FOR IMMEDIATE RELEASE

Skirball Cultural Center presents
THE JEWISH IDENTITY PROJECT:  NEW AMERICAN PHOTOGRAPHY
March 24 – September 3, 2006


Skirball Cultural Center
2701 N. Sepulveda Blvd., Los Angeles, California 90049 (Exit Skirball Center Drive off the 405)
(310) 440-4500, fax (310) 440-4595
Contact: Stacy Lieberman (310) 440-4578
Email, communications@skirball.org
Web site, http://www.skirball.org


Left: Dawoud Bey, Sahai, 2005, pigment print, 50 x 40 inches.  Courtesy of the artist and Rhona Hoffman Gallery, Chicago.
Right: Nikki S. Lee, The Wedding (5) from the Parts series, 2005, C-print mounted on Aluminum, 30 x 34 inches.  Courtesy of Leslie Tonkonow Artworks + Projects.

Exhibition Probes Stereotypes, American Multiculturalism

Los Angeles—In an era when the dynamic of multiculturalism is transforming American life, a single image of American Jewry still dominates—white, middle-class, of European origins. The Jewish Identity Project: New American Photography exposes that myth, presenting works by thirteen emerging and mid-career artists that challenge familiar stereotypes in ten newly-commissioned photographic, video and multimedia projects. The exhibition, organized by The Jewish Museum in New York, will be on view at the Skirball Cultural Center from March 24 through September 3, 2006.
 
The Jewish Identity Project explores the heterogeneity of contemporary American society through the lens of Jewish identity. Its themes of ethnic, racial, religious and multicultural identity, diversity and inclusion are potent issues for millions of Americans. While American Jews are commonly pictured as a homogenous ethnic group, conversion, adoption, intermarriage, immigration, multi-racial, and gay and lesbian families have transformed the fabric of Jewish communities. This trend parallels the changing and complex definition of what it means to be an American in the 21st century.
 
Organized into three thematic sections, the exhibition considers race, community and home. The first section, “Who is a Jew?,” investigates race and how the experiences of being Jewish and Asian, Jewish and Latino, Jewish and Black, or Jewish and interracial can be represented visually. It includes projects by Dawoud Bey, Nikki S. Lee, Shari Rothfarb Mekonen and Avishai Mekonen, and Chris Verene. The second section, “What is Community?,” reconsiders the roles of boundaries, rituals, and cultural and ethnic heritages. Projects by Yoshua Okon, Jaime Permuth, and Tirtza Even and Brian Karl examine the tension between individuals and the different racial or ethnic groups they navigate simultaneously. In the final section, “Where is Home?,” Rainer Ganahl, Jessica Shokrian, and Andrea Robbins and Max Becher explore to what extent America becomes “home” to Jews who emigrate to the U.S., and to what degree an individual lives in perpetual exile.
 
To investigate contemporary American Judaism, The Jewish Museum selected artists known for exploring identity issues. Themselves representing a wide range of lifestyles and ethnicities, their cumulative vision demonstrates that identity is a process of becoming—variable, multilayered and socially constructed. The works raise provocative questions about Jews and our multicultural society in general. Who is a Jew?  What does it mean to be Jewish? Who gets to decide? 
 
By collaborating with their subjects through a variety of means, the exhibition artists have pushed the limits of traditional documentary and aesthetic approaches to probe the nature of photographic media and its ability to convey a truthful impression. Employing both traditional and experimental approaches, these innovative projects use classic black-and-white photographs, large-scale color photographs, multi-channel video projections and multimedia installations to depict the complex and often surprising ways Jewish Americans grapple with their identity.
 
Tal Gozani, Skirball Associate Curator and managing curator of The Jewish Identity Project at the Skirball, comments, “The Skirball welcomes the opportunity to bring these new works by exciting artists to the Southern California audience. The exhibition will engage everyone, no matter what their own “identity” may be, with timely issues of how we define ourselves as individuals and as communities in this new global society. The show holds many surprises, insights and delights.”
 
  
Who is a Jew?
African-American photographer Dawoud Bey’s collaborative photographic and audio project, created with Dan Collison and Elizabeth Meister, allows his subjects—Jewish adolescents—to speak for themselves. Jacob is the son of a single Jewish mother; his father was from Belize. Sahai and Zenebesh were adopted from Ethiopia and converted to Judaism. Cousins Claire and Samantha share an Ojibwe (Chippewa) grandmother and a Russian Jewish grandfather. Bey’s work underscores the truism that one should not make easy assumptions about another individual’s identity or heritage.
 
In the snapshot-like series Parts, Korean-born Nikki S. Lee stages real-life scenarios in which she appears with a male friend or actor, cropping most of him out in the enlarged final photograph. Relating to earlier work in which she takes on different personas, here Lee is seen as a glamorous Jewish bride. The elaborately staged images accentuate the artifice of the snapshot aesthetic and belie its seeming spontaneity. The viewer gets only hints of a story: What is going on? Is this the real Nikki S. Lee? Can she be Jewish? Can viewers see her as such?          
 
An excerpt from Shari Rothfarb Mekonen and Avishai Mekonen’s work-in-progress, a documentary entitled Judaism and Race in America, follows Avishai Mekonen’s search for his identity as a Jew of color new to America. An Ethiopian Israeli, Avishai Mekonen undertakes a journey that intersects with the stories of other Jews of color. Stylistically, the film layers his past and present lives and uses vérité footage to illuminate themes of visibility, acceptance, Diaspora and community.
 
With Prairie Jews, part of the series Galesburg, Chris Verene notes that no one in his small Midwestern hometown would know who is Jewish without asking.  Jews were among Galesburg’s early settlers, arriving less than twenty years after the town was founded in 1837, and newcomers continue to reshape the face of the local community. Representations of regional Jews tend to stereotype both the people of the dominant culture—in Verene’s case, “the people of the prairie”—and the Jews who assimilate into that culture. Verene’s pictures and the stories he tells in handwritten texts challenge notions of who is “inside” and “outside” the mainstream.
 
What is Community? 
Guatemalan-born Jaime Permuth explores the intersections of individual and communal cultural identities. Permuth’s black-and-white photographs and texts document the Spanish-speaking congregation, El Centro de Estudios Judíos Torat Emet (Torat Emet Center for Jewish Studies), founded in the Bronx by a young Sephardic rabbi of Cuban descent. The artist captures this community during three events: a conversion, a Bat Mitzvah and the process of koshering a home. The Bat Mitzvah illustrates the bridging of Ashkenazi and Sephardic customs and communities. It takes place at the rabbi’s new synagogue in Yonkers, where a congregation previously made up exclusively of Ashkenazi Jews now also serves Sephardis of a younger generation.
 
In Casting: Prototype for a Stereotype, Mexican-born Yoshua Okon uses contemporary improvisations of biblical stories as a means to explore the dynamics of group identity formation. The artist asked women from the Ken community—a secular, Spanish-speaking, Jewish communal organization of recent Mexican immigrants based in San Diego—to re-enact key moments from the Book of Ruth. In the biblical tale, Ruth, a Moabite, decides to return to her husband’s ancestral homeland in Judea with her mother-in-law, Naomi, after her husband’s death. Okon then videotaped the women in the California desert with minimal stage directions and props. Okon’s video project captures the stream-of-consciousness improvisations as well as the behavioral conventions that emerged as each woman performed Ruth. By linking her fate with Naomi’s, Ruth defined her community and home not in geographical but in familial terms. For Okon, the story offers new ways to understand how communities are formed. By viewing the improvisations of this story collectively, Okon creates a lens by which to deconstruct identity stereotypes of Jewish women and, more specifically, Jewish mothers.

Tirtza Even and Brian Karl’s interactive audio-and-video installation, Definition, explores the flexible nature of language. This project is based on interviews with more than twenty individuals about what the word “Jewish” means to them. Several words, which were used repeatedly, are projected at random onto the floor (among them, anti-Semitism, assimilation, discrimination, family, Palestine, ritual and Zionism).  Simultaneously, the viewer hears a series of two-minute audio clips in which different interviewees speak about the highlighted topic. Two panoramic video projections enhance the audio component. One shows a woman running through a series of gestures that do not have any ascribed meaning in our culture. These constitute a visual “lexicon” or dictionary. The second projection depicts stylized environments in which people perform choreographed movements made up of these gestures. Both words and gestures encourage the understanding that all perception is subjective, including what it means to be Jewish.

Where is Home?
Austrian-born Rainer Ganahl, who emigrated to the United States, is fascinated by the sense of displacement experienced by many immigrants. In his series Language of Emigration, he interviews three women who are Holocaust refugees, their children and grandchildren. This rich photographic and video study reveals how the remembrance of the Holocaust filters down through generations, as well as how Jewish families change over time. The three daughters of these “matriarchs” find partners and have children, at times creating less traditional Jewish families. Settled in different cities, these women experience feelings of both belonging and displacement—conditions made palpable through these videos and photographs.
 
The visual styles and emotional pitches of Jessica Shokrian’s six short videos convey the richness and complexity of life-cycle events and rituals of her Persian Jewish family in Los Angeles. Simchat Torah marks the donation of a Torah by Shokrian’s father to his synagogue in Beverly Hills. The pace and visual details of Ameh Jhan (Dear Aunt) transform a bus ride to local ethnic food markets into a metaphor of displacement and longing. The videos Brit Milah, The Funeral and The Engagement reveal the tensions implicit in communal rituals. Turning It Around allows the artist to train the camera on herself. Viewed together, these videos illustrate the converging and diverging identities of one American family.
 
Fixed by the camera’s frontal, iconic gaze, the photographic subjects of Andrea Robbins and Max Becher—portraits, landscapes and architectural motifs—reveal much about dislocated and reconstituted cultural experiences. From the series Brooklyn Abroad, Postville documents a Hasidic Lubavitch community that moved to Postville, Iowa in order to run a kosher meat processing plant. Recording their distinctive dress codes, these images challenge assumptions about the religion and daily experiences of Midwesterners, as well as the life associated with Hasidic Jews. 770 depicts replicas of the Brooklyn home of the Lubavitcher rebbe—the group’s spiritual center—in various international locales, from Jerusalem to São Paulo to Pico Boulevard in Los Angeles.  The series portrays the Lubavitch practice of creating exact replicas of the rebbe’s home, regardless of context. Both series capture the ability of Hasidic Jews to maintain their heritage while creating new communities in surprising locations.
 
Catalogue
Co-published by The Jewish Museum and Yale University Press, The Jewish Identity Project: New American Photography (232 pages, 138 color and 37 black-and-white illustrations, $40 paperback) contains essays by guest curator Susan Chevlowe, Joanna Lindenbaum and Ilan Stavans. It is available at Audrey’s Museum Store at the Skirball and bookstores nationwide.
 
Related Programs
During the run of the exhibition, the Skirball will present a number of related programs, including concerts, lectures, and workshops. In the opening week, a panel discussion with three of the artists will be presented on Wednesday, March 22, and a Mexican Passover Dinner will be served on Sunday, March 26.
Visit http://www.skirball.org  for a complete list of related programs.
 
THE EXHIBITION WAS ORGANIZED BY THE JEWISH MUSEUM, NEW YORK, WHERE IT WAS SPONSORED, IN PART, BY THE ALLAN MORROW FOUNDATION, ALTRIA GROUP, INC., THE HENRY NIAS FOUNDATION, THE NATIONAL ENDOWMENT FOR THE ARTS, AND UJA-FEDERATION OF NEW YORK.
 
THE EXHIBITION AT THE SKIRBALL CULTURAL CENTER IS MADE POSSIBLE BY PARTIAL SUPPORT FROM ALTRIA GROUP, INC., WITH ADDITIONAL SUPPORT FROM CATHERINE BENKAIM, ALICE AND NAHUM LAINER, SUZANNE AND DAVE LARKY, PHYLLIS B. AND LOUIS D. MANN, AND NASSIR AND SARAH SHOKRIAN.

Visiting the Skirball
The Skirball Cultural Center is located at 2701 N. Sepulveda Blvd., Los Angeles, CA (exit Skirball Center Drive off the 405). Museum Hours: Tuesday through Saturday 12–5 p.m., Thursday until 9 p.m.; Sunday 11 a.m.–5 p.m.; closed Monday. Gallery admission prices: $8 General, $6 Seniors. Free for Skirball Members, Students and Children under 12. Ruby Gallery exhibitions are free to the public. Admission to all exhibitions is free to the public on Thursday. Parking is free. For general information, the public may call (310) 440-4500 or visit http://www.skirball.org.
 
The Skirball is also home to Zeidler’s Café, which serves innovative California cuisine in an elegant setting, and Audrey’s Museum Store, which sells books, contemporary art, music and more.

About the Skirball
The Skirball Cultural Center is dedicated to exploring the connections between 4,000 years of Jewish heritage and the vitality of American democratic ideals. It welcomes and seeks to inspire people of every ethnic and cultural identity. Guided by our respective memories and experiences, together we aspire to build a society in which all of us can feel at home. The Skirball Cultural Center achieves its mission through educational programs that explore literary, visual, and performing arts from around the world; through the display and interpretation of its permanent collections and changing exhibitions; through scholarship in American Jewish history and related publications; and through outreach to the community.




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