ד"ר דויד שפרבר, בוגר המסלול המחקרי, נובמבר 2020

Books

2021: Devoted Resistance: Jewish Feminist Art in Israel and the US, Brandeis Series on Gender, Culture, Religion and the Law (forthcoming).

2020: Devoted Resistance: Jewish Feminist Art in Israel and the US (Hebrew), The Hebrew University Magnes Press and the Shalom Hartman Institute, Jerusalem (forthcoming).

2017: Co-editor, with Professor Adam Ferziger, The Paths of Daniel: Studies in Judaism and Jewish Culture Presented to Rabbi Professor Daniel Sperber, Ramat Gan: Bar Ilan University Press.

 

Articles in Refereed Scientific Journals

2020: “‘A Tale of a Woman and a Robe’: Institutional Criticism of the Israeli Rabbinical Establishment – the Art of Nurit Jacobs Yinon,” Journal of Feminist Studies in Religion (FSR, Indiana University Press), (forthcoming).

2020: “Devoted Resistance: The Jewish Religious Feminist Art of Nechama Golan,” Third Text (Routledge), (forthcoming). Also in Hebrew, 2021, “‘You Shall Walk in Virtuous Ways’: The Jewish Religious Art of Nechama Golan,” Israel: Studies in Zionism and the State of Israel – History, Society, Culture  (The Chaim Weizmann Institute for the Study of Zionism and Israel, at the Chaim Rosenberg School of Jewish Studies and the Lester and Sally Entin Faculty of Humanities, Tel Aviv University), (forthcoming).

2020: “Contemporary Orthodox Jewish Feminist Art in Israel: Insitutional Criticism of the Rabbinical Establishment,” Shofar: An Interdisciplinary Journal of Jewish Studies,  SPECIAL ISSUE: The Feminist Art of Religious Women (Purdue University Press), 38 (2) (2020), 191–228.

2019: “Mikva Dreams: Judaism, Feminism, and Maintenance in the Art of Mierle Laderman Ukeles,” Panorama: Journal of the Association of Historians of American Art 5, no. 2 (Fall 2019), 1–22, https://editions.lib.umn.edu/panorama/article/mikva-dreams.

2019: “Erasures of Jewish Identity? Jewish Consciousness in the United States in Light of the Study of Jewish Art,” (Hebrew), Identities (The Van Leer Jerusalem Institute), 9 (2019), 135–143.

2019: “‘The Liberation of G-d’: Helène Aylon's Jewish Feminist Art,” Images: A Journal of Jewish Art and Visual Culture (Brill Press), 12.1 (2019), 122–133.

2017: “The Vagina and De Facto Feminism in the Artwork of Naʿama Snitkoff-Lotan,” Journal of Middle East Women’s Studies (JMEWS: the Association of Middle East Women’s Studies ]AMEWS[, Indiana University Press), 13 (1) (2017): 143–153.

2015: “Body and Sexuality in the Work of Modern Orthodox Women Artists in Israel,” Journal of Culture and Religion, 1–2 (2015): 17–39. Also in Hebrew, 2017, “‘A Studio of Her Own’: Body and Sexuality in the Works of Young Jewish Religious Women Artists in Israel,” Muza: Journal for Graduate Students in the Humanities (The Jack, Joseph and Morton Mandel School for Advanced Studies in the Humanities, The Hebrew University of Jerusalem), 1 (2017): 73–87.

2014: “‘Montage Interdit’ and the Return from Zion: The Polish Trilogy by Yael Bartana” (Hebrew), Slil – Online Journal for History, Film and Television (The Koebner-Minerva Center for German History and the Faculty of Humanities at the Hebrew University of Jerusalem), 8 (2014): 76–118.

2013: “The Relationship between Judaism and Islam in the Art of Religious Jewish Women in Israel” (Hebrew), Identities (The Van Leer Jerusalem Institute), 4 (2013): 91–121. Also in English, 2014, “‘Hosting Culture’: The Relationship between Judaism and Islam in the Works of Three Israeli Religious Female Artists,” Studies in Visual Arts and Communication – An International Journal 1 (1) (2014): 1–41.

2013: “‘Garments of Reconciliation’: The Relationship Between Judaism and Islam in the Artworks of Andi Arnovitz,” (Hebrew), Dvarim: An Academic Journal (Oranim Academic College), 6 (2013): 263–289. Also in English, 2016, “‘Garments of Reconciliation’: The Relationship between Judaism and Islam in the Artworks of Andi Arnovitz,” Women in Judaism: A Multidisciplinary Journal, 13 (1) (2016): Web.

2012: “Feminist Art in the Jewish Religious Sphere,” (Hebrew), Migdar (Gender): An Academic Journal of Gender and Feminism (The Israeli Sociological Association), 1 (2012): 43–78.

2011: “Ambivalent Discourse and the Productive Look in the Work of Ruth Kestenbaum Ben-Dov” (Hebrew), History and Theory: The Protocols (Bezalel Academy of Arts and Design, Jerusalem), 26 (2012): Web.

2011: “The Abject: Menstruation, Impurity and Purification in Jewish Feminist Art,” (Hebrew), History and Theory: The Protocols (Bezalel Academy of Arts and Design, Jerusalem), 22 (2011): Web. Also in Hebrew, 2012, “The Abject: Menstruation, Impurity and Purification in Jewish Feminist Art,” in Protocolaz, edited by Dror Pimentel, Jerusalem: The Department of History and Theory, Bezalel Academy of Arts and Design, pp. 192–225.

2009: “The Local Art Discourse and the Jewish Voice,” (Hebrew) Akadamot: Journal of Jewish Thought (Beit Morasha, Jerusalem), 24 (2009): 39–55. Also expanded in English, 2010, “Israeli Art Discourse and the Jewish Voice,” Images: A Journal of Jewish Art and Visual Culture (Brill Press) 4 (2010): 109–129. 

1999: “The Commandment ‘And You Shall Take unto Yourselves...’ on the Sukkot Holiday and Its Development” (Hebrew), Sidra: A Journal for the Study of Rabbinic Literature (Bar-Ilan University Press), 15 (1999): 167–179.

1999: “Some Marriage Customs in Jewish Art,” (Hebrew), RIMONIM: A Periodical of Jewish Art (The Center for Jewish Art, The Hebrew University of Jerusalem), 6–7 (1999): 50–68.

 

Book Reviews in Scientific Journals

2019: “The Fear of Religionization of Israeli Cultural Worlds: Response to Horit Herman Peled and Yoav Peled,” Images: A Journal of Jewish Art & Visual Culture (Brill Press), 12.1 (2019): 222–224. Also in Hebrew, 2020, “The Fear of Religionization of Israeli Cultural Worlds,” Israel: Studies in Zionism and the State of Israel (The Chaim Weizmann Institute for the Study of Zionism and Israel, at the Chaim Rosenberg School of Jewish Studies and the Lester and Sally Entin Faculty of Humanities, Tel Aviv University): 261–265.

2019: “Yoav Peled and Horit Herman-Peled, The Religionization of Israeli Society.  New York: Routledge. 238pp,” Images: A Journal of Jewish Art & Visual Culture (Brill Press), 12.1 (2019): 214–219.

2017: “Mendelsohn, Amitai. Behold the Man – Jesus in Israeli Art. Jerusalem: Israel Museum, Jerusalem and the Magnes Press, Hebrew University of Jerusalem, 2017,” (Review), Religion and the Arts (Brill Press), 21(4) (2017): 572–575.

2016: “Sara Chinski, Kingdom of the Meek: The Social Grammar of the Israeli Art Field [in Hebrew]. Tel Aviv: Hakibbutz Hameuchad, 2015. pp. 383” (Review), Images: A Journal of Jewish Art & Visual Culture (Brill Press), 9 (1) (2016): 182–184.

2014: “Book Review: Orna Orayon, Your Body’s Blood: Blood in the Art of Plundering Women in the Seventies and Eighties. Tel Aviv: Resling, 2013, pp. 216” (Review), (Hebrew), History and Theory: The Protocols (Bezalel Academy of Arts and Design, Jerusalem), 9 (2014): Web.

2013: “The Soul has No Sex? On the Book by Tal Dekel, Gendered – Art and Feminist Theory” (Review), (Hebrew), Migdar (Gender): An Academic Journal of Gender and Feminism (The Israeli Sociological Association), 2 (2013): Web.

2011: “Yigal Zalmona, 100 Years of Israeli Art, Jerusalem: The Israel Museum, 2010, pp. 511,” (Review), Images: A Journal of Jewish Art & Visual Culture (Brill Press), 5 (2011): 110–117.

 

Refereed Book Chapters

2017: “‘A Love that Does Not Corrupt’: Art in the Sphere of Traditional and Religious Judaism in Israel,” (Hebrew), pp. 639–679, in The Paths of Daniel: Studies in Judaism and Jewish Culture Presented to Rabbi Professor Daniel Sperber, edited by Adam Ferziger and David Sperber, Ramat Gan: Bar Ilan University Press.

2012: “The Abject: Menstruation, Impurity and Purification in Jewish Feminist Art,” (Hebrew), pp. 192–225, in Protocolaz, edited by Dror Pimentel, Jerusalem: The Department of History and Theory, Bezalel Academy of Arts and Design.

 

Unrefereed Book Chapters

2017: “Institutional Critique in Contemporary Jewish Feminist Art,” (Hebrew & English), pp. 115–119. in Mamzerim: The Misbegotten, edited by Nurit Jacobs-Yinon and Emily D. Bilski (Academic Editor: Ruth Halperin-Kaddari), Jerusalem: The Ruth and Emanuel Rackman Center for the Advancement of Women's Status, the Faculty of Law, Bar-Ilan University.

2017: “Bibliography: Complete List of Rabbi Professor Daniel Sperber’s Writings,” (Hebrew), pp. 681–706, in The Paths of Daniel: Studies in Judaism and Jewish Culture Presented to Rabbi Professor Daniel Sperber, edited by Adam Ferziger and David Sperber, Ramat Gan: Bar Ilan University Press.

2007: “A Tent of Her Own: Jewish Feminist Art in Israel,” (Hebrew), pp. 383–395, in Being a Jewish Woman: Proceedings of the Fourth International Conference “Woman and Her Judaism,” edited by Tova Cohen, Jerusalem: Kolekh: Religious Women’s Forum.

2003: “Dancing before the Bride,” (Hebrew) in Daniel Sperber, Minhagei yisrael, vol. 7, Jerusalem: Mossad Harav Kook, chap. 20, pp. 343–360.

2003: “But the Weeping of the Mother will be for Evermore”: The Appearance of Sarah in the Akedah Narrative in Israeli Art,” (Hebrew), pp. 241–253, in Akedat Yitzhak Lezar‘o: An Israeli Perspective, edited by Binyamin Tzvi (Benny) Lau and Israel Rosenson, Jerusalem: Yisrael Hirscherg Memorial Foundation.

2001: “Women Pray on Their Own: The Women’s Gallery in Ashkenaz as Reflected in Jewish Art,” (Hebrew), pp. 361–378, in Being a Jewish Woman, Proceedings of the Second International Conference “Woman and Her Judaism,” edited by Margalit Shilo, Jerusalem: Kolekh: Religious Women’s Forum. Also expanded in 2003 and 2007, “Women’s Prayer,” (Hebrew) in Daniel Sperber, Minhagei Yisrael, vol. 7, Jerusalem: Mossad Harav Kook Press, 2003, chap. 5, pp. 68–81; “Women’s Prayer,” (Hebrew) in Daniel Sperber, The Path of Halacha: Women reading the Torah – A Case of Pesika Policy (Darkah Shel Halacha Keriat Nahsim Batorah Perakim Bamediniut Pesika), Jerusalem: Reuven Mass Press, 2007, pp. 193–209.

1995: “The Huppa (Marriage Canopy) in the Halakhic Sources and in Art,” (Hebrew) in Daniel Sperber, Minhagei Yisrael, vol. 4, Jerusalem, Mossad Harav Kook Press, 1995, chap. 16, pp. 78–136.

1993: “Future Sacrifices in the Teachings of Harav Kook,” (Hebrew), pp. 97–112, in Re’ayot hare’iya: Chapters in the Teachings of Harav Kook, edited by Daniel Sperber and David Sperber, Jerusalem, Beit Harav Kook (and references to chap. 1).

 

Unrefereed Professional Articles and Publications

2017: “Notes on an Exhibition: ‘New York/New Work: Contemporary Jewish Art from NYC’ at the Jerusalem Biennale for Contemporary Jewish Art, 2015, Curators: Dvora Liss and David Sperber,” Images: A Journal of Jewish Art & Visual Culture (Brill Press),10 .1 (2017), 106–108.

2012: “Women’s Art in the Religious Sphere in Israel,” (Hebrew), Amudim: Newspaper of the Religious Kibbutz, 753 (Tevet-Shvat 2012): 48–49.

2010: “No Entry for ‘Others’: On Centers of Power and Exclusion in the Field of Art,” (Hebrew) Eretz Aheret, 57 (June–July 2010): 20–26.

2010: “The Turning Point of Judaica,” (Hebrew) Panim Rabot: Diaspora Museum Journal for Culture, 1 (2010): 32–34.

2008: “Traces of Holiness,” (Hebrew) Terminal, Journal for 21^st Century Art, 39 (2009): 26–28.

2008: “‘Guards of the City Walls’ – Art, Rabbis, and Trends in Religious Education,” (Hebrew), Tav+ 11 (Summer, 2008): 81–88.

2008: “A Soccer Ball Made of Kipot: Eran Shakine’s exhibition ‘Mishak Ha-Shabbat’ (The Saturday Game; Galleria 39 for Contemporary Art, Tel Aviv),” (Hebrew) Terminal, Journal for 21^st Century Art, 36 (2008): 30–33.

2003: “And a Lemon Awaits Her in the Women’s Section,” Et-Mol, Bi-monthly Journal for the History of the Jewish People and the Land of Israel (The Yad Ben Zvi Institute, Jerusalem), 28 (1) (2002): 4–7.

 

Essays in Catalogues

2020: “Helène Aylon, ‘Self Portrait: The Unmentionable,’ 2005,” The female side of God: Visual Representations of a Suppressed Tradition (cat.), The Jewish Museum Frankfurt, pp. 60-65.

2020: “Reclaiming Feminine Spirituality and Ritual in the Art of  Mierle Laderman Ukeles,” The female side of God: Visual Representations of a Suppressed Tradition (cat.), The Jewish Museum Frankfurt, pp. 234-264.

2018: “Helène Aylon Afterword: For the Children,” (Hebrew & English), The Jerusalem Biennale for Contemporary Jewish Art (cat.), Jerusalem, pp. 304–306.

2017: “Judaism and the Art Discourse in Israel,” (Hebrew & English), Thou Shalt Not (cat.), Jerusalem: Museum on the Seam, pp. 13–23.

2017: “Our forefathers were searching for God, but they found only themselves,” Helène Aylon Afterword: For the Children (cat.), Waltham, MA: Kniznick Gallery, Brandeis University, pp. 10–12.

2017: “Body and Sexuality in Works by Women Artists, Members of Studio of Her Own,” (Hebrew & English), Tseno Ureno: Israeli Women Artists Reflect on Their Religious and Gender Identity (cat.), Be’er Sheva: Ben-Gurion University of the Negev, Department of the Arts, Senate Gallery, George Shrut Visitors’ Center, The Marcus Family Campus, Be’er Sheva and The Mishkan Le'Omanut, Museum of Art, Ein Harod, pp. 28–35.

2017: “New York/New Work: Contemporary Jewish Art from NYC,” (Hebrew & English), The Jerusalem Biennale for Contemporary Jewish Art, 2015 (cat.), Jerusalem: The Polonsky Academy, Jerusalem and The Mishkan Le'Omanut, Museum of Art, Ein Harod, pp. 25–40.

2015: Ed., Artists’ statements: New York/New Work: Contemporary Jewish Art from NYC, Jerusalem: The Jerusalem Biennale for Contemporary Jewish Art, 2015: The Polonsky Academy, Jerusalem and The Mishkan Le'Omanut, Museum of Art, Ein Harod.

2013: “A Journey, a Challenge and a Conflict: Religion, Army and the Existential Fear in the Work of Eric Eliahou Bokobza,” (Hebrew & English), Eliahou Eric Bokobza – TZEVAOT: THIS IS THE LAND (cat.), Tel Aviv: Joseph Zaritsky Artists House, Tel Aviv, pp. 52–64.

2012: “Feminist Art in the Sphere of Traditional and Religious Judaism,” (Hebrew & English), Matronita: Jewish Feminist Art (cat.), Tel Aviv: The Mishkan Le'Omanut, Museum of Art, Ein Harod, pp. 69–86.

2012: “‘The Abject’: Menstruation, Impurity and Purification in Jewish Feminist Art,” (Hebrew & English), Matronita: Jewish Feminist Art (cat.), Tel Aviv: The Mishkan Le'Omanut, Museum of Art, Ein Harod, pp. 87–110.

2011: “Day that is Neither Day nor Night,” (Hebrew), Bein Hazemanim (between time periods) Nechama Golan (cat.), Tel Aviv: Joseph Zaritsky Artists House, Tel Aviv, n.p.

2010: “Rift and Reconstitution: The Jewish Voice and the Israeli Artistic Discourse,” (Hebrew & English), Rupture and Repair in Jewish Though, Art and Society (cat.), Jerusalem: The Adi Foundation, Jerusalem and the Israel Museum, Jerusalem, pp. 90–95.

2010: “A Tear Unmended: Art and Religion,” (Hebrew &English), Tear/Repair: Andi Arnovitz (cat.), Jerusalem: Brandeis University and Yeshiva University Museum, pp. 9–13.

2010: ‘Mats and Veils’ – A Conscious of the Gazes in the works of Fatma Abu Rumi,” (Hebrew, English, and Arabic), Fatima Abu Rumi: Personal Story (cat.), Um El Fahem: The Um El Fahem Art Gallery, pp. 62–57.

2010: “Lipstick on Torah Scroll: Jewish Contemporary Art,” (Hebrew & English), Zimmun: Dov Abramson, Ken Goldman, Arik Weiss (cat.), Tel Aviv: The Mishkan Le'Omanut, Museum of Art, Ein Harod, pp. 11–16.

2009: “Jack Jano: Complex Hybridization between Religion and Secularity,” (Hebrew & English), Jack Jano: SoferStam (Exb. Text), Tel Aviv: Engel Gallery, Tel Aviv.

2009: “‘He Anoints in the Holy Spirit,” (Hebrew), Bread: Itzik Badash (Exb. text) Tel Aviv: Joseph Zaritsky Artists House, Tel Aviv.