Uncategorized
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.
—
The post A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs. appeared first on Jewish Telegraphic Agency.
Uncategorized
If Mamdani is the future of the Democratic party, how will Jews respond?
Many Jewish New Yorkers are hoping that Zohran Mamdani’s candidacy is an aberration and that Democrats will soon return to candidates who embrace a close alliance with Israel and express a heartfelt understanding of the relationship many American Jews feel toward the country.
That aspiration describes many of the city’s most prominent Democratic officials, from Senate Minority Leader Chuck Schumer and House Minority Leader Hakeem Jeffries, to Reps. Ritchie Torres and Dan Goldman. Eric Adams, the outgoing mayor, also fits the bill.
For these Jews, defeating Mamdani is especially urgent because loss could hasten a return to this norm, while a victory could signal a more permanent shift.
“Mamdani poses a danger to the security of the New York Jewish community,” Rabbi Elliot Cosgrove told Park Avenue Synagogue congregants in his Shabbat sermon Saturday. “And if you play out the chess game of Democratic politics, a danger that could have much wider consequences.”
For Jews like Cosgrove, Mamdani’s political positions are the problem — they view his opposition to Zionism as antisemitic, and his efforts to reassure the Jewish community as an implicit confession that Jews would have something to worry about if he was in charge.
Other leaders, like Rabbi Rachel Timoner at Congregation Beth Elohim in Brooklyn, are making a different calculation. Her synagogue hosted Mamdani for a private conversation with members, part of his Jewish outreach that has included synagogue and sukkah visits plus private meetings with clergy.
***
The divergent approaches — rallying congregants against Mamdani versus engaging with the candidate — showcase two different models for handling political candidates who are hostile toward Israel.
Timoner said she owed it to her congregants to bring Mamdani to the synagogue for a conversation. “I’m hoping that he is going to listen with an open mind and an open heart to the real pain and fear and experience of the Jewish community,” she told JTA.
Cosgrove acknowledged that Mamdani was likely to win but said that was no reason to try and extend an olive branch. “I understand the pragmatic instinct,” he said. “I choose principle instead.”
I expect many more Jewish leaders will be confronting this hard decision in the years to come, because polling shows that Mamdani’s views toward Israel are starting to align with a majority of Democratic voters.
Three times more Democrats in New York City sympathize with the Palestinians over Israel (57% to 18%), while nationally 69% of Democrats have an unfavorable view of Israel.
Sympathizing with Palestinians is not the same thing as opposing Israel’s existence, but 67% of Democrats also think Israel’s military actions in Gaza should be defined as either genocide or major war crimes akin to genocide, while only 7% considered them to be legitimate self-defense, a stance that does call Israel’s legitimacy into question.
And while many party leaders remain stalwart supporters of Israel, there is evidence some are starting to feel the heat. Sen. Cory Booker squirmed during an interview with liberal podcaster Jennifer Welch last week as she grilled him on receiving donations from AIPAC and taking a friendly photograph with Benjamin Netanyahu over the summer. “‘What in the actual f—-?” Welch asked.
Hakeem Jeffries, the House Minority Leader, has been tagged “AIPAC Shakur” by popular radio host Charlamagne Tha God, and recently accepted an endorsement from J Street, a liberal AIPAC alternative, while other prominent Democrats are turning down AIPAC funding.
***
The pressure may ease if the ceasefire holds in Gaza, but it’s hard to see the overall trends reversing without an improbable breakthrough in the Israeli-Palestinian peace process.
That suggests the kind of red lines that Jewish leaders have long sought to maintain around Israel and antisemitism — opposing Israel’s right to exist as a Jewish state, for example — will start to lose their power.
If more Mamdanis start running for office, will concerned Jewish leaders shift their focus from these candidates’ views on Israel to how they treat their Jewish constituents?
One of the themes I’ve found in reporting on campus antisemitism is that students are often bothered more by how some of their peers act out their anger toward Israel — often by shunning Jews who don’t completely buy into anti-Zionism — than by the anger itself.
Is there anything that candidates who oppose Israel can offer Jewish leaders and voters who support Israel, short of changing their foreign policy positions?
Mamdani has tried. In addition to his charm offensive, he has sought to reassure Jews in New York City that he will not demonize Jews he disagrees with, telling Beth Elohim members that he would not impose a litmus test around Israel at City Hall and anticipated hiring Zionists of all different political persuasions if elected.
That comment only served to provoke Cosgrove, who said Mamdani had revealed an “assumption that Jewish self-determination is an ideology to be tolerated, rather than a birthright to be respected.”
But perhaps it comforted some of those in the audience at Beth Elohim.
Of course, Mamdani is still in campaign mode. The bigger test will come if he wins. How a Mayor Mamdani would ultimately relate to the city’s Jews— and whether antisemitic incidents spike, fall or remain flat — will almost certainly inform how other rabbis and Jewish leaders react to future candidates who share his views.
The post If Mamdani is the future of the Democratic party, how will Jews respond? appeared first on The Forward.
Uncategorized
Why the story of Noah’s Ark seems timelier than ever
Instead of going to therapy, a widower escapes his trauma by fleeing to an island halfway between Antarctica and Tasmania, where he’s supposed to be taking care of a broken seed vault meant to protect the global food supply against disaster. But various emotional and environmental twists get in the way of his success.
Published earlier this year, Charlotte McConaghy’s climate thriller Wild Dark Shore is the latest entrant in a genre that updates the Noah’s Ark story. It joins the Hulu series Paradise, set in an underground bunker in Colorado after a doomsday event, and the movie Interstellar, where astronauts bearing frozen embryos set off in search of a habitable planet. And then there’s Elon Musk’s plan to colonize Mars.
Wild Dark Shore is a little different, because the life forms that need to be protected from climate disaster are plants, not animals. “It was meant to outlast humanity,” McConaghy writes of the fictional Shearwater Global Seed Vault that her main character, Dom, has to protect, “to live on into the future in the event that people should one day need to regrow from scratch the food supply that sustains us.” In other words, a Noah’s Ark of seeds.
But one irony of climate change is that it threatens the very work humanity does to protect against it. The vault is supposed to remain frozen, but a storm damages its cooling system. Because of rising sea levels, the vault is being flooded, and even fewer seeds can be saved than Dom and the other characters once believed.
In the Noah’s Ark story, Noah can propagate every species, but individual people and animals left behind are drowned. In Wild Dark Shore, only some seeds can be rescued — however many as can be jammed into a small freezer — and part of the challenge is deciding which seeds to save and which ones to allow to go extinct.
Should they pick seeds based on their capacity to nourish the human species, like wheat? Dom’s youngest child has a soft spot for less consequential yet still cool seeds, like that of the wollemia nobilis, a (real-life) evergreen tree that was thought to have been extinct for millions of years then discovered in Australia in 1994.
The seed vault in the book is loosely based on the Svalbard Global Seed Vault in the Arctic Circle, whose tunnel flooded in 2016 due to melting permafrost, or frozen soil, during an extremely hot (for that part of the world) winter. (Thankfully, no seeds were lost.) The vault opened in 2008 and is owned and operated by the Norwegian government. With over 1.3 million seed samples, it’s the world’s largest facility of its kind.
The mental gymnastics necessary to picture a world so radically different, so much worse, than one’s own, is part of what makes science fiction compelling. Mentally, most people struggle to fathom what scientists tell us about the changing climate. Environmental disaster seems too abstract, too far away, and too unpleasant to think about. Books and movies create a mental safe space where we can begin to see what’s at stake.
The Noah’s Ark story takes place long before anyone ever thought about carbon emissions, but it still offers a blueprint for science fiction. “Whether we want to or not, we keep retelling a version of that story every time we imagine what it’s like to survive disaster,” said Jeffrey Cohen, an English professor and the author of Noah’s Arkive, a series of essays analyzing the biblical story through the lens of modern times. “One of the things that the ark gifted the imagination forever with is a kind of self-contained survival-ship. Without the ark, we wouldn’t have spaceships.”
Without spoiling too much of Wild Dark Shore, I’d argue the best lesson climate thrillers offer is that we as a society are emotionally unsuited for the pressures doomsday could place on us. Our best bet is to avoid any situation where our species’ fate winds up in the hands of a traumatized widower, Elon Musk, or any other modern-day Noah — to create a future where everybody can be saved, because there is nothing to be saved from.
The post Why the story of Noah’s Ark seems timelier than ever appeared first on The Forward.
Uncategorized
NJ Republican gubernatorial nominee faces backlash after aide says he wouldn’t take ‘money from Jews’
(JTA) — The Republican nominee for New Jersey governor has come after one of his aides said he wasn’t “taking money from Jews” at a campaign event.
Ibrar Nadeem, the Muslim relations adviser to Jack Ciattarelli, made the remarks at a “community dinner” in Piscataway, New Jersey, on Saturday organized by a group called Muslims 4 Jack.
“People from my community, when I was blamed that somebody said, ‘You are taking money from Jews.’ I said, ‘I check my bank account every day, brother, it is not there,’” Nadeem told the crowd.
Minutes earlier, Nadeem also said that Ciattarelli’s campaign wanted to have a “ban on same-sex marriage.”
#NJ gubernatorial candidate Jack Ciattarelli is getting an endorsement so big, it might lead to victory (Lakewood Vaad). He made an appearance with Muslims4Jack too “We want to have a ban on same-sex marriage…I was blamed that somebody said you are taking money from Jews.” https://t.co/3Lz4jHXWQv pic.twitter.com/ap71tBQEX9
— Michael Matthews (@mcm1071989) October 20, 2025
Following Nadeem’s remarks, Ciattarelli took to the stage and praised Nadeem, telling the crowd that the advisor “hasn’t let me down one day” since the pair met eight months ago. He also boasted that he was the “first gubernatorial candidate in history that has a Muslim as part of his inner circle of advisors.”
Both men’s remarks swiftly drew criticism from Ciattarelli’s opponent, Democratic Rep. Mikie Sherrill, who is currently leading the race by single digits in most public polling.
“This blatant antisemitism is coming from a member of Jack’s inner circle,” wrote Sherrill in a post on X Monday. “Jack could have condemned it but instead sang his praises. Absolutely disgraceful.”
Hours later, she demanded that Ciattarelli denounce Nadeem’s comments, fire him and apologize for “praising him right after he made these antisemitic and homophobic statements” in another social media post.
Ciattarelli’s response to Nadeem’s comments also drew condemnation from Jewish Democratic Rep. Josh Gottheimer, who lost his gubernatorial bid to Sherrill earlier this year.
“A real friend of the Jewish community doesn’t applaud disgusting antisemitic tropes,” Gottheimer told reporters Tuesday. “They condemn them.”
In response to Sherrill’s allegations, Ciattarelli accused the Democratic candidate of being a “Mamdani supporter” — a reference to the Muslim and anti-Zionist Democratic candidate for mayor in New York City — who didn’t “have the moral courage to stand with Israel.”
“Do you ever get tired of lying @MikieSherrill? You know I support same sex marriage. You also know the full clip of Dr. Nadeem’s remarks are clear: He was talking about the grief he gets from some BECAUSE of my unwavering support for the Jewish community and Israel and his own efforts to build bridges between Muslim and non-Muslim communities,” wrote Ciattarelli in a post on X.
The Vaad, a group of Orthodox community leaders in Lakewood, New Jersey, and neighboring towns, is expected to endorse Ciattarelli in the coming days, according to the Lakewood Scoop.
Nadeem thanked Ciattarelli for his defense in a post on Facebook where he claimed he had worked to foster ties between Muslim and Jewish communities in New Jersey.
“Mikie Sherrill, your attacks are false. I’ve spent years building bridges—especially between Muslim and Jewish communities—and I’m proud of that work,” wrote Nadeem. “To my Jewish friends, thank you for standing with me and rejecting division. Truth and unity will beat political lies—every time. 🇺🇸”
The post NJ Republican gubernatorial nominee faces backlash after aide says he wouldn’t take ‘money from Jews’ appeared first on The Forward.