Abstract
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Highlights
Caricatures and archetypes of the Jewish subject solidified this mythology in the collective consciousness of European Christians, such that antisemitism became ubiquitous and banal while still retaining its sinister implications.[1]
Through her series of drawings, titled Exodus, which enlists the very images of antisemitism that she seeks to reject, Kurth-Sofer engages in the history of Western European antisemitism by questioning what it means to be a Jew today and contesting this persistent semiotic mythology
The trope of Jews as “Christ Killers” defined much of this antagonism, as early Christians saw Jews’ refusal to convert to Christianity as a perpetual act of deicide.[3]. It was around the year 1000 that new images and mythologies of Jews began to spread throughout Europe.[4]
Summary
The work of artist Rosabel Rosalind Kurth-Sofer is, in essence, both destructive and constructive. Caricatures and archetypes of the Jewish subject solidified this mythology in the collective consciousness of European Christians, such that antisemitism became ubiquitous and banal while still retaining its sinister implications.[1] Through her series of drawings, titled Exodus, which enlists the very images of antisemitism that she seeks to reject, Kurth-Sofer engages in the history of Western European antisemitism by questioning what it means to be a Jew today and contesting this persistent semiotic mythology.
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