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'The way other people march to Washington, or set themselves on fire, or write protest letters, or go to assassinate someone, well, I've had all the same feelings that these [...]

'The hand and the rose are human terrain for the meat of us and the soul of us.' Shirley Faktor Good art asks hard questions and sometimes gives difficult answers. [...]

Since I first saw Richard McBee's paintings in his Long Island City Studio, and then again in an exhibition, we have dialogued and corresponded about his creative process and about [...]

Traditionally the family has been a narrative institution: It was the past and it had a tale to tell of how things began, including the child himself; and it had [...]

'A Torah scroll, tefillin, or mezuzot that were written by a heretic, a traitor, an idol worshipper, a slave, a woman, a minor, or an apostate, are invalid ...' BT [...]

Almost from its inception, Nashim has developed a secondary mission. Under the guidance of co-author Judith Margolis, Nashim's art editor, we initiated a series of features on the work of [...]

The figures in Jo Milgrom's assemblage sculpture 'Cherubim' relate symbolically to the hybrid creatures of the ancient Near East whose mythic function was to guard access to the temple of [...]

I'm in words, made of words, others' words, what others, the place too, the air, the walls, the floor, the ceiling, all words, the whole world is here with me, [...]

A dateline designating the All Time Most Significant Defining Moments in my development as a Jewish woman feminist artist has to include me as a young girl, standing in the [...]

It isn't uncommon when looking at writing and art work by women who came of age and developed their art identities in the twentieth century to see what might be [...]

The following pages present artwork and excerpts from interviews with three women artists who live in Israel and have seen their children serve in the military, and whose work addresses [...]

Nashim Art Editor Judith Margolis writes : A survey of feminist activity in America for the last five decades will reveal that, while history was being made on our behalf, Joan Roth was often there with her camera, taking iconic photographs of women celebrating victories and mourning losses. At National Women's Conferences, reproductive rights rallies, women's marches, vigils and demonstrations, Roth framed for posterity the likes of Bella Abzug, Betty Friedan, Gloria Steinem, Shirley Chisolm, Alice Shalvi and Justice Ruth Bader Ginsburg. Meanwhile, another body of work was also coming into being. Fueled by a fierce desire to search out and learn about the lives of Jewish women living far from the familiar centers of North American modern life, Roth, armed only with her camera and her curiosity, traveled to Ethiopia, Yemen, Morocco, the former Soviet Union, eastern Europe, South America, Bukhara and India. With determination and grit, Roth found ways to go to places she had never been and to find and communicate with women with whom she often did not share a language. Sometimes travel arrangements were organized by Jewish communal organizations and institutions in the U.S. or the destination country. But mostly Roth arranged and paid for her trips on her own. With disarming modesty, she related to me, while we were preparing this article: Until I met Lenny [her second husband, now deceased], I was a divorced woman raising two daughters by myself. I traveled mostly on my own dime. It wasn't easy. I couldn't just jump on an airplane and go; there were difficult and tangled travel logistics, visas and all kinds of documents and permissions to get, arrangements to stay in places. I had never done this before. The men in these communities were flabbergasted at the idea of a woman photographer. I always won them over somehow, but nothing came easy.... I had to deal with security and all kinds of tough, scary stuff. I was not brave. Before this I had never gone anywhere in my life. I was scared to walk out the door. But I was possessed. And then there was developing the film—not like today when you just pop a chip into a computer. Getting prints made and having the money to do it all. It was hard! To understand the difficulty of having made these journeys is to recognize Roth's work as not merely a professional achievement, but a Calling. The images of the women she encountered in Jewish communities around the world emerge, manifesting narratives in one's consciousness in the way that photographs in developing fluid slowly bloom into clarity. The resulting works define a trajectory of exemplary artistic and documentary accomplishment. Life stories are revealed that might never have been told. But we also see a portrait of the photographer herself. Revealed as well is Roth's astuteness, her ability to invite, convince, seduce—allow—these women she had just met, in so many places she had never been, to stand unselfconsciously before the unflinching gaze of her camera and allow us to see them. We offer here a glimpse of the prodigious inventory of photographs that Joan Roth took wherever she went and the stories she brought home. [ABSTRACT FROM AUTHOR]

The article offers the insights of Anya Roz, a photographer, regarding her childhood in Russia, the paintings of artists such as Rembrandt van Rijn and El Greco, and the story about the origins of written Hebrew. Topics include the triptych of biblical beheadings such as David and Salomé, the biblical images of Judith, and Salomé's used of her body to ask for the head of Saint John the Baptist on a platter.

The article reviews the exhibition "The Invisible Part of the Children of Israel," that features the works of Jewish feminist artist Carol Hamoy, at the Museum of Art in Ein Harod, Israel in 2012.

An interview with Rita Mendes-Flohr, director of the Antea Gallery in Kol Ha-Isha, the Jerusalem Women's Center, in Israel. When asked how the gallery came to be, she responded that the women's center needed a multicultural feminist space to focus on issues important to women and to encourage discourse. She discusses the impact the gallery has on the community and reflects upon a possible show that could involve women from many backgrounds, including Palestinian women.