T
his exhibition features the art of Judy Chicago, who
was born Judith Sylvia Cohen on July 20, 1939. She
was the first child of May Levinson and Arthur M. Cohen,
a couple that typified the secular idealism of a generation
that struggled to forge a new brand of Jewish identity, mili-
tant not only against injustice in American society, but often
against the religious strictures of immigrant parents who
themselves had fled Czarist anti-Semitism. Judy’s mother was
an eldest daughter who sacrificed her own artistic develop-
ment to help support younger siblings and her father was a
rabbi’s independent-minded youngest son pampered by older
sisters – both reared by energetic mothers who sustained
households when husbands proved less able to cope with the
new world. Both of her parents grew up in households in-
fused by Yiddish, which her paternal grandmother continued
to speak, calling her by her Yiddish name, Yudit Sipke. As a
result, Yiddish idiomatic expressions and phrases enlivened
Judy’s and rest of the family’s English-language speech.
Arthur Cohen’s pride in descent from the “blue blood” of
the Vilna Gaon strongly impressed his daughter: “Totally
devoted to my father, I believed him and was mortified when
I bled common red when I first cut myself.” Known as the
Gaon or “Eminence” of Vilna, Rabbi Elijah ben Solomon
Zalman (1720-1797) helped shape modern Jewish history.
Learned in the the
Torah
and
Talmud
,
the Gaon gained
renown both for emending the ancient texts – correcting
scribal errors – and for vigorous teaching that dealt also with
grammar and such secular subjects as science and mathemat-
ics, although virtually no secularizing influence had yet
touched Eastern European Jewry. At a time when many
women received no formal education, the Gaon, five of
whose eight children were daughters, urged that fathers
train” their daughters, who should read “moral books,”
especially on the Sabbath.
Although Chicago’s home did not practice Jewish ritual, “it
becomes obvious that I was raised in a household shaped by
what might be called Jewish ethical values,” she writes, “par-
ticularly the concept of
tikkun
,
the healing or repairing of the
world.” Her paternal grandfather, Benjamin Cohen, from
Slobodka, a shtetl near Kovna, Lithuania, attended the small
town’s
yeshiva
(
institution for higher learning in Judaism),
which came under the influence of religious reform known as
the
Musar
(
ethics) movement, motivated in part by the secu-
lar humanistic challenge of the
Haskalah
or Enlightenment
that came to Eastern Europe from Germany in the nineteenth
century. Musar reformists urged moral and ethical rejuvenation
and emphasized the ethical and homiletic strain of teaching
and preaching in Jewish tradition. The
Musar
s founder, Israel
Lipkin Salanter (1810-1883), stressed humility and taught
the precepts of leading a “perfect ethical life, exemplified by
compassion for the poor.” Benjamin’s exposure to such altru-
istic Judaic humanism, which is acknowledged to contain
potentially radical values,” eventually enabled him to pass
them on to his children, especially his youngest son Arthur.
When Arthur finished high school at the age of sixteen, he
had to go to work to support himself. He managed to get
hired as a substitute postal clerk, working nights at the
Chicago Post Office. At the time of the stock market crash in
Judy Chicago: Jewish Identity
Rainbow Shabbat,
Holocaust Project
© Judy Chicago, 1992. Stained glass, 4’6” x 16’. Fabricated by Bob Gomez, Hand Painted by
Dorothy Maddy. Photo © Donald Woodman. Courtesy: LewAllen Contemporary, Santa Fe, NM
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