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How ‘Had Gadya’ inspired famed Catholic painter Frank Stella, a leader of the Minimalist art movement

(New York Jewish Week) — “Had Gadya,” the playful song about a destructive chain of events starting with one little goat, may be best-known for rousing sleepy children at the end of a long Passover seder.
But it is also the basis for a series by Frank Stella, the 87-year-old Catholic American artist credited with catalyzing the Minimalist movement of the 1960s. His 12 vibrant, abstract “Had Gadya” prints, completed between 1982 and 1984, are now on display at the Dr. Bernard Heller Museum in New York City.
The works were loaned by collector Elissa Oshinsky for a tour of the Los Angeles, Cincinnati and New York campuses of Hebrew Union College-Jewish Institute of Religion (HUC-JIR). The Heller Museum at HUC-JIR celebrated its exhibition opening on Sept. 7 and will host it until Feb. 29.
“Had Gadya” is one of the earliest children’s songs in recorded history, dating back to a 14th-century prayer book from Provence. It appeared in a manuscript attached to the Prague Haggadah of 1526, then in print for the first time in the Prague Haggadah of 1590.
Each of Stella’s prints follows a stanza of the song, which details series of disasters in the style of a cumulative nursery rhyme. A father buys a little goat, which is eaten by a cat. The cat is bitten by a dog, the dog beaten by a stick, the stick burned by a fire, the fire quenched by water, the water drunk by an ox, the ox slaughtered by a butcher, the butcher killed by the Angel of Death — who is finally slain by “the Holy One, Blessed be He.”
In Stella’s abstract rendition of “Had Gadya,” this narrative is driven by dynamic, repeated shapes and colors, said Jean Bloch Rosensaft, the director of the Heller Museum.
“The repetition of different forms, from piece to piece, creates a kind of continuity, telling that lyrical story of successive acts of victimization that are ultimately resolved by God to bring peace and order to the world,” Rosensaft told the New York Jewish Week.
Stella, 87, who was not available for an interview, took inspiration from a 1919 series of “Had Gadya” illustrations by the Russian-Jewish avant-garde artist El Lissitzky. The museum exhibit shows Lissitzky’s lithographs, full of Yiddish typography and shtetl settings, next to Stella’s versions.
From left: Frank Stella, “Had Gadya: Back Cover,” 1984 and “Had Gadya: Then came a dog and bit the cat,” 1984. Collection of Elissa Oshinsky. (©2023 Frank Stella/Artists Rights Society [ARS], New York)
In Lissitzky’s original works, the story of “Had Gadya” — and God’s intervention in the final act — was a metaphor for Jewish victory after the Russian Revolution of 1917. Then, under the new Soviet regime, Jews briefly found freedom from persecution, a triumphant moment that elevated Jewish artists such as Lissitzky and his contemporary, Marc Chagall. Unfortunately, that window of opportunity had closed by 1932, as Stalin waged war on avant-garde and Jewish art. Lissitzky’s “Had Gadya” was among the first works to be destroyed by Stalin’s government and only a few copies survive.
Stella first saw Lissitzky’s illustrations while visiting the Tel Aviv Museum in 1981. Marc Scheps, then-director of the museum, recalled in a 1986 exhibition catalog that the artist stood in front of Lisskitzky’s pieces and said, “maybe I’ll do something about these.” The famously terse artist was known for heralding Minimalism with his remark,“what you see is what you see.”
Although Stella is a Catholic Italian-American who grew up in Massachusetts, European Jewish themes are prominent in his work. As a breakthrough artist in his early 20s, he gave his 1958-59 black pinstripe paintings the titles “Arbeit Macht Frei” (“Work Sets You Free,” the slogan on the entrance gate to Auschwitz); “Reichstag” (the German parliament building that burned in 1933 as the Nazis consolidated their dictatorship), and “Die Fahne Hoch” (“The Flag High,” the first words of the Nazi Party anthem).
In 1960, his painting “The Final Solution” depicted an equilateral cruciform — a Catholic symbol of martyrdom, as well as a shape that Stella called a “truncated swastika.” Later, during a lengthy hospitalization in the 1970s, he produced thousands of drawings and 130 mixed-media paintings inspired by photographs of Polish wooden synagogues that were built in the 17th-19th centuries and destroyed in the Holocaust. He titled the paintings after the burned synagogues’ lost communities, saying that he wanted to commemorate “the obliteration of a culture.”
Stella was a child when the United States went to war with the Nazis, an enemy whose visual impact stayed with him. His artistic eye developed during trips to the movies, which frequently showed newsreels of Nazi rallies and marching soldiers. In the 1976 catalog for “Frank Stella: The Black Paintings,” his exhibition at the Baltimore Museum of Art, he said that the painting “Die Fahne Hoch” — which comprises black bands of paint crossing narrow, bare spaces of canvas — reminded him of a waving flag.
“The thing that stuck in my mind was the Nazi newsreels — that big draped swastika — the big hanging flag — has pretty much those dimensions,” he said of the proportions of his canvas, which was 10’1” by 6’1”.
A detail of the “Chad Gadya,” with illustrations by “LOLA” from the 1928 Hebrew Publishing Company “Haggadah.” (Wikipedia)
Another deep influence on the artist was his circle in New York during the 1950s, ’60s and ’70s, according to art historian Carol Salus. Stella was close to many Jewish friends, art critics, dealers and museum directors. Perhaps most formatively, he was married to the Jewish art critic Barbara Rose between 1961 and 1969. During that time, Rose traveled to Berlin to confront her anxieties tied to the Holocaust. Mark Godfrey, the author of “Abstraction and the Holocaust,” reported her saying, “The thing I was most afraid of was Nazis, so I went to live with them.”
Rosensaft, herself the child of Holocaust survivors, said she believed that Stella absorbed from his surroundings “a kind of Jewish soul.”
The words of “Had Gadya” have prompted various interpretations among rabbis, scholars and ethnomusicologists. Some say the little goat represents the Jewish people and each successive attack represents a world power that exiled the Jews, such as Assyrians, Babylonians, Persians, Greeks, Romans and the Crusaders. Others say the song is about God’s triumph over all, even the Angel of Death.
For Rosensaft, the “Had Gadya” exhibition mirrors a world of proliferating tragedies while offering hope and redemption in God’s final victory over death. Four decades after Stella completed the series, she believes it will resonate with museum visitors who feel caught in a continuous onslaught of suffering — whether their afflictions come from environmental disasters, endemic racism, refugee crises or fall-out from the COVID-19 pandemic.
“What I am so taken with in Stella’s ‘Had Gadya’ is ultimately his message that hope and goodness prevail — that there is hope, there is the possibility of a brighter, better future,” she said.
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Australia’s Spy Chief Warns Surge in Antisemitism Across Country Has ‘Not Yet Plateaued’

Southern Sydney Synagogue in the suburb of Allawah, Australia, was vandalized with antisemitic graffiti on Jan. 10, 2024. Photo: Screenshot
The head of Australia’s domestic intelligence agency has revealed that five major terrorist plots were prevented over the past year, amid a wave of antisemitic incidents in recent months that has alarmed the country’s Jewish community.
Mike Burgess, director-general of the Australian Security Intelligence Organization (ASIO), delivered his annual threat assessment on Wednesday, warning that Australia has never faced so many serious national security threats at once. The agency declassified its security outlook for the next five years, raising concerns about the increasing threat of state-sanctioned murder.
Burgess disclosed that his organization had identified “at least three” countries plotting to “physically harm people” living in Australia over the past 12 months.
“It goes without saying that plots like these are repugnant,” he said. “They not only involve plans to hurt people — obviously bad enough — they are shocking assaults on Australian sovereignty and the freedoms we hold dear.”
Based on the agency’s predictions, the coming years will be more volatile and dangerous as countries like Russia and Iran become increasingly aggressive, the spy chief asserted.
“Over the next five years, a complex, challenging, and changing security environment will become more dynamic, more diverse, and more degraded,” Burgess said during his speech at ASIO headquarters in Canberra on Wednesday night.
“If the spy game has a rule book, it is being rewritten. If there are red lines, they are being blurred — or deliberately rubbed out.”
When speaking about the shocking surge in antisemitic attacks that have been spreading across Australia since the beginning of the war in Gaza in October 2023, Burgess warned these incidents might only get worse as extremists are increasingly self-radicalizing and “choosing their own adventure” toward potential terrorist activity.
“Threats transitioned from harassment and intimidation to specific targeting of Jewish communities, places of worship, and prominent figures,” he said. “I am concerned these attacks have not yet plateaued.”
Several Jewish sites in Australia have been targeted with vandalism and even arson in recent months, continuing a rise in antisemitism that began with the Palestinian terrorist group Hamas’s Oct. 7, 2023, invasion of and massacre across southern Israel, amid the ensuing war in Gaza. A recent report from the Executive Council of Australian Jewry (ECAJ) found that antisemitism in Australia quadrupled to record levels following the outbreak of the Gaza war, with Australian Jews experiencing more than 2,000 antisemitic incidents between October 2023 and September 2024.
Burgess described how narratives originally centered on “freeing Palestine” have expanded to include incitements to “kill the Jews.”
Last week, Australia experienced its latest scandal in which two nurses were caught on video vowing to kill Israeli patients, prompting outrage from authorities.
At Bankstown Hospital in Sydney, two nurses, Ahmad Nadir and Sarah Abu Lebdeh, were seen making inflammatory statements in a video that surfaced online, during a night-shift discussion with Israeli social media personality Max Veifer.
The footage featured Lebdeh stating she would refuse to treat an Israeli patient and would instead kill them, while Nadir used a throat-slitting gesture when he confessed to having already killed many.
“It’s Palestine’s country, not your country, you piece of s—t,” Lebdeh told Veifer. “One day your time will come, and you will die the most disgusting death.”
After the video went viral, both nurses were suspended and permanently barred from employment within the New South Wales state health system.
Following the incident, the health minister of the state of Victoria, Mary-Anne Thomas, directed health-care facilities across the state to remove anti-Israel and pro-Palestinian badges and markings, declaring that political displays in hospitals are “unacceptable” and “will not be tolerated.”
Jews in Australia have questioned their safety at hospitals across the country amid a flurry of anti-Israel and even anti-Jewish animus coming from health-care facilities.
Last year, ASIO raised the national terror threat level from possible to probable and warned Australian defense personnel about being targeted by foreign spies.
“Australia has entered a period of strategic surprise and security fragility,” Burgess said on Wednesday.
As the country’s federal elections approach in the coming months, the federal government warned foreign embassies about attempts to interfere, including planting news stories about candidates or instructing people on how to protest.
Burgess warned that “high-impact sabotage,” such as attacks on nuclear-powered submarines or major cyberattacks, is becoming more likely, along with “state-sponsored or state-supported terrorism.” He singled out Russia, which could target Australia due to its support for Ukraine, and Iran as potential threats to Australia and its allies.
“A small number of authoritarian regimes are behaving more aggressively, more recklessly, more dangerously,” he said. “More willing to engage in what we call ‘high-harm’ activities.”
Burgess’s comments came after law enforcement in Australia last month started an investigation into the origins behind the spree of recent antisemitic crimes, announcing they suspect individuals outside the country have coordinated the campaign of hate.
Burgess also revealed that cyber units from at least one nation-state “routinely try to explore and exploit Australia’s critical infrastructure networks, almost certainly mapping systems so they can lay down malware or maintain access in the future.”
The post Australia’s Spy Chief Warns Surge in Antisemitism Across Country Has ‘Not Yet Plateaued’ first appeared on Algemeiner.com.
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Israeli Singer Noa Kirel Leads New Rom-Com Series With Argentine Pop Star Agustin Bernasconi

Agustín Bernasconi and Noa Kirel co-star in the new series “NOA.” Photo: Provided
Israeli singer Noa Kirel is starring alongside Argentine actor and fellow pop singer Agustín Bernasconi in a new music-centered romantic comedy series that will begin filming in March, The Algemeiner has learned.
The 25-episode series “NOA,” which will be filmed entirely in Argentina, is a global co-production from Argentina’s FAM Contenidos and Israel’s entertainment studio Sipur.
In the series, Noa (Kirel) travels to Argentina to meet her boyfriend, after months of having a long-distance relationship, but things don’t turn out the way she thought they would. She then meets Tomy (Bernasconi), “a young man who tries to reconcile with his past and forge a new life away from music, all while Noa begins a journey of discovery in search of her musical identity, while dealing with pressure from her parents and her new reality in Buenos Aires,” according to a provided synopsis.
Kirel is a singer, rapper, songwriter, dancer, and actress. She competed on behalf of Israel in the Eurovision Song Contest in 2023 and finished third with her song “Unicorn.” She was also formerly a judge on “Israel’s Got Talent.”
Bernasconi is an Argentine actor, singer, composer, and musician, with over 100 million views on YouTube.
“It will be a great experience to star in the series with Noa,” said Bernasconi. “She is an exceptional artist, and we complement each other very well.”
“NOA” producer and Dori Media Group founder Yair Dori, who originated the series, said: “I am very proud to be part of this great project, which I believe will have a very solid performance worldwide.”
Sipur CEO Emilio Schenker added: “NOA marks the beginning of our co-financing and co-producing major IP franchises globally. I can’t think of a better team or first project to invest in outside of Israel. It fits perfectly with our mandate to bring high-quality fiction, documentary, and unscripted projects to the world through high-level strategic partnerships and the support of powerful investors.”
Sipur’s latest projects include the Hebrew-language scripted drama series “Bad Boy,” from original “Euphoria” creator and Academy Award-nominated screenwriter Ron Leshem and Hagar Ben-Asher. Netflix acquired streaming rights for “Bad Boy” in November 2024. Sipur’s recent works also include the medical thriller series “Heart of a Killer,” starring “Tehran” lead actress Niv Sultan, the documentary “We Will Dance Again,” “The Devil’s Confession: The Lost Eichmann Tapes,” and the documentary series “Munich ’72” about the Palestinian terrorist attack on Israeli athletes at the 1972 Olympic Games in Munich, Germany.
The showrunners for “NOA” are Alejandro Cacetta and Mili Roque Pitt, and the director is Mauro Scandolari.
The post Israeli Singer Noa Kirel Leads New Rom-Com Series With Argentine Pop Star Agustin Bernasconi first appeared on Algemeiner.com.
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Freed Hamas Hostage Agam Berger Begs Trump to Help Get Israeli Captives Home: ‘Don’t Stop Until All Are Back’

Released Israeli hostage, Agam Berger, a soldier who was seized from her army base in southern Israel during the deadly Oct. 7, 2023 attack by Hamas, is reunited with her parents following her release, in a handout photo obtained by Reuters on Jan. 30, 2025. Photo: Israel Defense Forces/Handout via REUTERS
Former Hamas hostage Agam Berger urged US President Donald Trump to continue pushing for the release of the remaining Israeli hostages in a Hebrew-language video message that the president shared on his Truth Social app on Monday night.
A soldier in the Israel Defense Forces, Berger, 20, also thanked Trump for helping to secure her release from Hamas captivity in Gaza last month.
“I want to take this chance to say to you, President Trump: Thank you from the bottom of my heart for everything you’ve done and continue to do for the hostages,” Berger said in the clip. “Thanks to you, we’re home. But we must remember there are still people who truly depend on you and are waiting for you to save them. They’re waiting for your help and you have the power to do it.”
Berger was kidnapped from the IDF’s Nahal Oz military base on Oct. 7, 2023, along with four other Israeli soldiers. Dozens of IDF soldiers were murdered at the military outpost. Berger was released from Hamas captivity in January a week after four of her fellow IDF soldiers, as part of a ceasefire agreement between Israel and the US-designated terrorist organization.
The ceasefire deal took effect the day before Trump entered office last month and it put a pause to the 15-month war in Gaza. The agreement was mediated by the outgoing Biden and incoming Trump administrations, and the framework of the agreement was agreed upon last year.
“I beg you, don’t stop until all the hostages, both living and deceased, are brought back as quickly as possible,” Berger also told Trump in her video message. She then talked about her time in Hamas captivity, saying: “I went through many hardships there. The days didn’t pass. They stood still. Every night and day felt eternity. That’s how those [hostages] still feel there.”
“We must act fast to bring everyone home. They’re just waiting to be rescued,” she added.
Monday marked 500 days since Hamas-led Palestinian terrorists infiltrated southern Israel on Oct. 7, 2023, slaughtered 1,200 people, and took 251 hostages back to the Gaza Strip. Seventy-three men, women, and children remain in Hamas captivity. The bodies of four deceased hostages will be returned to Israel on Thursday, two days before the next round of living hostages will be released.
The post Freed Hamas Hostage Agam Berger Begs Trump to Help Get Israeli Captives Home: ‘Don’t Stop Until All Are Back’ first appeared on Algemeiner.com.