This residency provides artists the opportunity to be in residence at Brandeis University while working on a significant artistic project in the field of Jewish gender studies, and to produce an exhibit for the Kniznick Gallery at the Women’s Studies Research Center (WSRC) at Brandeis University. The call for proposals is postponed until 2017.
The artist in residence will receive a stipend up to $3,000 ($750 weekly), to support her/his/their work. In addition, the artist will have her/his/their own studio space at the Women’s Studies Research Center at Brandeis University and access to available Brandeis University resources. The artist is responsible for travel, housing, food and materials. A materials subsidy of $250 will be provided. The artist is required to be available to discus the artwork in progress with resident scholars and staff of the HBI, as well as the public. The artist will also assist in the development of any accompanying materials, and lead a public lecture/ gallery talk and a hands-on, interactive workshop.
We look for exhibitions that:
• Are visually and artistically impressive and original
• Are related to fresh ways of thinking about Jews and gender
• Are international in nature
• Ask important questions and provoke dialogue
• Are related to research being produced and promoted by the HBI
• Provide a context for education
• Are appropriate in scale for the Kniznick Gallery space
• Include new work produced during the residency, or prior work presented in a fresh way, informed by the residency
There are no eligibility requirements. Applications (in English) from outside the United States are welcome.
Upcoming Artist: Helène Aylon
Afterword: For the Children
Monday, March 20, 2017 - Friday, June 16, 2017
Internationally-acclaimed Jewish feminist artist Helène Aylon presents her conclusion to The G-d Project: Nine Houses Without Women, her 20-year series highlighting the dismissal of women in Jewish traditions and text. In Afterword: For the Children, Aylon dedicates her finale in the series to the future generations, challenging all who regard The Ten Commandments not to shrug off a dark foreboding which emanates in her view, from the patriarchy - not from God.
The text of the Second Commandment holds future generations responsible for the sins of their fathers. The artist’s examination of this text reveals a universal dilemma through its connection to contemporary policies and practices that shape the world our children will inherit. The concept of “Tikkun Olam” (correction of the world) holds significance in Aylon’s immersive digital installation, as her continuous attempt at “repairing” the revered text becomes a quiet yet assertive protest.
Aylon's exhibition "Afterword: For the Children" will travel to the Jerusalem Biennale 2017 opening on October 1st, 2017.
Spring 2016: Wendy Wolfe Fine
The 2016 Artist-in-Residence at the Hadassah-Brandeis Institute was Wendy Wolfe Fine. Fine's The Pearl that Slipped Its Shell relayed the experiences of Jewish women in Iran as a result of the Islamic Revolution of 1979, specifically those of the Mizrahi family, who immigrated to the United States and carry on Iranian Jewish traditions. Fine’s immersive installation incorporated video, photography and cultural objects to re-envision transformation and loss in the personal freedoms and cultural lives of Iranian Jewish women after the Revolution, when their country shifted from a secular state to a theocracy of Islamic fundamentalism.
Spring 2015: Milcah Bassel
The 2015 Artist-in-Residence at the Hadassah-Brandeis Institute was Milcah Bassel. Working onsite at the Kniznick Gallery, Bassel focused on large-scale drawings based on 5 letters of the Hebrew alphabet. Multiplying and playing with the space between these letters provided the basis for a multidisciplinary installation that explored space both as movement and time through an altered language.
Spring 2014: Jeanne Williamson
The 2014 Artist-in-Residence at the Hadassah-Brandeis Institute was Jeanne Williamson. Working onsite at the Kniznick Gallery, Williamson created a series of Jewish wedding canopies, or chuppot that were displayed on campus and in the gallery during the exhibition. Using simple printmaking techniques, Williamson brbrought pattern and color to the traditional chuppah.
Spring 2013: Yishay Garbasz
The HBI was thrilled to announce the selection of Berlin-based Israeli artist Yishay Garbasz as the fifth annual Hadassah-Brandeis Institute Artist-in-Residence. Her month-long residency at the Women's Studies Research Center culminated in a multimedia exhibition of photographs, video and text celebrating Jewish women who identify as transgender. Through interviews and portraits, Garbasz gave voice to a segment of the Jewish population that has been little discussed until recently, showing her subjects with their loved ones and families, at their jobs, or in their homes. The artist said, "By showing that these individuals are part of relationships that are familiar to us, it is the first step toward [creating] a larger, more diverse Jewish community."
2012: Sarah Zell Young
Sarah Zell Young's exhibition for the WSRC/HBI, Occupy Sanhedrin, examined roles — both religious and secular — for Jewish women from the Second Temple to the present and explored how bodies can become hazarded in the pursuit of justice. In addition to photographs, the exhibition featured a large, site-specific installation—an interactive and participatory rendition of a Sanhedrin (rabbinic supreme court). By granting access to an historical space of justice — making it physical — Young invited viewers to engage with traditional ideas and received wisdom of judicatory in a new way and to achieve personal agency over their own relationship to history. Sarah Young received her BFA in Sculpture from the Rhode Island School of Design and is studying toward her MFA in combined media from Hunter College, N.Y.
2011: Jess Riva Cooper
Golum and Dybbuk
Jessica Riva Cooper’s original, site-specific drawing and ceramics installation reinterpreted the folkloric stories of the Golem, a creature created to do a person’s bidding without question, and the Dybbuk, a mischievous spirit, through a feminist lens.
2010: Andi Arnovitz
Acclaimed Israeli artist Andi Arnovitz created an exhibition of her recent work titled “Tear/Repair (kriah/ichooi).” As the second annual Hadassah-Brandeis Institute artist-in-residence, Arnovitz created sketches for a new body of work – a series of paper coats for Jewish women who have impacted history and changed the world. These coats are an extension of Arnovitz's "Garments of Faith" series, which were also on view. Each of these garments, fabricated from torn or intact papers, scrolls and book pages, represented injustices for Jewish women. The works addressed challenges throughout history – from halachic and spiritual issues, to those of co-existence and, above all, issues related to gender.
2008: Lynne Avadenka
A Thousand and One Inventions
Words and images meld, the conceptual becomes tangible, and history met modernity in Lynne Avadenka’s site-specific installation. In spring 2008 at the Kniznick Gallery, the Hadassah-Brandeis Institute hosted its first artist-in-residence in an exhibition celebrating eloquence, bravery and wit. Avadenka’s "A Thousand and One Inventions" boldly transformed the gallery’s unique architecture into a work of art. Painting, drawing and assemblage created an environment that opens up and reveals layers visually, as a book does conceptually. Unprecedented in the artist’s oeuvre in scope and scale, "A Thousand and One Inventions" expanded on the themes in Avadenka’s limited edition artist’s book, "By A Thread." Created in 2004 with a grant from the HBI, the book imagines a conversation between Queen Esther, the heroine of Purim, and Scheherazade, the teller of a thousand and one tales. Both women spoke up when they could have remained silent and saved many lives through their fortitude.