find: you may not hide yourself.” The medieval French commentator, Rashi, remarks on this final injunction, “You must not cover your eyes, pretending not to see it.” Here, playing on this same theme of sight, Rashi insists that정의 can only occur when we actively pursue sight, removing any blindfolds that might limit the ability to see.
As our country continues to struggle with the concept of정의, we must each ask, what is my understanding of정의?
