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These NYC college students want to kickstart a Jewish arts renaissance
(New York Jewish Week) – On a mild Thursday evening in late March, some 100 people gathered at Kistuné, a hip café and bar in the West Village that’s associated with the French-Japanese “lifestyle brand” of the same name.
Sipping on custom-designed cocktails — like the Refusenik, a Moscow mule with a “resilient mix of vodka, ginger beer and lime” or the Tamar Collinsky, a Tom Collins reimagined and given “very possibly the name of someone you went to summer camp with” — guests mingled, discussing topics as varied as college classes, career choices and their favorite poetry.
Nearly everyone in the room was a Jewish artist or writer; the gathering was to celebrate the launch of “Verklempt!”, a new quarterly print magazine that bills itself as “The Magazine of Jewish Art and Literature.” The 75-page first issue is filled with paintings, photographs, drawings, poetry and fiction solicited from more than 30 Jewish artists around the country.
“We see the Jewish community as a place where people want to engage with fiction and poetry more seriously,” editor-in-chief Yoni Gutenmacher, a 24-year-old creative writing MFA candidate at Brooklyn College, told the crowd, which included two of his brothers and his parents. “This is a personal dream of mine so I’m very happy that it’s real.”
Specialty cocktails were on offer at the launch party of “Verklempt!” (David Gutenmacher)
The aim of “Verklempt!” (Yiddish-English slang for “overcome with emotion”) is to publish and amplify art and literature with a specifically Jewish lens — hopefully in a way that encourages pursuing art as part of a spiritual journey, Gutenmacher explained. A painting of a man praying with tefillin and tallit; a poem about Leopold Bloom, the Jewish anti-hero of James Joyce’s “Ulysses” and a collage of the Lubavitcher Rebbe and a drawing of a half-drunk bottle of Kedem grape juice all grace the pages of the first issue, whose theme is, fittingly, “On Creation.”
“I write fiction and I have a whole friend group and community in New York who aren’t Jewish, and if they are, they’re not really interested in religious or communal Jewish life,” Gutenmacher told the New York Jewish Week. “Then I have my Jewish life on the Upper West Side and all my friends from summer camp and school and everything else who are not really interested in engaging with high quality literature and art. At certain points in my life, I felt like I kind of have to choose.”
By working on “Verklempt!” he’s come to understand that those choices shouldn’t have to be so mutually exclusive, he said.
The journal is a project of Havurah (Hebrew for “fellowship”), an organization founded by two Modern Orthodox sophomores at NYU whose lofty but determined vision is to be the “bearer of a new Jewish renaissance” for young Jews in New York, according to their impressively designed website.
Founded by Daniella Messer and Eitan Gutenmacher (Yoni’s younger brother), Havurah aims to create a gathering place, a “kehila (community) of frum Jewish creatives” — both virtual and IRL — where Jewish artists can meet and mingle, make art, perform and share ideas about how all of those endeavors connect them to religious life. One of their goals, according to the “manifesto” on their website, is to “invigorate a generation of young Jews and restore the Jewish artistic impulse.”
While “Verklempt!” has wide-reaching aspirations — the artists they hope to publish can come from anywhere and be of any age — Havurah was founded to appeal to a hyper-specific community: young New York artists who are dedicated to being Jewish and Jews who are dedicated to being artists.
The idea arose during Gutenmacher and Messer’s freshman year of college in the winter of 2022. “I remember going to Israel over winter break, experiencing such an obvious realization that art and creativity is so integral to religious lifestyles,” Eitan Gutemacher, who is studying studio art at NYU’s Gallatin School of Individualized Study, told the New York Jewish Week. “But [at NYU] for example, in a lot of the artistic programs, if you’re a religious Jew, you are usually the only religious Jew in the classroom, and, more often than not, the only one in the department.”
“Daniella and I wanted to create a community of lively Judaism expressed in any artistic and creative way,” he added.
With funding from the Next Gen Inc., “a start-up style incubator” that’s a project of the World Jewish Congress and World Union of Jewish Students, Havurah pursues their vision through a variety of avenues, including real-life events and performances, such as art fairs, concerts and Torah study conversations held at bars, cafés, apartments and synagogues.
In addition to the physical journal, the organization’s high-design web site publishes essays, interviews, criticism, reviews and Torah commentaries, as well as “Sessions” for musicians, which are professionally mixed video tapings of live music performances similar to NPR’s “Tiny Desk Concerts.”
“When Eitan and Daniella approached us and told us about Havurah, we knew instantly they would be a great fit for our incubator,” Yoni Hammerman, senior manager of the NextGen, told the New York Jewish Week via email. “Their work, to build a university student-run art community, perfectly aligns with NextGen’s mission of amplifying and supporting the voice and the work of Jewish student leaders.”
The Havurah staff — all eight of them are volunteers — believe that their offerings are the first time people who are both deeply involved in their Jewish communities and in their artistic pursuits have had a definable place to gather and collaborate that celebrate both.
“It’s so simple that you’d think it would already exist,” said Yosef Itzkowitz, a 24-year-old artist and poet who has three drawings in the first edition of “Verklempt!” “Jews love writing and art, and love talking about writing and art,” so why not make it happen?” Itzkowitz got involved, he said, after Eitan Gutenmacher reached out via Instagram.
Of course, similar initiatives have and do exist — for example, the fiction journal JewishFiction.net publishes original and in translation work from Jewish writers around the globe, while CANVAS matches emerging Jewish multimedia artists with funders and grants. The Jewish Book Council puts out their literary journal “Paper Brigade” with art, interviews, essays and fiction, once a year.
On Tuesday, the inaugural Jewish Writers’ Initiative Digital Storytellers Lab showcased works by creators taking part in an eight-month fellowship supported by the Maimonides Fund. The work shown at Manhattan’s Rubin Museum included animation for Jewish kids, pop songs about women in the Bible and a podcast about the gay Jewish dating scene in Los Angeles.
According to Yona Verwer, founder of the Jewish Arts Salon — “a global network for Jewish visual art” that does regular programming in New York — while what the group is doing may not be “new,” one of the most exciting things about Havurah is how young its members are and how dedicated they are to the cause.
“Being geared specifically towards people in their 20s” attracts people who have to be “very enthusiastic and very into it,” Verwer said.
“It’s interesting to see this immense interest in Jewish arts” from younger generations, added Verwer, who started the salon in 2008 and now serves as an advisor for Havurah. “When I started the salon, it was something that a lot of people were not interested in. Things have really changed over the years and it’s great to see people so dedicated.”
Yoni Gutenmacher reads a poem at the launch party of “Verklempt!”, March 30, 2023. (David Gutenmacher)
As of now, contributors are unpaid, though there are hopes that the cover price of “Verklempt!” ($10) may help change that. “There’s a lot of places I see where you submit completely unpaid and it is completely not worth my time,” said Kim Kyne, a 32-year-old painter and sculptor from Los Angeles whose painting was in the first edition of the journal.
“What felt different about this is it feels like everyone’s all in it together,” she added. “Yoni and his brother are super humble and super young. What was really attractive to me about it is being connected with all these other Jewish artists in a way that I haven’t been before.”
Messer and the Gutenmacher brothers understand that the media and literary magazine worlds are very crowded spaces, especially in New York. But for now, they are embracing the heimish vibe and say they’ve seen, first-hand, just how many Jewish artists were looking for a space exactly like this. Submissions are already arriving for the next edition of “Verklempt!”, which is set to be published this summer, and according to Gutenmacher, he doesn’t recognize any of the names — meaning no repeats of last time, and no friends submitting as a favor.
“Of course, there are Jewish artists all over the world. But it feels different because it has more of a modern take and the younger feel,” Kyne said. “It feels like the beginning of a movement.”
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The post These NYC college students want to kickstart a Jewish arts renaissance appeared first on Jewish Telegraphic Agency.
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Iran Has Executed At Least 21 People, Arrested Over 4,000 Since Start of War With US and Israel, UN Reports
A February 2023 protest in Washington, DC calling for an end to executions and human rights violations in Iran. Photo: Reuters/ Bryan Olin Dozier
The Islamic regime in Iran has intensified efforts to oppress the civilian population through arrests and executions since the beginning of the conflict with the US and Israel, according to the United Nations.
On Wednesday, the UN Office of the High Commissioner for Human Rights (OHCHR) revealed that Iran had executed at least 21 people and arrested more than 4,000 over the last two months, following the launch of joint US-Israeli strikes on Feb. 28.
Allegations which resulted in death sentences included espionage (two), opposition group membership (10), and involvement with protests (nine).
“In times of war, threats to human rights increase exponentially,” said Volker Türk, the UN High Commissioner for Human Rights.
Türk called for regime officials to “halt all further executions, establish a moratorium on the use of capital punishment, fully ensure due process and fair trial guarantees, and immediately release those arbitrarily detained.”
Iranian courts have reportedly fast-tracked convictions and sentencing in recent months, citing the war as justification.
According to the OHCHR, those detained face brutal conditions, overcrowding, and even torture to coerce confessions. The bodies of some detainees who have died in custody appear to show possible torture. Those detained also experience weaponized medical neglect, a human rights violation which has reportedly led to the deteriorating health of imprisoned Nobel laureate Narges Mohammadi.
In addition to forced confessions, Iranian judges can also resort to the principle of elm‑e‑qazi, a concept in Iran’s Islamic Penal Code which allows a guilty sentence based solely on circumstantial evidence.
Last week, Maryam Rajavi, president‑elect of the National Council of Resistance of Iran (NCRI), spoke about the regime’s executions at the European Parliament in Brussels.
“The mullahs are exploiting wartime conditions to resort to relentless executions to block the path of popular uprisings. Today, political prisoners face the threat of mass killing,” Rajavi said. “The silence of European Union leaders and member states is unjustifiable. And today, I wish to once again raise my voice in protest against this silence in the face of these executions.”
Rajavi added that “a number of young people have been arrested in recent weeks on charges of alleged contact with or support for the Mojahedin Organization,” referring to the People’s Mojahedin Organization of Iran (MEK), an Iranian opposition group.
“The names of a group of them have been submitted to and communicated to international bodies,” she said. “By order of the regime’s judiciary chief, pressure and torture on political prisoners have intensified, and their sham trials and the issuance of criminal sentences have been expedited.”
Stating that 11 political prisoners alleged to be members of the MEK face execution, Rajavi implored that “urgent action must be taken to save their lives. Our position is that a halt to executions in Iran, as a demand of the entire Iranian people, must be included in any international agreement.”
Last month, the Human Rights Activists News Agency (HRANA), an independent group monitoring, released a report documenting that from March 2025 to March 2026, police had arrested 78,907 people on ideological or political grounds.
Executions in the last Iranian year (covering much of calendar year 2025) reached at least 2,488, according to HRANA, with 63 of them women and two children. Drug offenses accounted for 955 executions, approximately three killings per day on average.
The Islamic regime chose to conduct 13 of the executions in public.
Earlier this month, the European groups Iran Human Rights (IHR) in Norway and Together Against the Death Penalty (ECPM) in France released a separate joint report finding that Iran executed at least 1,639 people in 2025, a 68 percent leap from the 975 killed in 2024 and the highest seen since tracking began in 2008. All known executions were reportedly conducted by hanging.
Differences in methodology partially explain the discrepancy in tallies. IHR warned in its report that the full body count is likely much higher, as the group requires two sources to confirm an execution.
Iran’s penal code offers a variety of options for killing a human being, including hanging, firing squads, and even crucifixion or stoning. Hanging was the only method used from 2008 until the firing squad execution of Kurdish political prisoner Hedayat Abdullahpour on May 11, 2020.
In executions for murder under a sentence known as qisas, the Islamic regime encourages the family members of the victim to carry out the killing themselves. IHR has received reports of family members taking advantage of what is regarded as a “right” to do so.
In cases of public executions, prison officials use cranes. This brutal method leaves the condemned suffocating and strangling, lifted above the crowds for as much as 20 minutes before their suffering can conclude.
Photographs have documented children in attendance at public executions in Iran to watch the violence and cruelty. A 2006 study found that 52 percent of 200 children who witnessed public executions in Iran later showed symptoms of post-traumatic stress disorder (PTSD), with “88 suffering re-experiences, 24 avoidance and 62 hyperarousal.”
IHR has not found any executions by stoning since 2010, following the international outcry of the sentencing of Sakineh Ashtiani whose sentence was commuted, allowing her 2014 release.
Given the historical impact of the global community’s condemnations, Iranian officials have sought to hide human rights abuses from the world, imposing an internet blackout for 61 days since the war with the US and Israel began.
“This is denying people across the country access to vital information, silencing independent voices, and inflicting enormous social and economic harm,” Türk said. “It is exacerbating an already precarious humanitarian and economic situation and must be lifted immediately.”
Concluding her address to the European congress in Brussels, Rajavi called on the gathered representatives to implement a new policy toward Iran.
Rajavi advocated an approach that “provides the necessary technical means to ensure the Iranian people’s access to a free internet. Conditions relations with the clerical regime on an end to the execution of political prisoners and the killing of protesters. Brings the regime’s leaders to justice for crimes against humanity and genocide.”
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Norwegian Holocaust Center Defends Decision to Host Event Drawing Parallels Between Holocaust, Palestinian ‘Nakba’
One of the most famous pictures of Jews being rounded up by Nazi Germans during the Holocaust, this from the Warsaw Ghetto Uprising in May 1943. Photo: Wikimedia Commons.
The Norwegian Center for Holocaust and Minority Studies on Wednesday responded to backlash over its decision to host a discussion this week in which parallels will be drawn between the Holocaust and the Palestinian “Nakba” as two “cultural traumas.”
The event on Thursday will focus on the Holocaust, the so-called “Nakba,” and the deadly Hamas-led terrorist attack in Israel on Oct. 7, 2023, as well as the ensuing war in Gaza.
“Nakba,” the Arabic term for “catastrophe,” is used by Palestinians and anti-Israel activists to refer to the establishment of the modern state of Israel in 1948. Activists often invoke the term when discussing the displacement of some 750,000 Palestinian Arabs following Israel’s War of Independence, many of whom left the nascent state for varied reasons, including that they were encouraged by Arab leaders to flee their homes to make way for the invading Arab armies. At the same time, about 850,000 Jews were forced to flee or expelled from Middle Eastern and North African countries in the 20th century, primarily in the aftermath of Israel’s declaring independence.
Thursday’s event will feature Nadim Khoury, an associate professor at the University of Inland Norway, who will explore how the Holocaust and “Nakba” are “traumas [that] have shaped Israeli and Palestinian national narratives and how they have functioned as competing cultural traumas,” according to a description of the event.
“[Khoury] will trace their trajectories since 1948 and explore how they are intertwined and how the tensions between them are shaping the path forward in Israeli and Palestinian lives,” the description further states. “What meaning, he asks, does the entanglement of the Holocaust and the Nakba gain in the shadow of October 7 and the war on Gaza?”
The event is part of the lecture series, “In the Shadow of War – the Way Forward,” which is a collaboration between the Norwegian Holocaust Center and the University of Oslo.
In a written statement to The Algemeiner on Wednesday, Jan Heiret, director of the Norwegian Holocaust Center, claimed the event will make no attempts to equate the Holocaust to the “Nakba,” despite the event’s description stating the contrary.
“The question of how the Holocaust and the Nakba as historical traumas can be understood, acknowledged, and remembered, without thereby constructing a kind of competition between trauma and victimhood, is crucial for any path to future peace and reconciliation,” he said. “To find a way out of a destructive spiral of hatred, dehumanization, and violence, we must understand the long-lasting ‘shadows’ of historical traumas. Without equating, or even putting up, the Holocaust with the Nakba – which would be a historical distortion given the events are so different in nature, course, and scope – we acknowledge that the consequences for the individuals and collectives traumatized by them are interconnected, and that the denial of the trauma of the other lies at the core of the dynamics of the Israeli-Palestinian conflict.”
The Israeli embassy in Norway said on Tuesday that the center’s decision to host the event is a “grotesque distortion of Holocaust memory.”
“It dishonors the memory of more than 750 Norwegian Jews murdered by the Nazis and their Norwegian collaborators, and betrays the very purpose for which this institution was established,” the embassy wrote in a post on X. “A center founded to preserve Holocaust remembrance has chosen political activism over historical responsibility. This is not education. It is moral failure. The planned events should be canceled immediately, and the center must return to its core mission: safeguarding Holocaust remembrance and confronting antisemitism – not legitimizing its modern forms.”
Israel’s official X account in French published the same statement on Tuesday.
Khoury teaches classes at the University of Inland Norway about the history of political thought and international relations. He has published literature that repeatedly accuses Israel of committing a “genocide in Gaza,” a “genocidal war,” and a “second Nakba” in Gaza during its war with the Hamas terror group. He has also written articles accusing Israel of “occupation” and “apartheid.”
When asked about Khoury’s anti-Israel comments, Heiret told The Algemeiner that he is invited to speak at Thursday’s event as “an independent scholar” and does “not speak on the behalf of” the institution. “This is a principle that guides all our events and should be well known,” he added.
Heiret added that as part of the center’s lecture series, it hosts speakers “who shed light on important aspects of what may be the consequences of the Gaza war, but also: whether there are ways out of the destructive spirals of violence, oppression, and hatred.”
As part of the series, the institution was scheduled to hold an event titled “Recognizing and Denying the Trauma of the Others,” which was set to take place on March 10 but was pushed to May 7 and then ultimately canceled. Martin Auerbach, former clinical director of the National Israeli Center for Psychosocial Support of Survivors of the Holocaust and the Second Generation (AMCHA) in Jerusalem, was invited to be a speaker at the event but had trouble traveling out of Israel due to the war with Iran, according to Heiret. The center will try to reschedule the event for the fall, he added.
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How to Respond to the Moment: After the Rupture, the Rebuild
Reading from a Torah scroll in accordance with Sephardi tradition. Photo: Sagie Maoz via Wikimedia Commons.
I often teach with photographs. In my Politics and geography course, I not only present arguments, data, figures, and charts, I show pictures – of faces, streets, institutions, and the lived texture of how people organize themselves into communities and nations. I keep piles of images, catalogs, and books that I return to each semester, selecting and setting aside, trying to find the picture that will do the work a paragraph of writing cannot achieve.
Wrapping up the spring semester, sorting through those piles, I came back to Maya Benton’s Roman Vishniac Rediscovered. It had been months since I had opened it. I had not used it this term and was prepared to reshelf it, and then I stopped and looked through it.
I paused and I then gasped. I had completely forgotten how hard these photographs hit.
We tend to remember Vishniac for the images he made in Eastern Europe before the war with faces marked by poverty, communities suspended between endurance and fragility, a world that now feels both intimate and impossibly distant. Those photographs read, in retrospect, like a warning. The New York photographs, taken just a few years later after Vishniac arrived in the city on New Year’s Day 1941 having escaped internment in Nazi-occupied France, read like something else. They read like a response.
At first glance, the images are almost disarmingly ordinary. Children sit in classrooms. Boys cluster in hallways. Girls lean over desks. There are games, gatherings, moments of quiet instruction and supervised play. Nothing announces itself as extraordinary. But the longer you look, the more deliberate everything appears. These are not scenes of life unfolding. They are scenes of life being organized.
Benton’s scholarship makes the construction explicit. Many of these photographs were commissioned by the Joint Distribution Committee and other Jewish philanthropic organizations documenting and in some sense justifying the work they were doing in a new American context. Settlement houses, community centers, schools, youth programs: the infrastructure of a transplanted community. The camera was not wandering. It was directed. It was capturing not just people, but systems. As the historian Hasia Diner observes in her essay for the Benton volume, the Jewish child in New York is the emotional and strategic center of this archive; photographed again and again, by a people who understood that the next generation was the plan.
The contrast is unmistakable when you hold the two bodies of work together. In Europe, Vishniac’s subjects often appear precarious even when dignified: children thin, environments worn, futures uncertain. In New York, the children are sturdy, structured, embedded in institutions designed to carry them forward. They are not simply living Jewish lives. They are being prepared for them.
Preparation, here, is everything.
After the Shoah, Jewish life did not regenerate spontaneously. It was rebuilt — deliberately, systematically, and often quietly — through institutions. Schools transmitted identity. Community centers created belonging. Camps, classrooms, and after-school programs became the mechanisms through which a dispersed and traumatized people ensured that there would be a future at all. Continuity and formation was not treated as an inheritance. It was treated as a responsibility. L’dor v’dor – “from generation to generation” – was not taken or considered a sentimental phrase. It is a theory of formation and resilience, and these photographs are what it looks like in practice.
I closed the book thinking about my son. He is coming into his own now and he loves being Jewish. He asks questions; real ones, the ones that may you pause and think about how to answer, the kind that do not settle for a first answer. He is looking for community in a world that has made plain, in the months since October 7, that it is not always on his side. He wants to know where he fits, who his people are, what tradition is asking of him. He wants to belong to something older and larger than himself.
And I find myself asking a question that Vishniac’s New York children never had to ask on their own behalf, because the adults around them had already answered it. Will the institutions be there? Will there be places where my son can practice being Jewish with other Jews, learn the texts, observe the holidays, form the friendships that last, and develop the habits of mind and values that make a Jewish life possible? Being Jewish is not a solo activity. It is inherently social, communal, structured. It requires spaces, budgets, teachers, clergy, tables, calendars. It requires other people showing up, year after year, for reasons that are not reducible to individual preference.
The data are not encouraging. Pew’s 2020 study of Jewish Americans documented significant declines in synagogue membership and attendance, in denominational identification, in day school enrollment, in attachment to Israel. Jack Wertheimer, writing in Tablet, described non-Orthodox congregations as “hemorrhaging members, aging, merging, and closing.” The institutional map that Vishniac photographed has, in many American cities, thinned considerably. Buildings are sold. Schools consolidate. Federations struggle. The scaffolding that was built in the 1940s has not been uniformly maintained.
And yet the UJA-Federation of New York’s 2025 recontact study — conducted after October 7 — found that a majority of Jewish adults in New York reported increased engagement in some form of Jewish life since the attacks. While not a national study, roughly one in five in New York reported increased participation in specifically communal Jewish life: attending Jewish museums, cultural events, adult education, JCCs, Chabad. Synagogue attendance, by some measures, ticked up. People showed up. They wanted to be with other Jews. They wanted to do Jewish things in Jewish places.
That is the Vishniac parallel made present in his images. In the 1940s, the institutions were built before anyone could be certain who would fill them. Today, the people are arriving and searching despite being wounded over the past few years, and the question is whether the institutions are still there, and strong enough, to receive them. The 1940s answer was construction. The 2020s answer has to be the same. Reconstituting. Reformulating. Rethinking and rebuilding what has atrophied and building anew where the old forms no longer fit and apply.
This is often described as resilience. Resilience is too soft a word in today’s situation. What Vishniac documented, and what this moment demands, is something closer to discipline; the kind that prioritizes long-term survival over short-term ease, that invests in institutions even when the payoff is not immediate, that understands community as something to be maintained rather than merely felt. It is the work of people who do not assume that identity will take care of itself.
I want my son to inherit a Jewish life that is thick rather than thin and authentically rooted rather than curated with a focus on the communal and the individual. I want him to walk into synagogues and schools and camps and community centers that are full, confident, and alive and are places built by people who understood, as Vishniac’s subjects understood, that continuity is not ambient or emerges by fiat. It is constructed.
The Vishniac photographs do not tell us what to build. They do something more useful. They remind us that building is the work, and that the work does not end with one generation. The men and women who commissioned those photographs are gone. The children in them are now old or gone. The institutions they built have carried us this far.
Whether they carry our children further is up to us.
Samuel J. Abrams is a professor of politics at Sarah Lawrence College and a senior fellow at the American Enterprise Institute.
