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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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Capers Funnye wasn’t a ‘Black Jew’ — he was a good Jew
This morning, when I woke up, it was the first time in my entire life that my spiritual leader, my rabbi and my friend, was gone. People are born and die every day, and we live totally oblivious to that fact, but I feel the absence of this one human being almost on a cellular level. And the very person I would call to help me make sense of a time like this is the one who is gone.
Rabbi Capers Funnye wasn’t your typical rabbi. How could he be, though? After all, his congregation was full of Black folks and people of color. There were also some white congregants, but for the most part, his temple was a place created for people like me to have somewhere to go and practice Judaism freely without suspicion or judgment. Beth Shalom was established over one hundred years ago by Black Jews who knew at that time that they could actually be arrested here in America, in Chicago, for daring to say out loud that they were Jewish. I know that sounds unthinkable, but it’s a historical fact: It used to be illegal in Chicago for Blacks to claim that they were Jewish.
Rabbi Funnye dedicated his life to ensuring that Black Jews wouldn’t have their Jewishness questioned.
White Jews love to reminisce about the Civil Rights Movement and their close relationship to the Black community, and this coalition brought about monumental changes to American society. But those same white Jews who marched in Selma and rode buses to Mississippi had little to no interaction with Black Jews. We were nonexistent. A myth, if you will. Some people had heard that there were Black people who called themselves Jews, but no one had actually ever seen one or met one.
We were there, but just as other Jews had hidden before, we were hiding too. We worshipped in basements, living rooms, and the backs of storefronts. We were in the shadows until Rabbi Funnye came along. He was born to leave the world a better place than he found it, and that’s exactly what he did.
Rabbi Funnye was supposed to be an AME pastor, but the church didn’t need him. The synagogue, the Jewish people, did.
I used to joke with him that I’d known him so long I could remember when he had a full head of black hair. And I did. I can remember going to services and seeing him on the bimah on Shabbat. Even as a little kid, I recognized he was different. He had a voice that could command the attention even of a pew full of antsy five-year-olds. But he also had a smile so warm that we never felt scolded. When he spoke, people couldn’t help but listen, and eventually he started saying what people wanted and needed to hear.
I watched him rise from assistant rabbi to leader.He could teach Torah in a way that held the congregation’s interest, imparting important lessons while adding levity with razor-sharp wit and perfectly timed humor.
If I’d been born male, I probably would’ve wanted to be a rabbi my whole life. I wanted to be like him. But I was a girl, and that was unthinkable.
But he made me believe I could do things.
I can remember when he started to integrate the Chicago Jewish community. When we’d go to events like Shabbat dinners or Black and Jewish seders, he was unfazed by the whispers and stares when he’d ask where the tables were for those who were both Black and Jewish. While this made the rest of us uncomfortable and, for some, unwilling to ever go back into any room where we were treated as oddities, he was undeterred.
He went back, over and over again. He would not allow the existence of Black Jews to go unacknowledged any longer. And many of us went with him. I was one. I saw how he was treated at times by white rabbis and even just by people who were white and Jewish and still felt that somehow they were better than him. It would infuriate me, but not him. He’d smile, tell a joke or one of his signature stories that would completely disarm them.
And while the behavior of some of my white co-religionists would thoroughly anger me, Rabbi Funnye understood how to deal with bigotry and hate in other ways. He grew up in it. He knew how to rise above it. Another lesson learned. He never met hate with hate or derision with derision. He met it with love.
He knew that was the only way he could move us from the shadows and out of the margins, into the mainstream. And it was also the only way that he could show white Jews we were nothing to fear or exclude.
At times, his message wasn’t popular with Black Jews who wanted nothing to do with white Jews or with white Jews who weren’t ready to accept the fact that G-d made Black Jews too.
None of that changed the fact that it was the right one.
Chief Rabbi Funnye wasn’t a Black Jew. He was a good Jew. And that is the lesson that I, and hopefully all who knew him, will learn from his life.
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All Jewish eyes are on Michigan as heated El-Sayed-Rogers Senate campaign draws to a close
(JTA) — DETROIT – The U.S. Senate race in Michigan, a deeply contentious contest that has strained Jewish relationships with the Democratic Party, drew to a bitter close Tuesday as voters headed to the polls in a race that could shape which party controls the chamber.
At its center is Abdul El-Sayed, the former county health director and Democratic nominee whose anti-corporate, Medicare For All candidacy has become a rallying cry for the national progressive movement.
His uncompromising stances on Israel have also made him a target among pro-Israel groups, including AIPAC, which has spent heavily against him in both the primary and general election. AIPAC’s rare entry into a general election race came to support El-Sayed’s opponent, Republican former congressman Mike Rogers.
One of El-Sayed’s positions on Israel — to end all U.S. military aid — was once thought a far-left pipe dream. But that has changed. On Election Day morning, Trump announced that, under his watch, nearly $4 billion in annual U.S. military aid to Israel would wind down by the end of the year. Trump said Israeli Prime Minister Benjamin Netanyahu was in agreement with the need to end aid and deny Democratic critics a point of attack.
In his announcement of the plan, Trump cited El-Sayed.
“Why should we suffer the slings like lunatics like an El-Sayed when they don’t need it?” Trump said on Fox News, referring to Israel’s financial strength.
Representatives for the El-Sayed and Rogers campaigns, and for the Republican Jewish Coalition, did not immediately return requests for comment on Trump’s new pledge. It is unclear whether it will be straightforward for the White House to halt the funding by the end of 2026, given that the existing memorandum of understanding that governs it extends to 2028.
El-Sayed’s campaign has galvanized young voters and a range of other constituencies, and he pulled ahead in the polls in the race’s final stretch. But his questioning of Israel’s existence as a Jewish state and whether it or Iran posed a greater threat to the United States, as well as his prior associations with figures such as Hasan Piker, the streamer who has spread extreme rhetoric about American Jews, have sparked concern among Jewish Michiganders.
So, too, did comments the candidate made following the March terror attack on Temple Israel, a major synagogue in the state, in which El-Sayed appeared to link the attack to Israel’s war in Lebanon after reports that the attacker lost family in an Israeli strike. Hostile behavior from some of El-Sayed’s supporters toward pro-Israel Democrats, most prominently on display at the state party’s spring convention, have also alarmed Jews. El-Sayed has pledged to stand up to antisemitism.
Some Jews who had long considered themselves Democrats, including several local Jewish leaders, have cited such controversies in pledging to vote for Rogers. In some Michigan Jewish neighborhoods, yard signs proclaim that a vote for Rogers is a vote “against antisemitism.”
Accordingly, Rogers has made a play for the Jewish vote. He told the Jewish Telegraphic Agency in October that his opponent is “anti-Jew,” while running ads that played up El-Sayed’s tenuous family associations with the Muslim Brotherhood.
Top Republicans have seized on the narrative, with President Donald Trump calling Jews “crazy” if they back El-Sayed, and Texas Sen. Ted Cruz calling him a national security threat. A Trump administration event to address antisemitism was held at a Michigan synagogue weeks before the election, though El-Sayed’s name was not mentioned there.
Jewish Democrats who had broken with El-Sayed found major validation in the race’s dramatic closing days. Democrat Haley Stevens, a strongly pro-Israel congresswoman who had narrowly lost to El-Sayed in the primary, flipped sides to endorse Rogers days after her Jewish fiancé, a Democratic megadonor, did the same.
The surprise move, which Jewish Democratic leaders joined many other prominent Democrats in criticizing, came after days of back-and-forth between Stevens and El-Sayed as she sought to publicly pressure him to condemn a PAC ad that had linked rising grocery prices to U.S. aid to Israel.
Meanwhile, some prominent Jewish Democrats in the state either avoided endorsing El-Sayed or did so with heavy reservations. Michigan’s Jewish Democratic Caucus, whose leadership has been deeply divided on El-Sayed, issued a statement Monday declaring the caucus would never vote for a Republican.
“Our commitment to the Democratic ticket remains resolute as we work to build a more inclusive coalition,” the caucus stated.
Throughout the campaign, El-Sayed has sought to reassure Jewish voters. He apologized for his Temple Israel comments; distanced himself from Piker; hired a Jewish outreach director; said in a recent “60 Minutes” interview that Israel has a right to exist; and sent mailers to Jewish households stating, “I am committed to protecting all Michigan Jews against hatred and injustice.” He told JTA in August that “the prerequisite of Jewish safety is never in question to me.”
More than 1,000 Michigan Jews have signed an open letter pledging to vote for El-Sayed, compared to 560 who have done the same for Rogers. Progressive Jewish figures of note have held salons throughout the state in a bid to convince on-the-fence Jews to back him.
Yet El-Sayed also has continued to stake out positions many Jews find alienating. He asserted in the campaign’s closing weeks that Israel was “not actually our friend” and declined during a debate to say whether Israel or Iran was the bigger danger to the U.S. His campaign also released an ad, designed to appeal to conservatives, that featured a brief clip of Tucker Carlson, the right-wing pundit who has promoted conspiracy theories about Israel. In addition, El-Sayed’s careful sidestepping of objectionable material about Jews and Israel from his ostensible allies, such as Piker and his uncle, left-wing anti-Israel pundit Cenk Uygur, has continued up to Election Day.
Ahead of Election Day, some liberal-leaning Zionist Jews tried to put pressure on El-Sayed to speak more directly to their concerns. A group of rabbis and other Jewish leaders launched Nonnegotiable Michigan in a bid to have him affirm what they called five core principles of Jewish participation in the Democratic Party, including “Jewish sovereignty in Israel.” After silence from the campaign, some of Nonnegotiable’s figureheads urged their followers to write in the 19th-century Jewish poet “Emma Lazarus” instead of voting for either candidate.
Michigan’s already small Jewish population, which numbers around 105,000 adults, has further splintered over El-Sayed’s candidacy. But it could prove pivotal to the outcome of a race that may determine control of the chamber. In 2024, the state’s Senate race was decided by fewer than 20,000 votes.
Either way, the race has crystallized the Democratic Party’s shifting fault lines over Israel — and many Jews’ growing uneasiness with their place in the liberal coalition.
This article originally appeared on JTA.org.
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Trump says US aid to Israel will stop at end of year
(JTA) — President Donald Trump on Tuesday morning said that the United States would halt billions of dollars in annual aid to Israel by the end of 2026, potentially ending decades of military support for one of America’s closest allies in the Middle East.
“We were giving them $4 billion. We are. But it gets cut off at the end of the year,” Trump declared during a call-in appearance on the “Fox & Friends” morning program on Fox News. Israel’s 10-year memorandum of understanding with the United States, which currently gives Israel $3.8 billion annually, runs through 2028 so it’s unclear how easy it would be for the White House to stop the funding this year.
Referencing Israeli Prime Minister Benjamin Netanyahu’s statement in January that he wanted to taper off aid to zero at some point in the future, Trump questioned why Republicans should have to deal with criticism from hardline pro-Palestinian Democrats like Michigan Democratic Senate candidate Abdul El-Sayed when “we give them more than anybody else and they no longer need it.”
“It’s a bad talking point,” he added. His comments came as Americans across the country are voting Tuesday in midterm elections that will determine control of the U.S. House and Senate.
“We reached an agreement on that” and Netanyahu “brought it up,” Trump continued. “He said: ‘I think it would be appropriate if we do not receive aid,’ because he understands that this is one of their points of contention.”
A growing number of Democratic congressional candidates across the United States have campaigned on a platform of reducing or halting military aid to Israel during the run-up to today’s midterm elections. This April, dozens of senators — almost all of them Democrats — voted in favor of a failed motion to block the sales of certain weapons to Israel.
Yair Golan, chairman of Israel’s liberal Democrats party, slammed Netanyahu in the wake of Trump’s statement, tweeting that “precisely at a time when Israel’s defense spending has reached enormous proportions, when Israel needs to replenish its offensive weapons stockpiles, and after air defense capabilities have been depleted following such a long war—Netanyahu logs another massive failure under his name.”
“The cessation of U.S. aid is heavy damage to Israel’s security” and “a responsible prime minister would have fought to increase American aid, not eliminate it,” added Golan, whose party opposes Netanyahu’s and is trying to form a coalition to oust Netanyahu from power following Israel’s own elections last Tuesday.
This article originally appeared on JTA.org.
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