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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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What I learned from 180 pounds of Yiddish books, one ‘interesting and complicated’ Jewish man, and Jorge Luis Borges
I’ve never met Harris Saltzberg, but one day last summer, I went to his house to abduct 180 pounds of his Yiddish books. He lived in a sturdy brown-brick co-op in Chelsea. In the lobby, there was Roz Chastian aroma of long-simmered onions and mothballs, with a subtle undertone of feet.
I took the elevator to the eleventh floor. Once I’d infiltrated Harris’ apartment, I began to get a sense of his personality. From the posters on the kitchen walls, I deduced that Harris liked Van Gogh and Martha Graham. From his box of cassette tapes, I got a taste of his cultured, klezmer-forward musical palate: Puccini Famous Arias sat next to Miriam Kressyn’s Yiddish Folk Songs. Pavarotti and Marilyn Horne kept company with Sidor Belarsky and Jennie Goldstein.
Before I go further, I should clarify: I did not burglarize Harris’ house. I was there as a “zamlerin,” a volunteer collector and schlepper of Yiddish books for the Yiddish Book Center in Amherst, Mass. I joined the international legion, some 160-zamlers-strong, at the end of a summer internship at the Center two years ago. Since then, every few months or so, I get a call or an email from an older Jew. Some Yiddish books have fallen into their hands, or maybe the books have been in the family for a long time. We tend to meet at their houses. (Once, though, I met a guy at his synagogue and sat through a full service for the first time in Hashem-knows-how-long.)

Wherever we meet, the pass-off process always feels ceremonial, more like the adoption of a child than the transfer of objects. We schmooze a bisl in Yiddish, a bisl in English while we load up the books, stacking them inside cardboard boxes like a game of 3D tetris. Sometimes, like a Yiddish-speaking Neanderthal, I’ll sound out the title of a book, and my host will light up like an electric menorah, turn the book over, rub its spine up and down, and tell me all about it. This? Oh, that’s Di Yeshiva. See, you can even see Chaim Grade’s autograph on the inside flap. That? Oh, that’s the Yiddish Kalevala. Naturally.
But zamling for Harris was different from zamling for other people, because for one thing, Harris was dead. His niece told me that Harris’ close friend, Andy, would be there to help me pack up the books. Andy was waiting in the lobby when I got there. He was a tall and weathered man of Irish extraction, about 75. His hooded blue eyes and the smoke on his deep, gravelly voice gave me the impression that he’d seen a lot in his time, like a hardbitten reporter in a noir novel. Except, Andy clarified, he was actually in publishing.
He didn’t say much after that.
Harris’ Yiddish bookshelf was right by the front door, so while I did a preliminary inventory, ooing and cooing in a way that would have annoyed me if another person were doing it, Andy shuffled through Harris’ living room and kitchen, shifting his chairs, stacking his dishware, emptying his cabinets. Even with Harris gone for months, the apartment hadn’t lost the ascetic spareness that only monks and longtime bachelors seem capable of cultivating. Dust had already settled over the few wooden tables and shelves. The rugs looked frayed, and a thin white light seeped into the room from in between the vertical blinds. There was a bottle of Cinzano Rosso sitting on the kitchen counter, forever half-finished. It seemed like a place Bernard Malamud might have cooked up for a story about an erudite bachelor character.

But what sort of erudite bachelor, exactly? Before I’d come over, I’d found a few clues on the internet. A Facebook obituary from Camp Kinderland described Harris as “an interesting and complicated person,” adding that he was “often very funny, often thoughtful and generous and warm.” He sounded prickly-sweet, not unlike a jackfruit. I’d also found a LinkedIn profile for one Harris Saltzberg who described his job as “Observer of aging,” employed at “Life.” That sounded about right.
But it was the books that brought Harris into focus. On the shelf, I found at least three Yiddish textbooks. “Harris was insecure about his Yiddish,” Andy told me later, when we were lugging boxes to the lobby. But from the looks of it, he shouldn’t have been. He had the big names on his shelf — Y.L. Peretz, Mendele Mocher Sforim, Sholem Aleichem (who, by the way, is so abundant at the Yiddish Book Center that you can sometimes get a copy of his collected works for free). But Harris was hardcore. He was a proper Yiddish junkie; he’d bought books that would have been challenging to get through even in English, like Klassenkamfn in Altertum, Class Struggles in Antiquity, by a man named Kalman Marmor. He’d collected landsmanshaft periodicals from tiny Besarabbian shtetls, school almanacs from 1929, an instructional book on Yiddish stenography, song books, and one baffling, proto-woke rhyming tale about a white thug with notably sharp elbows (“sharfn elboygn”) who torments a Black boy with sad eyes (“troyerike oygen”).

Sometimes, I would find signs of a bygone reader— maybe Harris, maybe somebody else —scrawled on a book’s inside cover, or tucked away on a scrap of paper. “To Rivke with Love — May you two get well acquainted!” wrote Manya on Jan. 30, 1959. I found grocery lists, and one detailed pencil sketch of a dog. I found a scrap of paper where Harris had scrawled in cursive ciphers, “Tammy Baker,” “Uniforms,” and something that might have been “human want,” or maybe “human meat.”
I had never met Harris and never would. But even as I stuffed the boxes to busting, I felt reluctant to throw anything out. When somebody is alive, odd bobs like scratch paper are replaceable junk. But when somebody is gone, everything becomes evidence that they lived. Maybe that is why Harris saved all those periodicals from towns that could no longer be found on any map, advertisements for pamphlets of essays and satire by long-dead Jews in the Bronx, stenography manuals, children’s books. So long as even one witness to a fading world remained, that world wouldn’t truly be gone.
There is a story by Jorge Luis Borges called “The Witness,” or “El Testigo” that I have thought about several times since visiting Harris’ apartment. It is about the last pagan in England. As church bells ring, he lies dying in a stable in the shadow of a new stone church. This man is the last living person to remember worshipping the wooden idol of the pagan god Woden. “Before dawn he would be dead and with him would die, never to return, the last firsthand images of the pagan rites,” Borges writes. “The world would be poorer when this Saxon was no more.”
In the moment, though, I was not thinking much about books beyond how many of them I could cram into one box. As Andy and I hauled the book boxes down to an extremely patient Uber driver — six boxes total, around 30 pounds each — he told me how Harris had loved opera. He talked about his own two brothers, and about his upcoming trip to the motherland, Donegal, which he taught me to pronounce “Don-ee-GAL.” In the car to the UPS store, we kvetched about how hungry we were. At the curb, he helped me unload the boxes. Then he bent down and hugged me goodbye. I was sorry to see him go. I wondered if we would ever see each other again.
It’s been over a year since that day. Harris’ apartment probably belongs to someone else now, and as for the books, they are living a literally chilled-out retirement in the temperature-controlled vaults of the Yiddish Book Center. I wonder whose fingers will touch those pages next. And whose will be the last. After all, Borges muses, there is a last for everything. There was a day when the last eyes to see Christ closed forever. When the last man to have loved Helen of Troy died. When the last person to remember the Battle of Junín was buried. “Something, or an infinite number of things, dies in each death,” he writes. “What will die with me when I die?”
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With Marine Le Pen on the right and Defiant France on the left, French Jews face an impossible choice
Marine Le Pen is back. And once again, the French Republic and the democratic values it represents, has its back against the wall.
On Wednesday, the judges of a French appeals court reached something of a Solomonic decision. On the one hand, they confirmed the ruling of a lower court that Le Pen, for more than a decade, oversaw the funneling of several million euros, meant for her European Parliament staff, to her political party, the extreme-right National Rally. On the other hand, they shortened the length of her ineligibility to run for political office, thus allowing her to join the fray for next year’s presidential election.
Much can be said about the consequences of this decision. First, there is the stunningly brazen legal dimension. Just as Donald Trump was the first convicted felon to be elected president of the United States, Le Pen — who leads other announced candidates by at least 10% in opinion polls — stands a very good chance to be the first convicted felon, on far more serious charges than Trump’s, to become president of France. (Two earlier presidents of the Fifth Republic, Jacques Chirac and Nicolas Sarkozy, were also found guilty of embezzlement, but only after their presidential terms ended.)
No less significant are the political ramifications. Le Pen’s announcement that nothing will stop her from running in turn stopped Jordan Bardella, her young protégé and president of the National Rally, dead in his tracks. Dismissed as an empty, though always svelte and shiny suit, Bardella proved to be, to Le Pen’s growing discontent, more popular in opinion polls than his mentor. Poised to run in her stead, this young man in a hurry, and with neither practical experience nor university education, was suddenly benched.
It is too early to predict how this will play out. On Wednesday, in their first public appearance together since the court’s ruling, Bardella, standing a few steps behind Le Pen, looked less like a partner than a prop while she bathed in the crowd’s attention. Adding to the tension are policy differences that had begun to appear between Le Pen and Bardella, with the former hewing to her populist image and Bardella leaning towards the traditional right. Tellingly, Le Pen supports the recent rollback of the retirement age to 62, while Bardella seems, like others on the traditional right, to prefer raising the age as high as 67.
More important, Le Pen’s entry may well turn the 2027 election into a choice between equally dismal options. For months, Jean-Luc Mélenchon, the turbulent tribune of the extreme-left Defiant France, has portrayed himself as the one figure who can save the republic from Le Pen. In the latest IFOP poll, Mélenchon stands an even chance to finish in second place in the first round of the election. This will mean that for the two-thirds of French voters still allergic to Le Pen, they will have nowhere to go after the second round except to the leader of a party that has repeatedly flirted with antisemitism.
This brings us, finally, to the historical significance of this event. The National Rally is, of course, the party formerly known as the Front National. Equally obvious, the latter, founded by Marine’s father, Jean-Marie Le Pen, was a gaggle of goose-steppers, antisemites, and apologists for Vichy, the collaborationist regime which did its bit for the Final Solution. (By the time he died last year, Le Pen père, who coined the infamous line that the Final Solution was a “detail of history,” had racked up multiple guilty verdicts for Holocaust denial and inciting race hatred.)
Her father’s notorious verbal dérapages, or excesses, finally led his daughter, who had slapped a new coat of paint on the party by renaming it soon after her father gave her the keys, to banish her father from its fold. Undeniably, Le Pen’s relentless pursuit of a policy of “dédiabolisation” or “detoxification,” has largely rid the party of its Nazi-adjacent followers. (As part of this renovation, the more than one hundred National Front representatives who sit on the far-right in the National Assembly — by far the largest parliamentary party — always wear business attire. This makes for a striking contrast with their Defiant France colleagues, who tend to dress as my students do.)
But a bespoke suit does not mean one is not still beholden to racism. Le Pen and Bardella have labored to distance their party from its rancid and racist origin, most recently reflected in the latter’s controversial visit last year to Israel, where he spoke at a sparsely attended conference on antisemitism. (Many of the invitees, upon learning that Bardella would attend, snubbed the event.)
No less contentious was Le Pen’s decision for her party to join the march against antisemitism two years earlier in Paris, along with her vow that the National Rally would serve as the “bouclier,” or shield to protect French Jews. She did not say against whom her party would shield French Jews, but there was no need to: All of France understood who she meant. For her party, the Jew is no longer, if only for now, the dreaded other who threatens the unity and purity of the French people. The Arab or Muslim now fills that role. Hence the party’s insistent demand for a constitutional amendment for “la préférence nationale,” which would limit an array of social privileges to French citizens, as well as the consistent drumbeat of racist and xenophobic declarations on the part of its rank and file.
Apologists for Marshal Philippe Pétain, the leader of Vichy France, insisted that he too served as his nation’s shield against Nazi Germany. They conveniently forgot, of course, that this shield was used to separate French Jews from their non-Jewish compatriots. Between now and next year’s presidential election, the French will have time enough to reflect on the promise, or threat, of a party whose origins warn us against those who use shields to clobber those they decide do not belong to a nation.
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Graham Platner may be gone, but his Nazi tattoo is not fading away
(JTA) — Why did it take sexual assault allegations to collapse Graham Platner’s Maine Senate campaign when the Nazi-linked tattoo was there all along?
Progressive lawmakers, Jewish leaders and conservative commentators posed the question in dozens of exasperated iterations in the hours after Platner announced Wednesday evening that he would suspend his race amid allegations reported by Politico Monday that he had raped a former girlfriend.
“Graham Platner has dropped out of the Maine Senate race amid serious sexual assault allegations,” the CEO of the Anti-Defamation League, Jonathan Greenblatt, wrote in a post on X. “But leaders should not have needed another scandal to act. The Nazi tattoo should have been enough.”
Platner, who won his Democratic primary in June on an anti-Israel progressive platform, faced mounting calls to leave the race after the Politico story ran from Democratic groups and progressive leaders who had formerly supported him, including Vermont Sen. Bernie Sanders. (Platner has denied the allegations.)
But others argued that those backers should have pulled their endorsements months earlier after it surfaced in October that he had a chest tattoo of a Totenkopf, a Nazi-era skull-and-crossbones design favored by SS officers.
At the time, Platner claimed that he had gotten the tattoo while “inebriated” as a young adult when he was on shore leave from a tour of duty in Iraq, without knowing what it meant. A number of people who knew him before his political ascent, including at least one of the women who accused him of sexual misbehaviour, said he had been aware of the symbol’s provenance. When the revelations emerged, he covered up the skull with a Celtic knot.
His campaign had dismissed as irrelevant noise the backlash the tattoo revelation received, as well as criticism over allegations that he had deployed race and gender stereotypes in the past as irrelevant noise.
“I said, ‘None of this will or should stop him from becoming a U.S. senator,’” Daniel Moraff, a progressive strategist who had headhunted Platner, told The Wall Street Journal last month, before the Politico revelations, about Reddit posts that included homophobic and ableist epithets unearthed in the vetting process. The firm that vetted Platner did not uncover anything about his Nazi tattoo, Moraff said.
The tattoo didn’t seem to be a dealbreaker for voters, either, since he coasted to victory in the June primary after his primary opponent, Gov. Janet Mills, suspended her candidacy in late April, saying her campaign could not afford to continue.
Now the Maine Democratic Party is considering replacements for the disgraced candidate, but the question of why his backers ignored warning signs still looms.
Brian Romick, the president and CEO of the Democratic Majority for Israel, told JTA in a statement that he didn’t understand why progressives had supported “a candidate with so many obvious red flags, including an allegation of sexual assault and a Nazi tattoo.”
And Halie Soifer, the CEO of the Jewish Democratic Council of America, which did not endorse Platner, told the Forward ahead of Platner’s exit that “a lesson for Democrats is that we shouldn’t compromise.”
“There were red flags about Platner from the outset,” Soifer said. “They just continued to compound on each other as more stories came out. But the Nazi tattoo for us alone was one too many.”
On Tuesday, New Jersey Democratic Rep. Josh Gottheimer argued that warning signs had been apparent long before the latest allegation.
“I said it in June: Nothing about this guy was right. From the first abuse allegations to his Nazi tattoo, the red flags were there. His endorsers just chose to accept them,” Gottheimer wrote in a post on X.
New York State Sen. Julia Salazar, a Democratic Socialist, also argued that supporters had made a mistake by overlooking Platner’s tattoo.
“Sorry to the well-intentioned people who made the mistake of supporting this guy. But: having a Nazi tattoo doesn’t pass the sniff test for running for US Senate, nor did his excuses. And far worse that he faces a credible allegation of rape,” Salazar wrote in a post on X.
Jewish Republicans said the Democratic response to Platner’s campaign was too late.
“I didn’t support Graham Platner as soon [as] we all learned he’s a Nazi,” Republican Max Abrahms, a political scientist focusing on terrorism, wrote in a post on X. “For the Democratic Party his being a Nazi wasn’t disqualifying. They viewed it as an asset. Platner matters politically for what he says about mainstream Democrats.”
The Republican Jewish Coalition also took aim at Democratic leaders who had stood by Platner earlier in the race.
“American Jews will never forget that leading Democrats chose to stand with Graham Platner KNOWING FULL WELL THAT HE HAD A NAZI SS CONCENTRATION CAMP GUARD TATTOO,” the group wrote in a post on X. “There is only ONE party where American Jews can be proudly Jewish and loudly pro-Israel: @Republicans.”
This article originally appeared on JTA.org.
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