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Can an Israeli and a Palestinian restaurant coexist peacefully in the shadow of Columbia University?

In the fall of 2023, in response to protests following Hamas’ Oct. 7 attack and Israel’s invasion of Gaza, Columbia University closed its wrought-iron gates. Since then, the Ivy League school in Manhattan’s Morningside Heights neighborhood has rarely left the news cycle. With the encampments, student occupation of Hamilton Hall, police in riot gear, congressional hearings on campus antisemitism, and ICE arrests of student activists, Columbia has become a flashpoint in debates about free speech, antisemitism and the limits of dissent.

The encampments are gone, as are the hostage posters. There are no more protests and counter-protests outside the campus gates, but soon the remnants of that political fight may play out in the opening of two restaurants, one Palestinian, one Israeli.

Ayat, the fast-growing Palestinian chain owned by Brooklyn-born couple Abdul Elenani and his wife Ayat Masoud — the restaurant’s namesake — is opening on 106th and Amsterdam Avenue. They’ve named it Hinds Hall Ayat, which was what student activists called the occupied Hamilton Hall in 2024. Hind was a five-year-old girl killed during Israel’s assault on Gaza that year.

Seven blocks north, Miznon, the international Israeli pita chain owned by Eyal Shani, the 67-year-old Tel Aviv celebrity chef known as the godfather of Israeli cuisine, is expected to open on 113th and Broadway, though no date has been set.

Miznon pitches itself as a destination for elevated Israeli street food, while Ayat specializes in Palestinian soul food, meaning larger homestyle platters. The concepts might be different as well as the vibe, but both offer superb, freshly baked, pillowy pita stuffed with spiced meats and topped with brightly flavored pickles and tahini.

Hinds Hall Ayat (left) specializes in Palestinian soul food while Miznon pitches itself as a destination for elevated Israeli street food. Photo by Andrew Silverstein/Forward Files

The two restaurants arrive at different moments in their trajectories. Shani has been an internationally recognized chef for decades, with 60 restaurants from Singapore to Los Angeles and a Michelin star in Manhattan. Ayat opened its first location in a former Bay Ridge tanning salon five years ago. It now has 10 outposts, and Al Badawi, another Palestinian restaurant owned by Elenani and Masoud with two locations, was named one of the city’s 43 best restaurants in 2025 by New York magazine.

Owners of both restaurants say their decisions to open in the neighborhood are coincidental, and motivated by business, not politics. But in a conflict with competing national identities and claims to the land at its core, food has become a powerful proxy. To eat a babka from an Israeli bakery, or kunafa from a Palestinian, has become political. At the same time, restaurants have become targets of activists. Israeli chefs are accused of appropriating traditional Arab foods and bearing responsibility for Israel’s policies, while restaurants with displays of Palestinian nationalism are accused of promoting violence.

A mile north of Columbia, Tsion, an Ethiopian Jewish restaurant in Harlem, closed earlier this year after repeated harassment over its owner’s pro-Israel stance. Both Miznon and Ayat have had locations vandalized and staff threatened simply because they are Jewish and Israeli or Muslim and Palestinian.

All of this is avoidable. Just a couple blocks away from Ayat’s new location, Claire’s Kitchen Cafe on Manhattan Avenue is owned by Israelis and offers an “Israeli Bowl” of marinated chicken on its menu, alongside Greek and Mexican options. Claire’s, like nearby Halal shawarma spots Zaad and Zurna, pitches itself as Mediterranean, a commonly used catchall label that avoids controversy, but renders the experience generic: hummus scooped into a bowl stripped of the culture that produced it. Ayat and Miznon offer something different — the experience of a Palestinian family meal in East Jerusalem or a taste of a hip Tel Aviv food stall — powerful statements in themselves, with meanings shifting over time.

The Ayat story

In 2014, Elenani, then a student at City College, opened a food stall at Gansevoort Market in Manhattan’s Meatpacking District. The food was “Palestinian orientated,” but he says he didn’t have “the balls” to say so. Instead, he gave it the more generic name, MTerranean. When the market closed in 2016, so did the restaurant,

Elenani, now 33, grew up in Bensonhurst, Brooklyn, the son of Egyptian immigrants during a time of increased Islamophobia after 9/11. In a January interview with the British-based online publication Middle East Eye, he recounted how at the age of five, he witnessed his mother, who wore a hijab, called a terrorist.

An Ayat takeout bag declares ‘Down with the Occupation.’ Photo by Andrew Silverstein

His parents modeled how to navigate a diverse city, even one that was at times hostile to Muslims. His father owned Chock Full O’ Nuts coffee shops and several Dunkin Donuts, including one with a Kosher certification in Brooklyn. “In the first grade,” he told me in a phone conversation, “my mom used to give me certain Christian gifts or certain Jewish gifts to give to my teachers when it was their holiday.”

After MTerranean closed, he turned his focus to growing his chainlet of Cocoa Grinder cafes and a Bay Ridge bagel shop. When the pandemic wiped them out, he faced a choice about what to do next. “Going through COVID and seeing how fast things can change, and losing everything overnight, it built a thick skin,” he told Middle East Eye.

He rented out a former Bay Ridge tanning salon with his wife, Palestinian-American Ayat Masoud, 31, whose family owns the Halal market Balady nearby. “I remember thinking I’ll just be very bold about Palestine and not care about what will happen after,” he said.

Masoud, a former prosecutor in the Brooklyn DA’s office who has a private practice, developed the menu with her East Jerusalem-born mother. They included not just the mainstream Levantine staples of hummus and shawarma, but harder to find traditional dishes like Mansaf, heaps of lamb cooked in a thick yogurt sauce served with rice, and Palestine’s national dish, Musakhan, a half chicken roasted with sumac and caramelized onions served over freshly fired taboon bread.

Their goal was to transport customers to Palestine. “If I can eat mansaf over here in New York and think, ‘wow, this tastes just like when I was in Jerusalem,’ that connects those two dots,” Elenani told me. This time, Elenani chose the less generic name, Ayat.

At first, he recalled, many customers called it “Pakistinian cuisine,” confusing Palestine with Pakistan. “I think that was the first moment where I thought I’m going to drive myself to the max to make sure I open up as many locations as possible to communicate that culture and tradition,” he told Middle East Eye.

While MTerannean came and went with little notice, Ayat is leaving its mark. There are now seven Ayats in New York City, one in Texas, one in Princeton and locations set to open in DC and Philadelphia. Elenani plans to franchise and expand to 20 locations nationwide within the next year.

Ayat’s biggest growth has been in the two-and-a-half years since the Oct. 7 attack and Israel’s invasion of Gaza. Palestinian-American families gather over heaps of rice and meat, keffiyeh-wearing activists show solidarity over mint tea, and then there are many just curious about the cuisine and culture of a people who are almost solely portrayed in the American media in terms of violence, either as victims or perpetrators.

A shipment to Ayat includes watermelon, which has symbolic significance for the restaurant. Photo by Forward Association

But the representation of Palestine comes with a price. Ayat was bombarded with thousands of fake one-star reviews after Pete Wells gave it a rave write-up in The New York Times in 2020. Since Oct. 7, according to  Elenani, locations have been vandalized, and staff members have been called terrorists and threatened.

In the face of hostility, Elenani says, he always responds with kindness in accordance with his faith. In 2016, when a Cocoa Grinder cafe was robbed of thousands, he didn’t call the police. Instead, he posted a letter of forgiveness outside the store. “If the money you stole was to better you and your family’s living, then I forgive you,” it read. And this past Thanksgiving, when an Islamophobic caller threatened him and his staff, he invited him to the restaurant.

“I didn’t respond with hate,” he told me, “He ended up coming in and he apologized. He gave me a hug. I feel like people just need to hear a little bit from other backgrounds, just to understand each other.”

Still, Elenani and Masoud have not softened their political stance. Diners at Ayat’s other locations are greeted by murals of the Al-Aqsa Mosque looming over Palestinian children held at gunpoint by IDF soldiers. The menu calls to “End the Occupation” in Arabic, English and Hebrew.  In 2024, the restaurant caused controversy with its seafood section title “From the River to the Sea,” a slogan, Elenani claims, is a call for equality, but which the Anti-Defamation League says is an incitement to genocide. The phrase remains on the menu in the original Brooklyn location, but at other locations, the menu reads “From the Rind to the Seed,” a tongue-in-cheek play on the watermelon as a pro-Palestinian symbol

When I asked Elenani how he weighs the risk of alienating customers against the mission of representing Palestinian culture, he pushed back on the premise. “One thing about Palestinian cuisine — you cannot keep politics out of it,” he said. “But I don’t even call it politics. I call it oppression. I call it genocide. Politics is Democrats and Republicans. We’re talking about who’s living and who’s dying.”

The Miznon story

If Ayat with its jugs of oil as decoration, faux olive trees and large platters made to share family-style represents deep rooted tradition, Miznon is the opposite. At each location, the menus along with wall art of pita sandwiches and poetic quotes about the food in Hebrew and English are drawn in chalk. Miznon means canteen, so there are few seats, and the food is offered in individual-sized portions and designed to be eaten quickly or taken to-go.

“The Israeli lifestyle is to live in the now as if it’s all going to disappear,” Shani told Surface Magazine in 2022 in describing Israeli cuisine. “We’re always looking for the new and mostly prefer to forget the past.”

At Miznon, that means vegetable-forward plates, like its star dish, a roasted baby cauliflower. Some traditional Middle Eastern dishes are prepared with a twist. Instead of shawarma, pitas are filled with “ribeye minute steak” or “a folded cheeseburger.” The vibe is cosmopolitan and modern. While Elenani and Masoud sometimes have oud players at their restaurants, Shani books DJs.

At the age of 30 in 1989, Shani opened the Jerusalem restaurant Oceanus. A former film student who taught himself to cook from a Julia Child cookbook, he had almost no culinary tradition to draw from. What he built became the foundation of modern Israeli fine dining, one rooted in the land with local tomatoes, eggplants, wild herbs and tahini, as well as a melting pot of the country’s multicultural influences.

The food at Miznon is offered in individual-sized portions and is designed to be eaten quickly or taken to-go. Photo by Andrew Silverstein

“I just had a feeling that I have to invent the Israeli cuisine,” Shani said last year on the podcast, Being Jewish with Jonah Platt. He was inspired, he said, by the Palestinian women he watched in the Old City markets, carefully tending to a few tomatoes and cucumbers.

“They were my first vision,” he said. His other inspiration was the land itself — the mountains around Jerusalem where he gathered wild sage, thyme and hyssop. When asked about his relationship with those Palestinian women and what he took from them, he answered simply: “There’s no borders when we are talking about food.”

Shani closed Oceanus in 2000, the same year the Second Intifada began. In 2008, he and his partner Shahar Segal, a filmmaker and advertising executive, opened HaSalon, a high-end Tel Aviv restaurant. Two years later, his fame grew when he served as a judge on the Israeli version of MasterChef, where he became popular for his poet-philosopher approach to food. Others called for his removal after he penalized a contestant for living in a West Bank settlement.

In 2011, he and Segal opened the first Miznon in Tel Aviv, pitching it as a democratization of his fine dining sensibility.  “Young people did not come to my other restaurants because they couldn’t afford it,” he told The New York Times. Paris followed in 2013, then Vienna, Singapore, Melbourne and, in 2018, New York. He now operates around 60 restaurants worldwide. In each one, he says, he spends weeks with the head chef, instilling them with his “spirit and beliefs” until, as he put it on the podcast, “I print my mind on his mind.”

While Elenani was afraid to call his restaurant Palestinian, and publishers hesitated to put Palestine on cookbook covers out of fear that it would be seen as a provocation, Shani was part of a global Israeli food wave. Israeli chefs like Yotam Ottolenghi in London and Michael Solomonov in Philadelphia won Michelin stars and James Beard Awards. The Israeli brand Sabra, part-owned by Pepsi, defined hummus for many Americans. Israeli food was having a moment. Palestinian food was shunned.

But things have changed. In July 2025, masked protesters stormed the Melbourne Miznon throwing food and chairs, damaging the restaurant. In a statement, the protesters claimed they targeted Miznon because the co-owner Segal was a spokesperson for the U.S. and Israeli-backed Gaza Humanitarian Foundation (GHF) whose food distribution system was accused of endangering the lives of Gazan civilians.

Two weeks later, amid calls to boycott Miznon, Segal stepped down from his position at GHF, but the controversy didn’t go away. Miznon London is the site of a weekly Friday protest by a Jewish anti-Zionist group against Shani’s initiative to provide meals for Israeli soldiers.

Israel is seen as violent,”  Shani told the Forward last June noting a decrease in non-Jewish customers. “It’s not cool anymore, and we can feel it.”

‘Do what you gotta do’

Miznon’s intention to open near Columbia was first announced in 2023 and generated almost no reaction. Last August, when news broke that Ayat was opening nearby, the response online was immediate and sharp. One article called it the “‘From the River to the Sea’ Eatery.”

Elenani has leaned into the controversy. Since 2014 when he wasn’t bold enough to label his restaurant as “Palestinian,” there has been a shift. “It feels like now those Muslim 9/11 kids are having the moment where we can show that this city is our home,” Amani Al-Khatahtbeh, a Muslim-American author, told The New York Times, after Zohran Mamdani won the New York mayoral election. Elenani marked the occasion by closing every Ayat kitchen and feeding more than 4,000 Mamdani volunteers in Bushwick. Three weeks later, he announced the restaurant would be named “Hinds Hall Ayat”

Many in the community, still raw from two years of protests and divisions, would prefer places that facilitate dialogue, not deepen divisions. “I’d like to try Palestinian food,” Allison Lander, a 46-year-old piano teacher and Morningside Heights resident, told me, but said that she felt torn about going, given Ayat’s choice of name “Hinds Hall” and the political slogans on the menu.

Pro-Palestinian student protesters lock arms at the entrance to Hamilton Hall on the campus of Columbia University, on April 30, 2024. Photo by EMILY BYRSKI/AFP via Getty Images

“It’s hard for me to take a strong stance against Palestinians right now who are trying to draw attention to the conflict,” she said, but added that “you have to be more sensitive to Jewish community members.”

Shani, characteristically, has said nothing political at all. When I asked what a Columbia student should take away from eating at Miznon, he responded by email: “I want them to care about the experience inside the pita. The feeling, flavors and texture. I want people to fall in love with the pita.” Still, students who have promoted boycotts of pro-Israel businesses, might have opinions beyond the pita.

On Ayat opening nearby, Shani wrote: “We come from the same region and share many food behaviors, ingredients and ways of cooking, and those naturally inspire one another. Food is about bringing people together by reminding us of what we share.”

Elenani had more to say. “I have no idea if they’re even opening up there, but it’s all good,” he said.  Still, he took issue with Shani calling his cuisine Israeli, when he says it is Palestinian. “I just wish they could appreciate the culture and cuisine, but not appropriate it and rebrand it into something that it’s not.” Then he offered them a name: “Do what you got to do,” he said. “Call it modern Mediterranean.”

The post Can an Israeli and a Palestinian restaurant coexist peacefully in the shadow of Columbia University? appeared first on The Forward.

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Trump announces he has ‘largely negotiated’ Iran deal, Strait of Hormuz opening

(JTA) — President Donald Trump announced in a post on Truth Social Saturday afternoon that a deal with Iran had been “largely negotiated,” despite saying earlier in the day that he was undecided on whether to agree to a proposal or resume strikes.

Trump described the deal as a “Memorandum of Understanding pertaining to PEACE” that was “subject to finalization” by the United States, Iran and other countries that participated in talks on Saturday. He noted that he’d “just had a very good call” with Saudi Arabia, the United Arab Emirates, Qatar, Pakistan, Turkey, Egypt, Jordan and Bahrain.

Trump said in his Truth Social post that, separately, he had spoken with Israel Prime Minister Benjamin Netanyahu in a conversation that “went very well.” There was no immediate statement released by the Prime Minister’s Office following Trump’s post.

“Final aspects and details of the Deal are currently being discussed, and will be announced shortly,” Trump added.

In the post, Trump said the deal would include the opening of the Strait of Hormuz, though a widely reported quote from Iran’s Fars New Agency, which is close to Iran’s Islamic Revolutionary Guard Corps, said that Trump’s assertion was “incomplete and inconsistent with reality” and that the strait would remain under Iranian control.

Trump’s announcement comes over a month since he unilaterally extended a fragile U.S.-Iran ceasefire in April.

The announcement did not make mention of Iran’s nuclear program or highly enriched uranium, which Trump has previously stressed must be included in a deal.

Trump’s announcement came hours after he told Axios that he was a “solid 50/50” on whether he would be able to make a “good” deal with Iran, or else “blow them to kingdom come.”

Trump also told Axios that Netanyahu was “torn” over the potential deal but rejected the idea that the Israeli leader was “worried” that he might strike an unfavorable agreement.

This article originally appeared on JTA.org.

The post Trump announces he has ‘largely negotiated’ Iran deal, Strait of Hormuz opening appeared first on The Forward.

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In Trump’s assault on democracy, echoes of Nazi Germany but new glimmers of hope that America will be different

In the final, tumultuous years of the Weimar Republic, a succession of arch-conservative chancellors ruled by emergency decree rather than go through the Reichstag, the German parliament. Germany had become a democracy in name only, as reactionary power brokers steered the nation deeper into totalitarian waters, ultimately opening the door for Hitler.

As we approach our mid-term elections, America too is at a pivot point — with the burning question being whether Donald Trump’s grip on MAGA lawmakers can be broken so that Congress, feckless like the Reichstag of the late Weimar Republic, can resume its constitutional role as a check on the executive.

It’s a matter of life or death for American democracy as it nears its 250th birthday.

As Trump’s poll numbers tank while GOP lawmakers’ support for him endures, I find myself musing about the Weimar Republic and the self-immolation of its national legislature.

In the final months before they came to power on Jan. 30, 1933, Hitler and the Nazis were actually on the ropes. After they had become the largest party in the Reichstag in July elections a year earlier, two million Germans abandoned the Nazis in an election that November. Many Germans were less enamored of the Nazi leader, fatigued by a sense that the Nazis thrived on disorder. The spell seemed to be breaking. Does this ring a bell? Economics also played a role: Germany was finally emerging from the Great Depression.

But the German republic had already been brought to a breaking point by street fighting, political chaos, the Great Depression, and a coterie of arch-conservative power brokers who schemed and maneuvered to scrap Germany’s first democracy. They included Chancellor Franz von Papen.

Papen was unable to form a majority coalition after the July 1932 election because of huge gains by the Nazis and losses by other key parties, so he continued to govern by emergency decree with the consent of President Paul von Hindenburg, relying on the broad emergency powers of Article 48 of the constitution that had already hollowed out parliamentary rule.

More internal scheming resulted in Papen’s ouster after the November 1932 election. He was replaced by General Kurt von Schleicher, a master of intrigue. But Schleicher lasted only two months, as disagreements raged over whether to give Hitler a role in the government, and what that role should be. The reactionary schemers eventually reached a consensus: Let Hitler have the chancellorship but keep him in check by loading the cabinet with archconservatives like Papen. Once Hitler became chancellor on Jan. 30, 1933, it didn’t take him long to outmaneuver all of the other schemers, who became puppets of the Nazi leader instead of the puppet masters.

Germany’s political establishment — all but the Social Democrats and the banned Communists — ceremoniously handed the keys over to Hitler on March 23, 1933, when the Reichstag passed the Enabling Act, dismantling parliamentary democracy and giving Hitler dictatorial powers.

Which brings us to the question: Whither American democracy?

Under Trump, our Congress has been reduced to a shell of its former self, an American analog of the toothless Reichstag. As Trump has launched assault after assault on the pillars of American democracy — on the judiciary, on higher education, on free speech, our election system, the rule of law, and even on unflattering but true chapters in American history — Republicans have kept quiet, fearing Trump’s wrath and retribution.

But now there are glimmers of hope. Trump’s broken promises, self-aggrandizement, megalomania, corruption, utter indifference to everyday Americans’ economic suffering, and relentless catering to the country’s wealthiest are finally catching up with him. New polls put his approval rating at a dismal 37%. In a New York Times/Siena poll, just 28% of voters approved of how Trump is handling the cost of living, while only 31% approved of his war with Iran. Even Fox News had him at 39% approval. That same poll showed GOP support for Trump weakening considerably on his handling of the economy.

Economic pain is driving the collapse. The soaring costs of the war in Iran, Trump’s vanity projects, and his proposed $1.8 billion slush fund for the Jan. 6 insurrectionists, coupled with his push for lifetime immunity for himself and his family to commit tax fraud, have incensed voters who are already struggling to afford groceries, gas, housing and health care.

As Americans make impossible choices, the 47th president touts the glitzy White House ballroom he wants to build and his plans for an arch that would dwarf the Arc de Triomphe, all while prosecuting a war that has closed the Strait of Hormuz and driven up prices worldwide. The widening gap between Trump’s self-indulgence and the country’s hardship is finally producing something late Weimar never managed: a meaningful break in the habit of submission to an aspiring strongman.

In recent days, a quiet revolt has begun in the Senate. Republicans are rebelling against the proposed slush fund for Jan. 6 insurrectionists, balking at funding Trump’s new White House ballroom,  and murmuring doubts about pouring more money into the Iran war. These are small acts of defiance — and they may or may not hold. But they are the first cracks we’ve seen in years.
Our mid-term elections on Nov. 6, 2026 may be a moment of destiny for American democracy, a test of whether those cracks widen or whether we follow late Weimar down a darker path.

The post In Trump’s assault on democracy, echoes of Nazi Germany but new glimmers of hope that America will be different appeared first on The Forward.

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This Jewish artist hadn’t painted in more than 5 decades. Then came Oct. 7.

Sid Klein has finally found his subject. More than half a century after he scrambled to pick a topic for his senior art project at Brooklyn College—and settled on exploring the porcelain curves of a toilet bowl in a 20-painting series—he’s discovered a purpose.

Klein, 78, took a five-decade hiatus from art between college graduation and retirement. He picked his brushes back up just a few months before the events of Oct. 7.

Upon hearing of the Hamas attacks, Klein processed the news with acrylics. Soon, he began looking back to the Holocaust. He felt compelled to render contemporary and historical victims of hatred on paper and ultimately take on the mantle of combatting antisemitism, not with words or weapons but with images.

“For the first time in my life, I’m so motivated in my art,” Klein told me over Zoom from his home in South Florida. “All of a sudden I went from, ‘I don’t know what I want to paint,’ to, ‘I’ve got to make a record of this so people can look at these paintings and see what does antisemitism naturally lead to.’”

Born and raised in Brooklyn, Klein noticed at a young age that he could depict objects in three dimensions. “I started drawing with Crayola crayons with paper that my mom would pick up [at] the local five and dime,” he said.

But his mother died when he was seven, leaving his father to raise three children on his own. Though they weren’t particularly religious, Klein said, he attended yeshiva. The extra-long school day helped his working single father make sure he was safe. Klein continued dabbling in art through elementary and high school.

The Holocaust was not part of his education, as far as he remembers, not at the yeshiva and not later in college, where he flitted from pre-law to economics to philosophy before settling on fine art. “I’d never been exposed to it,” he said. “I’d never seen the photographs. I consciously avoided the photographs.”

“I was living in this bubble so I could pretend that antisemitism did not exist,” he said.

He remained in that bubble through business school and a long career in marketing. During that time, “painting didn’t even cross my mind,” Klein said. “For 55 years, I focused on the business and totally ignored the art.”

It wasn’t until his career drew to a close that he thought he might try again. “I wanted to give it a try and see what was left,” he said. But he wanted to keep painting only if he had a worthy subject, which he found in the wake of the Hamas attacks.

“That murder affected me in a profound way,” said Klein, who has two sons and five grandchildren living in Israel. “I started painting in my mind what these 1,200 people would have looked like. And that was my return to art.”

The segue from the horrors of Oct. 7 to those of the Holocaust felt natural to Klein. “For me, all of those are one of the same. They’re all Jew hatred at different times in history,” he said. “The amount of evil in our world is just—I don’t know how to measure it.” There are endless tragedies, he said, “but I’m focusing on our people.”

Klein paints in a corner of the family room he’s designated as his studio. He regularly pores over hundreds of black-and-white photos taken in ghettos and camps, looking for his next subjects to call out to him.

In one photograph, he recalled, he saw lines upon lines of women and children, standing near cattle cars, waiting, exhausted. He distilled the scene to one row of imminent victims in “Innocents.” They’re “going to be taken to a gas chamber and they’re going to be dead in 20 minutes or a half hour, and they don’t know that,” he said. On the right, a boy tugs at his mother’s coat. The woman on the far left balances the small child in her arms alongside her pregnant belly. In the middle, another grasps a toddler’s hand. Their eyes implore the viewer to grapple with their fate.

Several of Klein’s Holocaust works were displayed earlier this year at the Gross-Rosen Museum in Rogoźnica in Poland, on the grounds of the concentration camp system of the same name, where an estimated 120,000 people were imprisoned and 40,000 died.

“As employees of a Memorial Site, we have constant access to disturbing historical photos and documents; these are undeniably important, but viewing the victims through the eyes of an artist is an entirely different, more intimate experience,” Bartosz Surman, who works for the museum’s education department, told me. Surman estimated that approximately 4,000 people saw Klein’s work there between January 27 and March 31. “For a Memorial Site located in a village of fewer than a thousand people, we consider it a significant success and a testament to the power of Mr. Klein’s work,” he said.

Four thousand miles away, “My Zaidy” hangs on the wall at the Dr. Bernard Heller Museum in downtown Manhattan as part of the exhibition “Proverbs, Adages, and Maxims.”

The man in the painting wears a star under his heart. The bright yellow patch and pearlescent and gold shimmer of his face contrast with the matte blue of his coat and hat. But turning the corner of the exhibition, it’s the eyes that catch you. “I left them blank, so you can put in his eyes, any eyes you want,” Klein said—his zaidy’s or yours or a stranger’s.

The eyes may be missing but the gaze is powerful, as though this old man, as he approaches his cruel end, is staring and saying, “Look at me. Do you see what’s happening? Why are you just standing there?”

“A lot of bubbes and zaides were exterminated,” Klein said, including his paternal grandfather. But the zaidy in the painting isn’t Klein’s, exactly, he said. He can’t recall ever seeing a photo of him. Instead, he painted another elderly man in a photo that struck him: This is what a zaidy selected for the gas chamber looks like. This is what Klein’s zaidy could have looked like.

“I decided I was going to do a painting, and fill that hole in my heart,” Klein said.

“There’s something very haunting about the hollowed, empty eyes,” museum director Jeanie Rosensaft told me over the phone. “We were very touched, because although [Klein] has not had a long resume of art production, we felt that the image that he provided was very compelling.”.

Klein is one of 58 artists in the exhibition, and his work will be included in a tour the museum is organizing following its New York run, which ends June 24. “We hope that he continues on this path,” Rosensaft said. “It’s really essential that art bear witness to the past and provide a bridge to the future.”

Seeing the pain

Klein’s next painting, he told me, was inspired by a photo of two small children, empty bowls in hand, begging for food.

“If I had more working space, I would make my paintings bigger,” said Klein, who says he hopes to one day create life-size portraits. “Right now you’ve got to get pretty close to see what the hell is going on,” he said. “I want size to be part of your experience seeing the pain.”

Spending his days sifting through Holocaust photos and painting its victims takes a toll. “When I paint, I become emotionally involved. But when it’s done, I listen to my music for a couple of hours, and that gives me the emotional strength to continue,” says Klein, who puts on Vivaldi, Mozart, or Brahms, for example. “After I do a painting, I need this music to settle my nerves.”

“Sometimes I say, ‘Klein, try something else!’” he said. But he can’t imagine abandoning his subject or newfound mission for any others. Which means he’ll need more of that music in the years to come, as might those viewing his paintings.

“A lot of my work is grotesque,” Klein said, and that’s intentional. “I want to shake you up.”

The post This Jewish artist hadn’t painted in more than 5 decades. Then came Oct. 7. appeared first on The Forward.

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