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Artist as Kohen:
Art by participants in Artists’ Beit Midrash
Judith Joseph and Jane Shapiro, co-facilitators
Curated by Judith Joseph
North Suburban Synagogue Beth El, 1175 Sheridan Rd., Highland Park, Illinois Through January 2015
Wednesday, November 12, 2014, 6:45pm
Lois Barr ▪ Sam Bernstein ▪ Sylvia Dresser ▪ Nessia Frank ▪ Judith Joseph ▪ Ruti Modlin ▪ Lilach Schrag ▪ Judy Solomon ▪ Linda Carol Sonin
Leah Sosewitz ▪ Sandy Starkman
Join us for a wine & cheese reception and study session with Jane Shapiro.
Reservations are requested to Marcie Eskin at email@example.com or 847/432-8900×234.
To view exhibit at other times, please call NSSBE 847/432-8900 for open hours.
I love my job! This commission gave me the challenge of creating a ketubah which had similar imagery to a previous work from 2008, which the couple really liked. (See below.) The brides are cousins, so I wanted to be sure that, although the overall colors and imagery were similar, they were still distinctly different. How did I do?
I had the privilege of making a ketubah for the sister of the Doves/ Moon Ketubah bride in 2009 (see below.) I love it when my ketubahs become a family tradition, it is truly an honor, and fun to get to know various members of the tribe.
During a visit to Civil War sites in Winchester, Virginia, I learned that convalescing Confederate veterans were encouraged to work on quilts. The wartime headquarters of Stonewall Jackson (1861-62) had such a quilt on the General’s personal bed, made by an amputee.
Traditionally women’s work, quilting was recognized for its therapeutic benefit to wounded soldiers, who were undoubtedly suffering from PTSD, as well as physical injuries. Artists and crafters know well the meditative zone one enters while immersed in repetitive, creative work. We forget to eat, we forget to stop working, we forget the world.
In 1858, a friendship quilt was made by a group of young Quaker girls in Frederick County, Virginia. There is a bull’s eye block (square) sewn over one of the original blocks, a lovely tulip design which is clearly visible in an x-ray photo. This young seamstress was elided from the community, as well as the quilt, after she committed the sin of marrying outside of her faith.
It is notable that the design chosen to blot out her design, which would be a permanent reminder to the quilt’s owner of the painful breach, was a bull’s eye, a rather hostile mark.
The quilt was in the estate of the Hollingsworth family, who left England because of religious intolerance towards Quakers. Their home, “Abram’s Dream,” was the first house in Winchester, Virginia. It had a hinged wall in the parlor to permit enlargement of the space for Quaker meetings.