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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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Marilyn Monroe would be 100 today. Are we making too much of her conversion?
Back in 2019, Marilyn Monroe’s menorah, a gift from her former in-laws, sold at auction for more than $112,000. The candle in the wind jokes wrote themselves, but how exactly the tragic actress lived her life has long been a point of Jewish fascination.
The effort to make Monroe a Jewish icon is almost certainly strained, though not baseless.
Born Norma Jean Mortenson, she converted to Judaism in 1956 ahead of her nuptials with Arthur Miller. That this detail still commands such attention can’t easily be divorced from certain stereotypes of their mismatched pairing: the beauty and the brain. He, balding and bespectacled, she, a peroxide paragon of bombshell beauty. Philip Roth didn’t need to write about it — Joyce Carol Oates did instead.
But Monroe’s attachment to Judaism, beyond leaving behind such effects as the menorah and an annotated siddur (sold for $21,000 in 2018), may be overstated, even as she continued to identify as a “Jewish atheist” after her 1961 split with Miller. That she engaged with her lessons with some seriousness, according to the rabbi who converted her, may be more a testament to her curiosity and intelligence than a true demonstration of faith.
In 2015, the Jewish Museum in New York offered a useful contrast. An exhibition hosted Andy Warhol’s portraits of Monroe and Elizabeth Taylor presented as a diptych. Taylor’s conversion came about after the death of a Jewish husband and remained important to her through the rest of her life, extending to pro-Israel causes and activism on behalf of Soviet Jewry. (Taylor was buried by a rabbi, Monroe by a Lutheran minister.)
Both women had their films banned in Egypt on account of their adopted faith — in the case of Taylor, this meant completing Cleopatra in Rome. Only one could be said to have lived a thoroughly Jewish life, though Monroe’s death is certainly a mitigating factor, the subject of so many “what ifs.”
When we look at Marilyn as a coreligionist, it may say more about us than her. I suspect the fact she didn’t “look Jewish” is what makes her affiliation matter to so many.
But the affiliations that truly matter are in the credits: Billy Wilder, Tony Curtis, Charles Lederer, Lee Strasberg. The work, or Avodah, is captured in celluloid: the way Sugar Kane takes a belt from her flask and tucks it in her garter or Lorelei Lee swats at her suitors with a fan.
It is Marilyn, not Norma Jean, not Miriam bat Sarah, who continues to have immense cultural cachet, already long exceeding her brief time on earth.
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Retracing the epic journey of the world’s oldest Jew
I, A Wandering Jew. A Five-Century History of our Modern Condition
Yair Mintzker
Princeton University Press, 272 pages, $29.95.
My father, an American-born son of Belarusian immigrants, bought the record when it first came out in 1960 and we enjoyed listening to it to no end. Mel Brooks and Carl Reiner’s album The 2,000 Year Old Man featured Brooks as a somewhat laconic old man who responded in Yiddish-inflected English to Reiner’s guileless questions about his long life.
The improvised sketch had apparently begun 10 years earlier, when Reiner, who worked with Brooks on a TV show, turned to him, while testing a new tape-recorder, and asked, “Is it true you were at the scene of the Crucifixion, 2000 years ago?” Jesus Christ, Brooks quipped, was a “nice boy, wore sandals.” William Shakespeare, however, had “the worst penmanship” and when asked if he knew Joan of Arc, Brooks blurted out, “Knew her? I dated her!”
As a kid of 9, I didn’t think that their shtick was anything other than funny. But in retrospect, I can see that the Yiddishkeit tone and audacity of the conceit also answered something bigger and much more sinister. The Shoah had only just ended, the weekend before, as it were. So, the immortality and know-it-all comedy of Brooks’ hero expressed resiliency and social integration in the face of nothing less than genocide. “The 2000 Year Old Man” was, in a Borscht Belt voice, an affirmation of life. My fondness for Brooks resurfaced during the haze of high school, and remained in the back of my mind as decades went by, but it wasn’t until reading Yair Mintzker’s new book, I, Wandering Jew, that I came to appreciate another dimension of its significance, namely, its evocation of the figure of the Wandering Jew.
Originally, the Wandering Jew was an antisemitic trope Christians used to explain the marginality and foreignness of Jews in European society. A cobbler stood at the doorstep of his Jerusalem shop, according to the story, as Jesus labored by, hauling his burden to his death. Refusing his request for help, Jesus cursed the cobbler, who inexplicably came to be known as Ahasverus, the name of a Persian king, to live eternally in exile until the Second Coming. The Jews were thus condemned to a de-territorialized, homeless fate as Christ deniers.
Ahasverus appears and reappears in various forms over the course of European history — often as a tall, severe man who spoke several languages, never laughed and criticized people for moral failures. His story spread in ballads, poems and novels — and eventually in Nazi propaganda — to support the claim that Jews were not only alien to European culture and society but could never live together with Aryans.
Mintzker, a Princeton history professor, has written an intriguing book that traces the legend of the Wandering Jew over the centuries in reverse chronological order, eventually to arrive at the salience of the figure’s story in the author’s own life and times.
The first of his five examples is set in Israel, just a few years after the nation achieved independence, when a mysterious man, known by some as Ben Shoushan, caught the attention of a journalist as he disembarked at the port of Haifa with a forged Moroccan passport that dated his birth in 1902. He seemed to be both middle-aged and ageless, perhaps mad or possibly a genius. The author Eli Weisel had met him at one point immediately after the war and also couldn’t quite make sense of who he was — perhaps a “Kabbalist, comedian and anarchist”? The mystery man, lacking an origin or an income, claimed to speak 30 languages and was said to love riddles.
He spent time in two religious kibbutzim near Tel Aviv. The kibbutzniks recalled him as a harsh, unbearable, eccentric man who lectured on the Talmud, rotating between the communities until he was expelled from both. Leaving Israel in 1956, he was spotted in a Jewish community in Uruguay, where he was regarded as a Wandering Jew, an identity he apparently embraced. In other words, Shoushan was at once a real person, in Mintzker’s view, who also seemed to project a post-Holocaust trope, as of the survival of the Jewish stranger but also the survival of the unconventional Jewish intellectual.
Another version appeared in The Nag, which was an allegorical, 1873 Russian novel by Sholem Yakev Abramovitch in which a broken-down, talking horse declares herself to be a “wandering mare” and demands justice rather than mercy from her tormentors. Abramovitch’s image of the Wandering Jew was somewhat veiled, although the reticent, pitiful animal does admit to being both a horse, passing from one harness to another, and something else. Unable to live or die, she says she wants only to belong — but is dismissed as not human.
In Jewish Memorabilia, Jacob Schudt, who was a Protestant scholar from Frankfurt, adopted the sort of doctrinal view of the legend that the eternal exile of the Jews from Israel was a punishment for having rejected Christ. The final installment of the four-volume work apparently brimmed with antisemitic views that criticized how Jews looked, their lack of hygiene, and purported greed, as well as their supposed penchant for self-flattery. Schudt dismissed the Wandering Jew as nothing more than a fable by which the lower classes could perceive and understand Jews. Yet he also recognized certain flaws in the story — that it contradicted Christ’s compassion, for one. Lacking historical support, Schudt went on to conclude that the story was probably of Catholic origin, or perhaps the result of nothing more than a publisher’s money-making scheme. The figure of Ahasverus, in other words, was a contradiction that featured a real personage who simultaneously never existed.
Mintzker then turns to the centerpiece of the story, an anonymous German broadsheet, the Kurtze Beschreibung, which was a wildly popular text that was first published in 1602 and then republished a dozen times throughout the rest of the century.
It cast Ahasverus as a strange man who met a Lutheran theologian and explained to him that he was a Jewish shoemaker who had been born 1,500 years earlier in Jerusalem, when and where he had refused to help Christ on his way to the Crucifixion and had been cursed to wander the earth until the return of the Messiah. The account included details of the Crucifixion, the deaths of the Apostles, and about Ahasverus himself — for example that he spoke German with a Saxon accent.
Mintzker strives to pin down the author of the pamphlet and how its contents changed over the course of the 17th century. He marshals quite a bit of detailed evidence that leads him to conclude that Paul von Eitzen, a leading a 16th century Lutheran official and contentious pastor in Hamburg who claimed to have met Ahasverus in the 1540s, must have written it. Readers of the pamphlet, Mintzker also notes, would certainly have been able to identify both von Eitzen and the man he called Ahasverus in this version of the story, who was likely a notoriously uncompromising anti-Calvinist named Tilemann Heshusius.
In the final chapter of his well-paced book, Mintzker turns his gaze upon himself — to the meaning of the Wandering Jew in his own life as a yored, an Israeli expatriate.
Mintzker was born and raised in an upper middle-class, progressive Ashkenazi family in Jerusalem, but eventually left the country to go study and then work in the United States. He had learned about Ahasverus from a close high school friend but only came to identify with him in New Jersey, where the image of exile, and of Jews as “eternal strangers,” haunted him and became more and more salient, particularly amid the violence of the past few years in Israel. With the rise of anti-Zionism, Mintzker admits, he came to “embrace the figure of Ahasverus … as a model for political life” but also for his own sense of self.
The 2,000 Year Old Man clearly echoed the legend of the Wandering Jew, in a chutzpadik voice that entertained diaspora American Jews during the immediate post-Holocaust years. But wasn’t this precisely Mintzker’s point? The trope’s meaning, as his book shows us, shifted across time and place. Thus, in this last expression, he comes to own it as an acknowledgement of his own disquiet and alienation, which he connects to his yored autobiography and recent events in Israel that have called Zionism into question. In doing so, the story of the Wandering Jew has shed its antisemitic, racialized roots, or justification for exile once again, to be read anew as a trope of Mintzker’s (and perhaps our) estrangement from contemporary Israeli society. A timely read.
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The mayor missed the Israel Day Parade. Many who went didn’t miss him.
(JTA) — The energy was palpable Sunday as thousands packed a dozen blocks of Fifth Avenue waving Israeli flags for New York’s annual Israel Day Parade. Organizers said the turnout was the largest in the event’s six-decade history.
The procession featured its usual mix of Jewish nonprofits, schools and synagogues marching to blaring Israeli music alongside parade floats sponsored by groups including Nefesh B’Nefesh, the UJA Federation of New York and the Maccabiah Games.
But this year’s parade, which was themed “Proud Americans, Proud Zionists,” unfolded amid growing political polarization over Israel and without New York City Mayor Zohran Mamdani, who became the first mayor in decades to skip the event.
For all the criticism Mamdani has received over his campaign pledge not to attend the event, many of those who did turn out told the Jewish Telegraphic Agency they were glad he wasn’t there.
“He doesn’t like us,” said Andrea Roman, who attended the parade wearing an Israeli flag cape and thought it was “good” that Mamdani hadn’t come. “Why should you be some place where you don’t like? He does not promote peace. This promotes peace, but of course he’s not going to be here.”
Jeremy Bell, 39, also said wasn’t bothered by the mayor’s absence – and that there were many more who felt as he did.
“I don’t think that he was really wanted here,” Bell said, adding, “I don’t want to be here with someone who doesn’t believe in our right to exist and obviously associates with people that don’t have our best interests in mind.”
Despite Mamdani’s absence, the event, known as the largest pro-Israel parade in the world, featured a lengthy roster of political officials and lawmakers. New York Gov. Kathy Hochul, New York Attorney General Letitia James, U.S. Senate Minority Leader Chuck Schumer and U.S. Rep. Jerry Nadler were among those in attendance, as were former New York City Mayors Eric Adams and Mike Bloomberg.
NYPD Commissioner Jessica Tisch, who on Thursday said that security preparations for the parade would be “the most extensive” that the NYPD had ever put together, also joined the festivities as an honorary grand marshal.
While many paradegoers said that they never considered staying home because of security concerns, several said they appreciated the presence of thousands of police officers and extensive barricades that blocked the streets surrounding the event.
“We are grateful that tens of thousands of participants and spectators were able to gather safely and proudly in the heart of New York City,” Mitchell Silber, the CEO of the Community Security Initiative, said in a statement. “Today’s success reflects the extraordinary planning, coordination, and professionalism of the NYPD and our law enforcement partners.”
That number was boosted in some cases by participants who said the mayor’s decision to skip the event factored into their own decision to come.
Karene Hermon, 22, said that while previously she would have been more “neutral” about attending, hearing that Mamdani had chosen not to come drove her to “be with my people.”
“I think it sends the wrong message,” Hermon said of the mayor’s refusal to participate. “I think we’re trying to come together, not separate people, regardless of … how you feel about a cause.”
First-time paradegoer Luis Margules travelled to the march from Pennsylvania. He said that he had come because it felt like “a moment to be with Israel.”
“This is my first parade, but I think this year it’s one of the most important ones,” Margules said. “I think the world doesn’t understand the situation with Iran and the Palestinians, and everything is blamed on Israel.”
Ofir Akunis, the consul general of Israel in New York, said in a statement that the parade “delivered a resounding answer to all those who hate Israel.”
“This year’s parade was an unprecedented demonstration of strength by New York’s Jewish community and the people of Israel,” Akunis said. “It sends a clear and unequivocal message: We are here to stay, and we are not going anywhere.”
But not all of the spectators Sunday were there in support.
While there was no large-scale protest visible during the parade, roughly 25 people demonstrated along the route to oppose the inclusion of a record delegation of roughly 10 Israeli Knesset members, including far-right Finance Minister Bezalel Smotrich and two members of National Security Minister Itamar Ben-Gvir’s ultra-nationalist Otzma Yehudit party.
As the delegation passed the demonstration, which was organized by the progressive groups Israelis for Peace and Friends of Standing Together New York, protesters shouted “shame” and “war criminals,” according to Tamar Glezerman, an organizer for Israelis for Peace.
“We were there to protest against the Israeli Knesset delegation, the largest of its size of all of the parades, that sent members of the coalition and the so-called opposition to do hasbara and march victoriously up a New York avenue,” Glezerman told JTA in a phone interview Sunday, using the Hebrew word for public relations.
While the focus of the demonstration centered on opposing the Knesset delegation, Glezerman added that “a parade that very much champions unexamined, unchecked and non-critical support of Israel is perhaps important for people here. It is not good for Israelis. It sure as hell isn’t good for Palestinians.”
Margules, in contrast, said that seeing the Israeli Knesset members pass by had made him feel “proud.”
“It’s good to know that even in these dark times we can still be together without violence, and we can disagree on many things, but we have to agree on something,” Margules said. “We are here because Israel exists.”
This article originally appeared on JTA.org.
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