An Internal-External Journey presents an interdisciplinary educational approach, a toolbox and lesson plans developed by the author on the topic of creative education: integrating the arts in teaching and education. The approach was developed following many years of experience in the field of education, and the lesson plans were passed on to teaching students at Kibbutzim College. The book is intended for educators engaged in guidance, teaching and training of teachers. Creative education and the integration of arts in teaching allow students to embark on a two-way journey: inward to themselves, and outward to the cultural and academic texts. The book describes an initiation process using paint, newspaper clippings, glue and plasticine, and a combination of meditation, writing, reading and the play, knowing that it is important for future teachers to experience the springs of creativity up close. "This is an educational gem. It is a very unusual book with a lot of pedagogical understanding, a very interesting work, based on the wisdom of the field and a lot of experience." - Prof. Anat Zohar, School of Education, The Hebrew University of Jerusalem.

Jacques Lacan’s teaching lasted about three decades. Like Freud before him, Lacan was profoundly interested in the arts, particularly in painting. Lacan not only turned to specific artworks to clarify psychoanalytic concepts but also addressed theoretical aspects of painting. Like scholars from other fields, such as philosophy or cultural studies, who have turned to Lacan’s thinking throughout his career, art scholars often make use of Lacan’s teaching while analyzing various notions in art. These arguments deal mostly with Lacan’s early teaching or his seminars from the sixties. Yet, his late teaching and its relation to the visual arts remains relatively unknown, even though Lacan’s most radical views are presented for the first time during his late teaching of the seventies, and these conceptualizations carry immense value for theoretical discourse on contemporary art. Lacan’s late teaching and its relation to art fashions the cornerstone of this book, it is the wrap thread that runs through it. The other thread, the woof, which this book weaves into the psychoanalytic discourse, is of a different kind and nature: the discourse of art which analyzes specific instances of the works of art of contemporary Israeli artists: Michal Na’aman, David Ginton, Joshua Borkovsky and Shahar Yahalom.

This book examines the nature, methods, and contribution of Jewish feminist art to the various spheres of art, society, and religion and proposes a theoretical framework for its understanding. The Jewish religious feminist art movement has developed since the late 1990s in the two major Jewish centers—the United States and Israel. This is the first book to treat this phenomenon in a broad and systematic manner and discuss its critique of Jewish tradition, Halakha (religious law), and Jewish religious institutions. The works are analyzed in light of Jewish feminist thought and in comparison with religious Jewish feminist activist practices. The main tool for examining the social effect of the art works is analysis of their reception and of the public discussion that followed. Devoted Resistance focuses on the works of a number of prominent women artists who critique the Jewish religious text, establishment, and rituals. The religious text is the subject of the work of Helène Aylon (US, b. 1931), who marked problematic biblical passages with a pink highlighter, and Nechama Golan (Israel, b. 1947), whose work is critical of the Talmudic debate over women as property in the contraction of marriage (kiddushin). Nurit Jacobs Yinon (Israel, b. 1972) and Hila Karabelnikov Paz (Israel, b. 1984) confront the religious establishment and in particular the exclusion of women from the religious court that oversees the ritual immersion of women converts. The work of Andi Arnovitz (born in the US, 1959, immigrated to Israel, 1999) points up the pornographic dimensions of the extreme modesty laws as interpreted by contemporary halakhic decisors. Hagit Molgan (Israel, b. 1972) demonstrates the male structuring of religious laws regarding menstruation, and Mierle Laderman Ukeles (US, b. 1939) breaches the religious taboo by presenting ritual immersion following menstruation as a dignified ritual to be embraced. The combined study of Jewish feminist art created in the United States and in Israel and the comparison of these artists with other feminist artists, both Jewish and non-Jewish, illuminates local contexts, similarities and differences in the development of Jewish feminist art in Israel and in the US, and the influences of globalization, diasporism, and immigration on the art.

The book includes articles, documentation and a catalog of the Ethnographic Department of the Museum of the Contemporary. It is the fruit of a long-term project carried out at the Mamuta Art and Research Center and curated by the Sala-Manca Group. It contains articles by Yoram Bilu, Rachel Elior, Freddie Rokem and Diego Rotman on the Dybbuk; by Galit Hasan-Rokem and Daphna Ben-Shaul on Sukkot, and on the Eternal Sukkah project; by Shalom Sabar on electric Shabbat candles, and by Lea Mauas and Diego Rotman on different art projects. The book also includes documentation of artworks and a project by Itamar Mendes-Flohr, Yeshaiahu Rabinowtz, Ktura Manor, Hannan Abu Huseein, Reuven Zehavi, Sala-Manca, Samuel Rotman, Shira Borer, Nir Yahalom, Chen Cohen, Pessi Komar, Adi Kaplan, and Shahar Carmel, among others.

The present study begins as an attempt to analyze an apparently paradoxical situation created by two events, which occurred simultaneously in 1948: the establishment of Israel as an independent state and the emergence of the ‘Ofakim Hadashim’ (New Horizons) group of artists, acknowledged as the most renowned local artists at the time. The creation of the State of Israel may be considered the high point of Jewish nationalism, when the nation celebrated its distinctiveness. On the other hand, Ofakim Hadashim was a group of intellectuals who aspired to disengage their artistic work from the dominant political processes of the time. The basic claim of its members was l’art pour l’art, which ostensibly contradicted the significance of the general political process. This situation is highly interesting since it challenges the general sociological assumptions about the role of intellectuals in nation-building processes, and also contradicts the usual explanation regarding the Israeli state-building process. It concludes that an explanation of the social complexity existing in 1948 can be found in an understanding of modernity as a multifaceted phenomenon embracing a diversity of inherently contradictory practices.