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Whatever Is Contained Must Be Released: My Jewish Orthodox Girlhood, My Life as a Feminist Artist (Jewish Women Writers)
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Review
"Never afraid to question sacred texts, ancient rituals, and religious bias—Aylon is a role model for all artists. Whatever is Contained is an arresting tale of uncommon courage, intelligence, and wit."—Gail Levin, author of Lee Krasner: A Biography and Becoming Judy Chicago"Never afraid to question sacred texts, ancient rituals, and religious bias―Aylon is a role model for all artists. Whatever is Contained is an arresting tale of uncommon courage, intelligence, and wit."―Gail Levin, author of Lee Krasner: A Biography and Becoming Judy Chicago
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About the Author
Helène Aylon is a visual, conceptual, installation performance artist and eco-feminist whose art has been exhibited at the Whitney Museum in New York; the Jewish Museum in New York; The Aldrich Museum in Connecticut; the Hammer Museum in Los Angeles, among many others. She has upcoming exhibitions at the Andy Warhol Museum in Pittsburgh and the National Museum of American Jewish History in Philadelphia. She has known and worked with many major artists and writers of the past forty years, including Ana Mendieta, Grace Paley, Ad Reinhard, and Mark Rothko. She continues to create new art and exhibit throughout the US.
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Product details
Series: Jewish Women Writers
Paperback: 350 pages
Publisher: The Feminist Press at CUNY (May 15, 2012)
Language: English
ISBN-10: 155861768X
ISBN-13: 978-1558617681
Product Dimensions:
7.2 x 0.8 x 8.8 inches
Shipping Weight: 1.4 pounds (View shipping rates and policies)
Average Customer Review:
4.3 out of 5 stars
4 customer reviews
Amazon Best Sellers Rank:
#538,888 in Books (See Top 100 in Books)
Helene Aylon's art is never easy. She makes you look at the world, rethink your perceptions and values and challenges you to change. So it is exciting to be invited into her life through this autobiography, to understand the genesis of her work and its development.She grew up in a Modern Orthodox home in Borough Park, NY where she attended the Shulamith School for Girls, shared her bedroom with her Yiddish speaking grandmother, and was very close to her mother. She was possessed of a bright and courageous mind that questioned everything around her, but her life was limited by her environment. She had a growing awareness of the absence of women in Jewish texts and worship and bristled at the void. She struggled with the limitations of women's lives, hopes and expectations. At 18 she married a rabbi, and at 30 she was a widow.Her second life began with her enrollment at Brooklyn College to study art, where she was mentored by the Abstract Expressionist, Ad Reinhardt. As a symbol of her new life she changed her name from Greenfield to Aylon, the Hebrew equivalent of Helene. She became Helene Helene, creator of herself. Her art became an exploration of the voids that she was always trying to understand and reshape. In the 1970s it was the body; in the 80s it was the earth and the environment; in the 90s it was God. A major part of that work is The Liberation of God. Installations of her art have been shown in major museums across America. Each one makes the viewer stop and ask the same questions that she asked as she grew up. Each one forces you to find your own understanding and response. The book deepens your experience of her art, how it was conceived and evolved, and how the artist herself understands it.It is encouraging to all women who are labeled "elderly" by the press and government to know that a woman in her 80s is still creating new works of art; still struggling with questions that she first confronted as a child; still seeking answers to share with her audience; still asking us to participate in change.
Helène Aylon's autobiography records the fascinating story of her personal and professional transformation from the daughter of Orthodox Jewish parents to an independent and formidable feminist artist. Her account begins with her upbringing, which was entrenched in Jewish tradition. For the uninitiated, Aylon parenthetically translates Yiddish and Hebrew expressions used in her household and explains the cultural significance of holy days and rituals observed by her family. While the overarching structure is chronological, Aylon easily and compellingly interjects related experiences that, in some instances, occurred at different times in her life. In this respect, her book has an organic conversational quality that further enhances her engrossing story.While the book recounts Aylon's gradual emancipation from the strictures of her Orthodox background, her personal journey did not lead to the outright rejection of her Jewish heritage. Instead, her cultural experiences informed her art in varied, nuanced, and sometimes unexpected ways. The book is punctuated by photographs of Aylon's work in double-page spreads. Instead of interrupting the text, they revisit and expand many of the themes that run through the surrounding narrative.In this remarkable autobiography, the author's mother is a persistently important presence, even when Aylon's art challenged established notions about women, the environment, and the Torah. Although tensions sometimes arose as Aylon's progressive mindset contravened her mother's traditional worldview, the two remained close. In fact, the book begins and ends with Aylon's mother. Ultimately, this is more than an autobiography. It is a testament to the author's mother and, more broadly, to her foremothers, without whom she could not have arrived in this time and place. In her pioneering feminism, bold challenges to tradition, and inspired memoir, Helène Aylon has honored those foremothers. She has also given us something extraordinary.
This is a great book for any woman who has struggled with the ancient laws of orthodox Judaism. It the autobiography of one woman who stayed true to her beliefs and rose above the savage treatment of women.
I know Ms. Aylon personally and was not surprised by her antipathy towards the circumstances in which she was raised.I disagree with many of her conclusions though I understand the issues which drove her away from the religious family in which she grew up. Some of her "facts" are factually incorrect as I know the area where she grew up. She has jumbled some of the names and places of her youth.The writing is clever, witty and, at times, tragic. I can understand if some family members were hurt by her writing.Something to read if there's nothing good on TV.
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