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A brand-new Jewish ritual object inspires an innovative art exhibit
(New York Jewish Week) — When Andrew Mandel dreamt up a new Jewish ritual object known as a “tzedek box,” he was admittedly most interested in the “tzedek” — the social justice — aspect, and less so the “box” part.
Mandel, a fifth-year rabbinical student at Hebrew Union College in New York, envisioned a new Jewish holiday, Yom HaTzedek (Day of Justice) back in 2018 as a way to make acts of social justice an integral part of religious life. To reinforce the themes of the holiday, Jews would write reflections on each effort made to help the world throughout the year, and save them in a box. “This action is not meant to self-congratulate or to rack up a record of good deeds,” Kveller, the New York Jewish Week’s partner site, wrote in 2021. “Rather, it provides a moment to reflect on the work and develop accountability around consistently being ‘shomer tzedek,’ a guardian of justice.”
When he first conceived of the holiday, the box itself was an afterthought. “I have to confess, at first, the actual box wasn’t particularly relevant to me,” Mandel, 44, told the New York Jewish Week. “It’s like — find a shoe box, find a jar. It was shortsighted, but that’s where I was.”
But as Yom HaTzedek shifted from concept to reality — the day is now officially commemorated on Pesach Sheni, or the Second Passover, observed on the 14th day of Iyar (this year May 5) — so too did Mandel’s thinking on the box itself. Conversations with renowned Jewish artist Tobi Kahn and Jean Bloch Rosensaft, director of the Dr. Bernard Heller Museum at HUC, led Mandel to believe the aesthetics of the box could help enhance the users’ spiritual exploration of justice.
And now, these conversations have inspired a new exhibit, “Tzedek Boxes: Justice Shall You Pursue,” which will open at the Heller Museum on Thursday. The exhibit features 29 tzedek boxes created by contemporary Jewish artists. They include one of Kahn’s series of seven wooden tzedek boxes, “Zahryz III,” and Eli Kaplan-Wildmann’s customizable cardboard “Pop-up Tzedek Box,” which has been massed-produced for 8,300 participants and two dozen synagogues that have all participated in the new holiday.
The exhibit’s aim, said Rosensaft, echoes the museum’s mission “to encourage the interpretation and renewal of Jewish values, tradition, and practice through the creativity of contemporary artists in works that will advance justice in our world.”
If the tzedek box sounds familiar, it’s probably because you’ve heard of its cousin — or version 1.0, if you will: the tzedakah box, a receptacle for collecting coins to be donated to charity. The words “tzedek” and “tzedakah” have the same Hebrew root: justice.
“It’s not just that we don’t really use coins anymore,” Mandel said. “There’s more ways of making change than [just] philanthropy — whether it’s advocacy, whether that’s direct service and volunteer work, whether that’s just listening and learning. A tzedek box creates an umbrella for all those different actions so we can all live out our values together to improve the world.”
In the exhibit, the artists’ tzedek boxes capture different facets of social justice: in Jewish tradition (images of doves, or flowing rivers); motivation for social action (references to heroes and past injustices such as the Holocaust); the causes people care about (the environment, food insecurity) and symbols of generous behavior (an open heart, an open mind).
“I’m not an artist myself,” Mandel said. “But now I have seen these contributions of wildly diverse, often quite moving representations of justice and righteousness, it really opens things up to how multifaceted this process [of tzedek] is. Your box really matters.”
Reva Jane Solomon’s tzedek box, “Mommy’s Justice,” is a homage to her mother’s love. (Courtesy the Heller Museum)
In Reva Jane Solomon’s “Mommy’s Justice,” the tzedek box takes the form of a purple jewelry box, an homage to her mother’s love meant to encourage small acts of compassion and justice. Holly Berger Markhoff’s “Justice Knows No Other” is a wooden box featuring an interactive scroll on which to record one’s deeds, creating a continuous chronicle of righteousness.
Kahn, whose cityscape-inspired tzedek box evokes the Jewish obligation to care for humankind, said he hoped the exhibit would inspire all Jews to adopt the ritual. “If you believe in something you should actually do it,” he said. “I’m thrilled that many people are making their own because that’s how ritual starts.”
This isn’t the first new Jewish ritual object that the Heller Museum launched into the mainstream. In 1997, it featured an exhibit of Miriam’s cups — a goblet filled with water that’s placed alongside Elijah’s cup at Passover as a call to include women and their stories in the seder. The exhibit helped introduce the now widespread practice to Jews around the world.
Rosensaft sees the tzedek box exhibition as a similar call to action. “One of the pillars of Judaism is the notion that we, as a people, have been affiliated by horrific episodes of injustice, intolerance and genocide,” she said. “We cry ‘never again,’ but we know we cannot say that if we are not prepared to work towards the causes of human rights and freedom in our own time.”
To this end, Rosensaft paired the tzedek boxes with a concurrent exhibit, “One Nation,” in which artists of all backgrounds were invited to create works that comment on the state of America past, present and future.
“A lot of that hope for the future hinges on individuals taking action to solve the problems afflicting American society,” Rosensaft said.
“Tzedek Boxes” and “One Nation” are on view at the Dr. Bernard Heller Museum, (1 West 4th St.), from Jan. 26 through May 18. Or you can download the free Bloomberg Connects App and visit the Heller Museum page to virtually visit all the museum’s exhibitions, including “Tzedek Boxes” and “One Nation.”
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The post A brand-new Jewish ritual object inspires an innovative art exhibit appeared first on Jewish Telegraphic Agency.
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Actor-Director Rob Reiner dies at 78
Rob Reiner, who rose from an early career as a sitcom star to direct a run of film classics that included The Princess Bride and When Harry Met Sally…, has died at 78 along with his wife, Michele Singer, in what TMZ reported and Deadline confirmed was an apparent homicide, with wounds consistent with a knife attack.
Robert Reiner was born in the Bronx on March 6, 1947, to comedy writer, actor and director Carl Reiner, and mother actress mother Estelle (née Lebost). In interviews, Rob Reiner said his early upbringing resembled that depicted in The Dick Van Dyke Show, which his father created.
Describing his Jewish upbringing to JTA in 2017, he recalled his Yiddish-speaking grandmother, and his own Yiddish instruction. He described the experience as “home shuling.”
With a notable pedigree, Reiner distinguished himself, first in small TV roles and later as Michael “Meathead” Stivic in All in the Family, the bleeding-heart son-in-law of Archie Bunker. (Reiner, like his late father, was an outspoken progressive.)
In a 1994 interview with 60 Minutes, Reiner estimated he’d been called Meathead 1,241 times in that week alone.
But beginning in the 1980s, Reiner emerged as a director, debuting with an immediate comedy classic in 1984’s This is Spinal Tap, arguably creating the genre of mockumentaries — and starring as director Marty di Bergi.
While made with his friends, it was far from a lark. Reiner was immediately prolific, directing The Sure Thing, a modern update of It Happened One Night, the following year. Then the coming of age classic Stand By Me, based on a Stephen King short story, in 1986 and The Princess Bride in 1987, a streak of well-regarded films that, in their staying power, is virtually unrivaled in Hollywood.
Spanning genre from faux-rock doc to fantasy, Reiner proved his range almost immediately. When Harry Met Sally… hit theaters in 1989, Roger Ebert dubbed Reiner “one of Hollywood’s very best directors of comedy”— a compliment to remember given some of his later notices — and gave him the opportunity to cast his own mother in an instantly iconic punchline; his next film was Misery, another, more conventionally scary Stephen King adaptation.
Reiner’s career as a filmmaker saw the introduction of screenwriter Aaron Sorkin to the big screen (1992’s A Few Good Men), a famously maligned comedy, North (which Roger Ebert said he “hated, hated, hated”) and more diminishing returns. But even the later works had their impact on the zeitgeist. While not approaching the quotability of Spinal Tap, Princess Bride or When Harry Met Sally… (Estelle Reiner was the one who said “I’ll have what she’s having”), the term The Bucket List entered the lexicon because of his 2007 film.
Begining in the 2000s, Reiner’s work and public life were largely concerned with activism and civics. He cofounded the marriage equality group American Foundation for Equal Rights. He had a close circle of collaborators, directing a documentary about his best friend, Albert Brooks, but followed it up with a documentary, God & Country, about Christian Nationalism.
In a 2004 interview, explaining why, as a Jew, he pursued the project, he mentioned a trip he made with his wife the previous year, to Auschwitz, where his wife’s mother’s family was an inmate, and the rest of the family was murdered.
“You see what nationalism can do. You see the results of it,” Reiner said in an interview with the Baptist Joint Committee for Religious Liberty. “And so for us who are Jewish by birth, we know what the dangers are, and hopefully this film can at least be a little bit of a teaching tool to everybody.”
Describing his sense of humor, he told JTA there’s a reason Jews are funny. “You have Cossacks. You have Hitler. You have a lot of things weighing down on you. You have to have a sense of humor or you can’t survive.”
Reiner’s final film, Spinal Tap II: The End Continues, a sequel to his first, came out in October. Reiner’s life, and body of work, are already a blessing.
The post Actor-Director Rob Reiner dies at 78 appeared first on The Forward.
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China, Saudi Arabia Agree to Strengthen Coordination on Regional, Global Matters
Flags of China and Saudi Arabia are seen in this picture, in Riyadh, Saudi Arabia, December 7, 2022. REUTERS/Mohammed Benmansour
China and Saudi Arabia agreed to have closer communication and coordination on regional and international issues, with Beijing lauding Riyadh’s role in Middle East diplomacy, statements following a meeting between the nations’ foreign ministers on Sunday showed.
Chinese Foreign Minister Wang Yi is on a three-nation tour in the Middle East that began in the United Arab Emirates and is expected to end in Jordan. He met with Saudi Arabia’s Foreign Minister Prince Faisal bin Farhan Al-Saud in Riyadh on Sunday.
A joint statement published by China’s official news agency Xinhua did not elaborate on what issues the countries will strengthen coordination on, but mentioned China’s support for Saudi Arabia and Iran developing and enhancing their relations.
“(China) appreciates Saudi Arabia’s leading role and efforts to achieve regional and international security and stability,” the statement released on Monday said.
The statement also reiterated both countries’ support for a “comprehensive and just settlement” of the Palestinian issue and the formation of an independent state for Palestinians.
At a high-level meeting, Wang told his Saudi counterpart that China has always regarded Saudi Arabia as a “priority for Middle East diplomacy” and an important partner in global diplomacy, a Chinese foreign ministry statement on Monday said.
He also encouraged more cooperation in energy and investments, as well as in the fields of new energy and green transformation.
The countries have agreed to mutually exempt visas for diplomatic and special passport holders from both sides, according to the joint statement.
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Report: Iran Considers Removing Hezbollah Leader Naim Qassem
Lebanon’s Hezbollah Chief Naim Qassem gives a televised speech from an unknown location, July 30, 2025, in this screen grab from video. Photo: Al Manar TV/REUTERS TV/via REUTERS
i24 News – Iran is reportedly dissatisfied with the performance of Hezbollah Secretary-General Naim Qassem and is preparing to reorganize the group’s leadership, potentially removing him from his position, according to a report by Emirati outlet Erem News citing senior Lebanese diplomatic sources.
The report claims Tehran views Qassem as “unsuitable to lead Hezbollah at this critical stage,” arguing that he has failed to meet the leadership standards set by his predecessor, longtime Hezbollah chief Hassan Nasrallah.
Iranian officials are said to believe Qassem lacks sufficient political acumen and hold him responsible for the deterioration in relations between Hezbollah and the Lebanese state.
According to Erem News, Iran’s Foreign Minister Abbas Araghchi is expected to oversee preparations for restructuring Hezbollah’s internal leadership during an upcoming visit to Beirut.
The visit is intended to assess the organization’s internal climate through direct meetings with senior Hezbollah figures and influential operatives.
“The Iranian minister seeks to monitor the general climate within Hezbollah and convey an accurate picture of the internal situation to decision-makers in Tehran,” the report said, adding that the findings would be used to inform “crucial decisions regarding anticipated changes at the head of the organization, most notably the fate of Naim Qassem.”