Into the Void: Digital Images, Paintings, Video
1984 - present
Exhibition by Cynthia Beth Rubin
Curated by Yona Verwer
Tuesday, February 12, 2013
6:00-7:30 PM - Reception
7:30-8:15 PM - Discussion -Imagery After Abstraction: Filling the Void
Columbia / Barnard Kraft Center for Jewish Student Life
606 West 115 Street, New York, NY 10025
#1 Train to 116 St, Buses M4, M5, M104 to 116 St.
RSVP at email@example.com
- Why were Jewish Artists and critics at the forefront of Abstraction, and how did that affect our formative years?
- What moved us from Abstraction to Imagery - and in particular, did the emergence of Digital Media influence this shift?
- Is there a spiritual/historical/ethnic/cultural reason why are using the imagery that we are using, and does this relate to Jewish core values?
The Feminist Press just published Aylon's memoir, "Whatever is Contained Must Be Released: My Jewish Orthodox Girlhood, My Life as a Feminist Artist." It traces how she began with abstraction and with each decade, filled the void with the 'rescue of The Body, The Earth, and G-d' from the misuses of the patriarchy.
In the 70s she emerged as an abstract painter, showing in the Lyrical Abstraction exhibit at the Whitney and process paintings that change in time at MIT and Betty Parsons gallery. However, in the 80s she drove an "Earth Ambulance" to military sites nationwide, and floated two sacs of seeds on the waters of Japan en route to Hiroshima and Nagasaki.
In the 90's, her installation "The Liberation of G-d" was shown in the NY and SF Jewish Museums and the LA Hammer Museum. Since the 00s, the work became more autobiographical; Her installation "My Marriage Bed and My Clean Days" was shown at the Ein Harod museum in Israel.