February 2, 2010 § Leave a comment
excerpt from article in The Jewish Chronicle by Justin Jacobs
Walk into the Saint Vincent College art gallery in Latrobe and the first thing you’ll see is a wall covered in brightly colored women’s panties.
Not the most common item on display at this small, staunchly Catholic institution, but peek a little closer — each pair is adorned with Hebrew text: shomer negia (don’t touch). Or, as artist and designer Maya Escobar explained, many interpret her panties as, “If you’ve gotten this far, you’re too far.”
The underwear is part of Tzit Tzit: Fiber Art and Jewish Identity, Saint Vincent’s new exhibition as assembled by guest curator and associate art professor Ben Schachter. The pieces included interpret the exhibition’s title both literally and metaphorically — tzit tzit as art, certainly, but also as a symbol of how Jews are bound together by material through tradition and practice.
“I wanted to make something like a ‘What Would Jesus Do’ bracelet but for young, Jewish girls,” said Escobar of her popular creation (they sell online at her Web site). “But why do people automatically assume it has to be a sexual message for men? It should be a halachic thing for women. Ideally, these aid in being shomer negia because they’re a reminder. They’re about individual sexuality for women.”
“They’re provocative and also ‘keep your hands off’ at the moment of greatest vulnerability. It’s really post-modern and funny,” said Schachter. “I mean, it’s underwear.”
click here for full article
SHOMER NEGIAH PANTIES are avaliable on ShomerNegiahPanties.com
April 6, 2009 § 6 Comments
Frida Kahlo at the synagogue: Maya Escobar and the young Jewish-American Creation
by David Sperber in Ma’arav Israeli Arts and Culture Magazine.
translation by Shlomit Nehorai
Maya Escobar is no doubt one of the ‘hottest’ things developing in the Jewish-American art scene. Escobar defines herself “dyslexic internet artist”. And in order to view her work you need not wander far.
Her work is mostly created in familiar internet format, and is most often displayed on Youtube. Escobar, daughter to a Jewish mother and Guatemalan father, defines her art work as ongoing personal anthropological-sociological research into the narrative language that uses contemporary media.
The “Acciones Plasticas” work includes short films that present a series of convincing characters and monologues that deal with identity questions. In the first short film in the series she appears dressed up as the Mexican artist Frida Kahlo who became an icon within the feminist discourse. it is commonly argued that Kahlo had some Jewish roots. Escobar is dressed and made up as is famously attributed to Kahlo – the uni brow – while screaming “I am Frida Kahlo, you are Frida Kahlo, we are Frida Kahlo”. In agitation or in ecstasy she tears her custom, messes up her hair, wipes her make up off of her face and returns to being herself. In another short film in the series she carries on with a monologue of a jewish orthodox woman. The text here is so exact that for a minute the line between irony and slapstick to deep seriousness is blurred. In another short film the stereotypical Latin female as a sexual sensual object is presented, when here too the subject is moving between embracing the stereotypes and breaking them. Escobar is presenting different episodes that she had experienced herself and that deal with her hybrid identity as a woman, as a Jew and as a Latin American.
Another work of Escobar is “my shtreimel” – a video-blog that is also presented on Youtube.
In that piece appears a young man in his twentieths who sits in his room in front of a computer and talk about his Shabbat rituals. The monologue describes an amorphous jewish world in which jewishness lives and materializes without obligation to its institutions and mostly in personal frameworks. A central part in this world is self deprecation: The young man shows his beloved shtreimel and mentions that the shtreimel which looks like the traditional is actually a women’s hat purchased at a thrift store.
In the work “eruv” (intermingling) Escobar relates to the fact that in Berlin there is no eruv even though there exists a vibrant jewish community. In a series of photographed interviews with the city’s citizens she transforms the notion eruv – from a halachic-legal notion that creates a conversion of the public space into the private space, into a blending – the creation of a multiple of characters and worlds. The blending (eruv)transforms into a cultural concept that celebrates the different and the unique. The individuals create a splendid mosaic that assembles anew the “collective” as a social concept. The way Escobar deals with the subject is typical to the jewish-american art world that tends to transfer concepts from the practical halachic and transfer them to another world, and so they transform into a metaphor of the personal or social condition. The personal experience is significant to Escobar: ” Like other jewish rituals, the Shabbat encompasses practicalities that materialize private condition in a private space. Except that the understanding of the private space and the public space is fluid and changes at all times. I think that it is very important that people celebrate their Shabbat as a pleasant experience, defined and personal. The Shabbat rituals evolve all the time – not as an unbending obligation that is transferred from generation to generation, but as a result of a simple choice of the individual to create to him/herself nice and pleasant Shabbat customs. We all have these kind of customs.”
The intercontinental use of the Internet gave birth to a generation of individuals who create for creation’s sake, and the concept of art for art’s sake gets that way a new meaning. The Internet media connects individuals and contributes to mutual influences between people who work separately in far away places. The young work on the Internet challenges the old definitions in relation to what is considered art and what isn’t. Similarly, it adopts new presentation forms that are not the norm in the art world’s mainstream, and breathes new air into the art field.
The discussion into Escobar’s work leads into a wider discussion about the differences between the Jewish thinking in the Israeli discourse into the new understanding of the American world view. The Jewish-artistic engagement in the United States is influenced by the introduction of new-age ideas into the center of the conversation, and is integrating into the effort to create a connection between contemporary culture and the traditional Jewish identity. Within the American-Jewish community there are signs of a move from an organized institutional Jewish expression into a unique and personal expression of the very personal experience. These artists reorganizing the traditions on their own terms, and in this way contributing not insignificantly to the definition of Jewish-American Non-Orthodox Modern-orthodox anew. The link between Jewish culture and Jewish identity to art occupies a central role in this conversation.
The echoes of this tendency can be seen in Israel as well ( in the young Yiddish culture developing in Tel Aviv, for instance ), but generally there is still a deep disconnect between the dominant concepts in Israel and in the United States. In Israel it is common to connect between Judaism to an organized tradition and to a blood line that is based on a genetic continuity. On the other hand, many young Jewish-Americans marry outside their religion, but nevertheless see themselves as an integral part of the Jewish world and expect to not be expelled from it. As opposed to Israelis who experience their Jewishness in terms of disintegration that followed restoration, the Jewish-Americans create new branches where growth and rebirth metaphors fit them better.
The joining of contemporary culture and art to Jewish creativity expresses itself in fashionable characteristics like tattoos, hip-hop music, Internet art and the like, and is often understood as the disconnect with the accepted binary dichotomy between holly and the common. That is why conservative bodies see these art forms as a dangerous provocation. These new cultural concepts interconnect during confrontational discussions with the old cultural concepts. Philologically speaking it can be said that borrowing symbols from one discipline to another interferes with the semiotic systems. In the Kabalistic vernacular it is said that the energy that is released during the friction that is created by the disintegration of the usual vessels – creates “new light”.