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A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs.

(J. The Jewish News of Northern California via JTA) — Tucked in the far corner of a large, brightly-lit exhibition hall on the ground floor of the Contemporary Jewish Museum in San Francisco, there is a delicate-looking piece of art with a strong political message.

At first glance, it appears to be three circular vases with flowers in them. The ceramic vases sit on shelves attached to the wall, and colorful collages hang above them. On closer inspection, visitors will notice that the flowers are made out of paper and that affixed to each vase is an image of the Palestinian flag printed on foam board.

A nearby label written by the curators of the exhibit, titled “Tikkun: For the Cosmos, the Community, and Ourselves,” explains that the piece was inspired by a conversation the artist, Tosha Stimage of Berkeley, had with a Palestinian man. He told Stimage about the plants that are native to Palestine — “a place which he can no longer access due to the ongoing conflict in the region,” the curators write.

The label also includes a note about the flag: “Some may find its presence at The CJM troubling or confusing, while others may find it appropriate and forthright. Stimage recognizes the potential for these divergent responses and hopes to use them as a means of generating dialogue.”

On a Sunday afternoon in October, Maury Ostroff read the label and walked away without inspecting the artwork.

Visitors to the “Tikkun” exhibit are encouraged to share their responses to the artwork via comment cards. (Andrew Esensten)

Asked how the presence of the flag made him feel, Ostroff, who is Jewish and lives in Muir Beach, in Marin County, replied, “Unhappy.”

Why?

“It’s not offensive to me in the same way that a swastika is. My skin is a little bit thicker than that. But I wish it weren’t here.”

He added, “What’s so Jewish about this? What’s so ‘tikkun olam’ about all of this?”

For the “Tikkun” exhibit, which opened Feb. 17 and runs through Jan. 8, the CJM invited both Jewish and non-Jewish Bay Area artists to contribute new works on the theme of repair, however they chose to interpret it. “No one is listening to us,” the piece by Stimage, who is not Jewish, is the first work of art featuring the Palestinian flag to be shown at CJM in recent memory; the museum could not say when or if the flag has been displayed on its walls before.

The piece prompted several internal conversations among CJM staff when it was first submitted and, since it has been on display, has generated a variety of responses from museumgoers who have left comments in a box at the entrance to the exhibit. Intentionally or not, Stimage has raised numerous questions with the artwork, including: Does a work of art that is sympathetic to the Palestinian struggle for statehood belong in a Jewish museum? And what is the role of a contemporary Jewish museum, anyway?

“To truly be a contemporary art museum, meaning embedded in the contemporary issues of our day, our job is to provide a platform for dialogue and to share a diversity of perspectives on our walls,” said Chad Coerver, CJM’s executive director since September 2021. “If any institution [like ours] took the path of withholding artwork that troubled our staff, our board or our community, it would be very difficult to mount exhibitions.”

CJM is a member of the Council of American Jewish Museums, a network of 76 museums across the country. CAJM does not have guidelines about the kind of art its member museums can and cannot display, according to Executive Director Melissa Yaverbaum.

J. reached out to several CAJM member museums in New York, Los Angeles and other places by email to ask if they had ever shown artwork with Palestinian iconography or works by Palestinian artists. The museums declined to answer or did not respond.

In recent years, two Jewish museums have been embroiled in controversy over issues relating to the Israeli-Palestinian conflict. The Spertus Institute for Jewish Learning and Leadership in Chicago staged an exhibit in 2008 on Israeli and Palestinian concepts of homeland that included maps and portraits of Palestinians. Following outcry from members of the local Jewish community who felt the exhibit presented Israel in a negative light, the museum decided to close the exhibit after only a few weeks. And in 2019, the director of the Jewish Museum Berlin resigned after the museum tweeted a link to a pro-BDS article in a German newspaper. (The museum previously came under fire for welcoming anti-Zionist scholar Judith Butler and representatives of Iran.)

In a joint interview with J., two CJM staffers who worked on “Tikkun” — co-curator Qianjin Montoya, who is not Jewish, and a Jewish senior curator who served in an advisory role, Heidi Rabben — shared the story of how Stimage’s piece came to be in the exhibit. (Montoya’s co-curator for the exhibit, Arianne Gelardin, no longer works at the museum.)

Since 2009, CJM has invited local artists from different backgrounds to create new work as part of the museum’s annual Dorothy Saxe Invitational. The idea for “Tikkun” was hatched before the pandemic put the planning process on hold. Once the CJM and Saxe — a local philanthropist and art collector — agreed on the theme, the co-curators invited artists “already engaged in healing through their relationship to community or in their practice of daily life,” Gelardin told J. last February.

The 30 artists who accepted the museum’s invitation were given only four months to conceive of and submit new works. That was likely the shortest timeline in the history of the invitational, which has been held 11 previous times, according to the museum. Each artist received a packet of materials compiled by CJM staff, with input from the Shalom Hartman Institute, a non-degree granting Jewish education center, to guide their thinking on “tikkun.”

Stimage was invited to participate because she is “very active” in the Bay Area and because “her work reflects ideas of community and connection,” Montoya said.

The curators said Stimage’s inclusion of the Palestinian flag in her submitted piece came as a surprise and prompted challenging conversations. However, they noted that they found the content of some of the other artists’ work surprising, too, and that it’s not unusual for contemporary artists to push the envelope in their work.

“I wouldn’t say we expected to receive a piece about the Israeli-Palestinian conflict, but we weren’t steering anyone away from that, either,” Rabben told J., adding that the submission guidelines did not place any topic off limits. “That’s a commitment from the museum to authentically represent the creative spirit of the artists that we’re working with,” she said.

Still, the curators said they engaged in a dialogue with Stimage in order to better understand each aspect of her piece and her overall intentions. Through those conversations, the curators learned that Stimage wanted to explore a moment of “rupture,” and that through her piece she hoped to communicate “that before healing or repair might happen, you have to first acknowledge that rupture,” Rabben said.

The Contemporary Jewish Museum in San Francisco is showing “Tikkun,” an exhibit of works by Jewish and non-Jewish artists on the theme of repair. (Andrew Esensten)

Coerver, who was involved in some of the conversations, stressed that “careful consideration” was given to including the piece in the exhibit. “We felt an artwork addressing the plight of the Palestinians was appropriate in an exhibition on healing and repair,” he said. (No work submitted as part of the Dorothy Saxe Invitational has ever been outright rejected, the museum said.)

Stimage did not respond to interview requests from J. According to a CV on her website, she was born in Jackson, Mississippi, and earned an MFA from California College of the Arts in 2016. She is a past fellow at the Yerba Buena Center for the Arts in San Francisco and was an artist-in-residence at Facebook in 2018. She also owns a floral gift shop in Oakland called Saint Flora.

Her work often touches on Black identity; she created a piece honoring Sandra Bland, an African-American woman whose 2015 arrest and death in a Texas jail cell sparked protests, and contributed to a 2019 San Francisco Art Institute exhibit on the Black Panther Party.

“I have a responsibility to create things that will, to the best of my present knowledge, do more good than harm, heal, inspire and uplift other humans,” she told the San Francisco Bay View National Black Newspaper in 2015.

Stimage’s precise views on Israel are unknown. CJM referred J. to her artist statement for “No one is listening to us,” which reads: “Olive, sage, and sumac are flowering plants native to the Mediterranean (including regions of Gaza and the West Bank) that have a direct relationship to contested ancestral land and affect the livelihood of so many Palestinian farmers and families caught in the conflict. They are positioned in the space of The Contemporary Jewish Museum as a metaphor for the ongoing conflict over land rights and the desperate need for restoration and healing of an age-old wound.”

The curators told J. that during their conversations with Stimage about her piece, they asked her why including images of the Palestinian flag was important to her but did not request that she remove them.

“We determined that none of [the piece’s] components in and of themselves signified something problematic or concerning,” Rabben said. “Of course, we had the awareness that the symbol [of the flag] will be read in a variety of ways by a variety of people.”

(Rabben pointed out that the exhibit includes other works with national symbols rendered in provocative ways, such as a black-and-white photograph of an American flag that was torn apart and partially reassembled by Mexican-American artist Jose Arias.)

The Palestinian flag — which contains the Pan-Arab colors of black, white, green and red — was adopted by the Palestine Liberation Organization in 1964. Since then, it has been the primary symbol of Palestinian nationalism.

For decades, the PLO was considered an enemy organization by Israel, and anything associated with it “had no place in Israeli public life,” said Eran Kaplan, an Israeli-born professor of Israel studies at San Francisco State University. Israel never went so far as to ban the flag. However, during the First Intifada, which lasted from 1987 to 1993, Israeli soldiers sometimes followed orders to confiscate the flag from protesters in the West Bank and Gaza.

With the signing of the Oslo Accord in 1993, Israel and the PLO recognized each other as negotiating partners. Yet the Palestinian flag remains a contentious symbol in Israel today. Kaplan noted that it recently served as a flashpoint during the funeral procession of Shireen Abu Akleh, the Palestinian American broadcaster who was killed in the West Bank in May. (The IDF conducted a review and admitted that the Israeli soldier who shot her had most likely misidentified her as an armed militant.) After warning Abu Akleh’s family not to display the flag, Israeli police attacked mourners in East Jerusalem, ripping flags out of their hands and off of the vehicle carrying her casket.

Today, the flag holds different meanings for Israelis and American Jews from different generations and political persuasions.

“There are large segments in Israeli society who view any form of Palestinian national identity as a threat to the existence of Israel,” Kaplan said. “There are others who view the PLO as legitimate partners in any form of negotiations [over the creation of a Palestinian state], but there’s an absolute split over those questions.”

Given the sensitive nature of Stimage’s work and others in the exhibit, the curators decided to solicit feedback from visitors via comment cards available at the entrance to the hall. Rabben said the museum has received a number of comments specifically about “No one is listening to us,” most of which were positive. “The majority of those comments were ‘Thank you for offering space for this topic at the museum,’” she said.

Last month, a security guard sitting in the “Tikkun” exhibition hall told a reporter that he had not witnessed any expressions of outrage or protest through the first nine months of the exhibit. “When we opened we were afraid of negative reactions, but they’re not stressed about it,” he said of visitors. “We have shown worse things here.” The guard, who has worked at the museum since it opened in 2008, mentioned a 2010 exhibit, “Our Struggle: Responding to Mein Kampf,” which included a copy of Hitler’s autobiography. “Some people were cussing us out” for displaying the book, he recalled.

Meanwhile, on the same floor as “Tikkun,” there is another, smaller exhibit containing potentially offensive art. A sign outside of the room warns visitors that inside is a Hitler marionette created by the parents of puppeteer Frank Oz. “Our intention in displaying this object is to keep the memory of the Holocaust alive through the objects and firsthand stories of those who experienced its persecution, and to encourage conversation and education about the ongoing horrors of antisemitism and authoritarianism today,” the sign says.

Coerver, CJM’s executive director, said he was proud that the museum’s three current exhibits — “Tikkun,” “Oz is for Oznowicz: A Puppet Family’s History” and “Gillian Laub: Family Matters,”  which includes photographs that Laub took of her Trump-supporting relatives — are raising “challenging questions” and providing opportunities for both visitors and museum staff to “expand our horizons.”

“We’ve been wading into some issues that I think are a little thicker than maybe we’ve been confronting in the past,” he said, “and I hope that continues.”

A version of this piece originally ran in J. The Jewish News of Northern California, and is reprinted with permission.

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The post A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs. appeared first on Jewish Telegraphic Agency.

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At the Vatican, two elderly men — one Jewish, one Catholic — exchange gifts and mutual admiration

On Wednesday, two senior citizens, Robert Zimmerman, 85, a Jew originally from Minnesota, and Robert Prevost, 71, a Catholic of Chicago, had a brief meeting at the younger man’s office in central Italy.

Sources on the scene report that Zimmerman was in town for business and Prevost, who goes professionally by Leo, had recently cited Zimmerman’s work in the preface to a book about nuclear disarmament.

Both men dressed in uniform, looking a bit Spy Vs. Spy, with Zimmerman in a black hoodie and Prevost in white with a small white skull cap. The confab was brief, a bulletin from Prevost’s workplace reported, consisting of “greetings and a few lighthearted exchanges.”

Prevost gifted Zimmerman with prayer beads, and Zimmerman presented Prevost with a copy of his memoir, published under his pen name, Bob Dylan.

While Zimmerman was raised in a Jewish home, he had, for a time in the late 1970s to early 1980s, converted to born-again Christianity, confounding many.

The post At the Vatican, two elderly men — one Jewish, one Catholic — exchange gifts and mutual admiration appeared first on The Forward.

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The Michigan Senate race showed the exact wrong ways to fight antisemitism

The campaign against Abdul El-Sayed was example after example of how not to fight antisemitism—a display of conflation, double standards, and bigotry that we need to learn from and reject if we hope to ensure Jewish safety and security in a pluralistic society.

El-Sayed won his election Tuesday with 52.5% of the vote. He won despite an ugly campaign that alleged that he was not only critical of Israel but antisemitic, and that he does not care about or consider Jewish safety, and in which he was repeatedly asked to prove his sincerity on Jewish safety while also being attacked for running for office while being Muslim.

El-Sayed is not above criticism and questions from Jews just because he is a Democrat and most Jews vote for Democrats. It is right and appropriate that Senate candidates have to answer questions about antisemitism. El-Sayed did campaign with Twitch streamer Hasan Piker in the primary, and Piker did liken Zionists to Nazis, and many Jews in Michigan and elsewhere are Zionists; it is appropriate for El-Sayed to be asked about that.

It is also fair for a candidate who is vocal in his criticism of Israel to be asked how he’ll work to ensure the safety of his Jewish constituents, since we know that there is at least a correlation between anger at Israel and violence directed toward Jews. After West Bloomfield, Michigan’s own Temple Israel was attacked, El-Sayed did say, “hurt people hurt people,” and though he was referring to a specific event—the perpetrator’s family was reportedly killed in an airstrike in Lebanon—it is understandable that he was called upon to explain his own remarks to upset Jewish families in his state, whom he is also charged with representing in Congress.

From this point, however, the campaign against El-Sayed developed in several ways.

For one thing, when critics make demands of politicians, they need to actually allow those politicians to meet them. Yet despite distancing himself from Hasan Piker (“a Twitch streamer,” as he repeated to reporters), speaking repeatedly about how and why he took the safety of Jewish Michiganders seriously, and apologizing at length for his “hurt people hurt people” comment, El-Sayed was treated in the media and by his political opponents (and by some Democrats) as suspect and insincere.

These same questions were not asked of his opponent, Republican Mike Rogers, whose student outreach team included someone who defended a Young Republicans group chat praising Hitler.

If El-Sayed had to speak repeatedly about Piker, why did Rogers not have to answer whether he accepted the view of the U.S. president—who like Piker, joined his preferred candidate on the campaign trail—that any Jew who voted for El-Sayed was crazy and should be ashamed of themselves? (This was not a one-off missive, but the latest in the long line of Trump comments insisting on American Jewish responsibility to be loyal to Israel by voting for him, Donald Trump.)

Why wasn’t Rogers grilled on what he made of comments by Ohio’s U.S. Senator Bernie Moreno implying that senators should have to believe in Jesus, a remark that if rendered policy would impact El-Sayed and also, say, every Jew in public office?

The discrepancy suggests that reporters, pundits, politicians, and Jewish leaders do not take antisemitism seriously from all corners, and in fact that they consider it worse and more suspect from a Muslim American who criticizes Israel than a Republican who doesn’t.

Worse, still, is that that Republicans trafficked in vile anti-Muslim hate throughout the campaign. Rozina Ali, author of Seasons of Fury: Four Families and the Rise of Islamophobia in America, wrote on X on Tuesday, “Islamophobia appears to be on the ballot in Michigan, in an unprecedented way.” These tropes weren’t new, Ali explained, but they were at a fever pitch this election, with El-Sayed dubbed a “jihadist leprechaun” by a sitting Senator. The vice president of the United States said El-Sayed has “zero attachment to this land.”

Too often, Jewish leaders and institutions met this rhetoric with silence, or even encouragement. As I argued last week, dual loyalty narratives against one population just make the voting public more comfortable with the trope being used against other groups, including Jews. Moreover: Silence is not going to build solidarity from non-Jews, and Jews — just 1.4% of voters in Michigan and two percent of this country — are not going to fight antisemitism on our own.

Finally and troublingly was the willingness of El-Sayed’s primary opponent, Haley Stevens, to claim that it was Jewish safety that motivated her public questioning of El-Sayed (notably over an ad that his campaign did not put out) and her eventual flip to campaigning and voting for Rogers. Stevens is a staunch supporter of Israel and was backed by AIPAC. However, she is not Jewish (though she said she is considering converting), and yet spoke repeatedly as if she had authority on what Jewish voters in Michigan wanted to hear from El-Sayed. But she was not an emissary from Jewish voters, who are not a monolith — and 60 percent of whom, per one exit poll, voted for El-Sayed.

What can we learn from this race? First, conflating criticism of Israel and calls for more challenging policies toward Israel with attitudes toward Jewish voters needs to stop, even or especially while understanding that anger toward the country can be channeled against the people here.

Candidates of both parties, regardless of their positions on Israel, need to be held accountable with demands for real answers on what they will do for the well-being of all of their constituents, including Jews, and including when those stumping for them challenge the idea of full Jewish participation in civic life.

Jewish voters need to reject the idea that Islamophobia and antisemitism are somehow at odds with each other, and that it costs us something to call out hatred of Muslim Americans when in fact, so often, we are on the same side of racist hatred. (On Tuesday night, X was filled with posts blaming Jews for El-Sayed’s victory and bemoaning what it meant for American culture.)

And reporters, pundits, politicians, Jewish leaders, and for that matter Jewish voters need to stop speaking about Jewish voters on antisemitism and Israel as though all of us understand the intersection of these issues in the same way or want to hear the same things about them from politicians.

Since Abdul El-Sayed will be in the Senate starting in January, we will soon have ample opportunity to put these lessons into practice.

The post The Michigan Senate race showed the exact wrong ways to fight antisemitism appeared first on The Forward.

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Trump’s midterm defeat changes the equation for Netanyahu and Israel

The Republican rout in the U.S. midterm elections may have consequences far beyond America’s shores. The most immediate impact could be in Israel, where the struggle to translate Benjamin Netanyahu’s electoral defeat into a change of government is entering its decisive stage.

In the week that has passed since the Israeli election, there was much anticipation that Trump might intervene to rescue his longtime ally. He endorsed Netanyahu, suggested that Israel’s security depended on his continued leadership, and hinted that renewed war with Iran depended on his victory (seeming to believe, perhaps falsely, that Israelis yearn for this). There was speculation that he might pressure opposition leaders into joining a unity government headed by Netanyahu, reversing the political meaning of Israel’s election.

Now the American electorate may have changed the equation.

The Democrats’ sweeping gains, which enabled them to seize decisive control of both houses of Congress, represent a substantial repudiation of Trump’s administration. The president retains enormous authority over foreign policy and national security – but in January he faces a hostile Congress, increased scrutiny of his decisions and a political environment even less hospitable to another Middle Eastern military adventure.

There is a counterintuitive possibility, of course: Trump might conclude that the period before the new Congress takes office offers a final opportunity to strike Iran. A weakened president is not necessarily a restrained president, and yet another unpopular war, especially one suspected of serving Netanyahu’s political interests, could deepen the backlash against Trump at home as Republicans are already looking fearfully at 2028.

It’s reasonable to think that many of them would not want to be associated with a strong-arming of Israel’s opposition in order to rescue Netanyahu, who is, fairly or unfairly, scarcely less toxic in the United States these days than Vladimir Putin.

The larger point: Trump’s political leverage has diminished. His presidency has an expiration date, and the American political system is already beginning to look beyond him. This will offer headwinds to those Israeli politicians who argue that a government that could serve for years should be cautious about treating the preferences of a politically weakened American president as decisive.

That is an especially potent thought on Wednesday, as Israeli President Isaac Herzog begins consultations with Israel’s newly elected parliamentary factions.

Israel’s election produced a clear numerical result: Netanyahu’s bloc won 53 seats in the 120-member Knesset, while parties opposed to his continued rule secured 67. The opposition has a parliamentary majority, although it is struggling to form a governing coalition.

Under Israel’s system, the president consults representatives of the elected parties, who recommend a candidate to form the government. Herzog must then decide which lawmaker has the best prospect of assembling one. The recommendations are politically important but not legally binding, and the president is not required to select whoever receives the most endorsements, though this is the tradition.

If former IDF chief Gadi Eisenkot receives recommendations representing 67 seats, that would establish the breadth of parliamentary opposition to Netanyahu. Eisenkot would likely be tapped, and then he would face the central difficulty: what to do about Israel’s Arab parties.

Of the 67 seats held by Netanyahu’s opponents, 19 belong to Arab parties, whose electoral success reflected a remarkable increase in Arab turnout – which at around 85 percent exceeded that of Israel’s Jews. Several Jewish opposition leaders promised during the campaign not to rely on those parties to establish a government.

Eisenkot himself has said that he would demand any coalition partners agree that Hamas should be removed as a military and governing body in Gaza, which the Arab parties have not yet done. Polls show that a majority of opposition voters favor finding a way to form a government, even if it’s dependent on the Arab parties.

Indeed, many are arguing that this is a test of Israel’s democracy, and that for the opposition to stick to its refusal to rely on the Arab parties would strengthen enemies of Israel who argue that it is not a true democracy.

Here, too, the American midterms offer an intriguing counterpoint.

According to a voting breakdown in The New York Times, Republicans received 51 percent of the white vote, compared with 48 percent for Democrats. Would anyone seriously argue that the Democratic congressional victory is illegitimate because it depended partly on Black, Hispanic and Asian voters? Should Republicans retain the House speakership because they performed better among white Americans?

Of course not. Yet Israel faces an argument with a disturbingly similar implication.

If a parliamentary majority cannot govern because some of its members are considered unacceptable on ethnic or national grounds, the damage to Israel’s democratic reputation could be immense.

Under Israeli parliamentary rules, a government can win confidence through a majority of those participating in the vote. Abstentions or outside support from Arab lawmakers could therefore make a minority government possible.

With 48 seats for the non-Arab opposition parties, all Eisenkot would need would be the more moderate of the Arab parties, Ra’am, which has eight seats, to show support. The new coalition’s 56 seats could outvote Netanyahu’s 53 to win Knesset confirmation, even with the 11-seat Joint Arab List abstaining. That means Eisenkot does not necessarily require 61 affirmative votes to take office.

The obstacle is Avigdor Lieberman, head of the seven-seat Yisrael Beitenu party. A nationalist West Bank settler, he has fallen out with both Netanyahu and his ultra-Orthodox allies, and has been counted as part of the opposition. This week he reiterated his vow not to support a government dependent on Arab parties. But he also ruled out rejoining with Netanyahu, and described a repeat election as the worst option.

So while the outcome is clear now in the United States, in Israel the guessing game continues.

The post Trump’s midterm defeat changes the equation for Netanyahu and Israel appeared first on The Forward.

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