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A Queens synagogue is moving, and the fate of its storied ark is in limbo
(New York Jewish Week) — Crafted of bronze and gold-leaf plaster, and topped by a bejeweled crown, the astonishing 26-foot-tall ark of the Forest Hills Jewish Center fills its cavernous sanctuary with an imposing presence.
When Temma Kingsley joined the congregation as a newlywed in 1965, she was taken aback by its style.
“I thought it was really quite fancy, overdone,” she recalled recently, comparing it to the traditional wooden ark in the modest Philadelphia synagogue where she grew up. “But I’ve since learned what it’s all about, and I’ve become attached to it.”
The ark, which houses the synagogue’s Torah scrolls, is the work of artist Arthur Szyk (1894-1951), a Polish-born artist who rose to fame in the United States with vivid, technicolor drawings on the covers of influential magazines, in the pages of high-profile newspapers and in fine galleries and museums around the world. When the synagogue dedicated its minimalist post-war building on Queens Boulevard in 1949, Szyk’s opulently designed ark stood out as entirely different.
Now, with the impending sale of the Forest Hills Jewish Center building, Kingsley is concerned about the ark’s future. So too are current synagogue leaders, as well as art historians and museum curators, who are scurrying to find it a new home. Meanwhile, the ark’s fate remains in question.
The Conservative synagogue announced last year it was selling its building and would look for a new home in the same area in Queens. In August, an investment partnership led by Joseph Yushuvayev and Uri Mermelstein of Top Rock Holdings announced it was in contract to buy the building and develop the site.
Fully acknowledging the value and importance of the Szyk ark, the congregation is seeking to find it a new home. At least one art dealer has expressed interest in acquiring the ark, but this route has been rejected as it would not come with any guarantee of where it might eventually land.
Arthur Szyk was known for his vivid Jewish art, including “David and Saul” (1921), left, and his political cartoons and illustrations, including “Madness” (1941). (The Magnes Collection of Jewish Art and Life, University of California, Berkeley)
“What if the buyer decides to disassemble the ark and use its beautiful bronze doors as the entrance to their home?” Deborah Gregor, executive director of the Forest Hills Jewish Center, asked rhetorically, her voice tightening.
Taking into consideration this theoretical scenario, the board has agreed to prioritize keeping the ark intact to honor its legacy. Several museums have been contacted. Thus far none have come forward.
Simona Di Nepi, the Charles and Lynn Schusterman Curator of Judaica at the Boston Museum of Fine Arts, traveled to Forest Hills last month to see the ark and “fell in love.”
“I see it as a tour de force of Jewish art,” she said — a unique and spectacular “show-stopper.”
On her recommendation, the Boston Museum of Fine Arts explored the possibility of acquiring it, but the height ultimately presented logistical challenges that could not be overcome. Di Nepi has now turned her attention to several large synagogues with the hopes of finding one that might adopt it.
“I can’t bear the thought of what will happen if it does not find a home,” she said.
Born in Poland, trained in Paris and influenced by the brief time he spent at Bezalel Art School in British Mandate Palestine, Szyk was known for his vivid Jewish art, biting political cartoons and his portraits of American heroes and European figureheads. In 1941, The Times Literary Supplement wrote that his illuminated Passover haggadah was “worthy to be placed among the most beautiful books that the hand of man has produced.” Reprinted many times in the decades since, it remains a staple in Jewish homes today.
While Szyk’s oeuvre is described by critics as “exquisite,” “masterful” and “marvels of technical skill,” the artist did not view his own creations as ends unto themselves. Instead, he used his work to influence politics and world opinion. Irvin Ungar, editor of the 2017 study “Arthur Szyk: Soldier in Art,” wrote that Szyk employed pen and paintbrush as tools to wage war against the Nazis, attack racism, promote Zionism and preserve freedom.
His work caught the attention of two leading rabbis of his day: Abba Hillel Silver in Cleveland and Ben Zion Bokser in Queens. Both led growing congregations that would reach well over 1,000 family members. Separately, the two commissioned Szyk to create significant objects for their respective synagogues.
The baroque form of Szyk’s ark at the Forest Hills Jewish Center, left, is reminiscent of the arks of Eastern European synagogues that were destroyed in the war; Szyk’s stained glass “Warrior Windows” at Cleveland’s Reform Temple Tifereth Israel feature the biblical figures Gideon, Samson and Judah Maccabee. (Courtesy of Irvin Ungar)
Szyk’s stained glass “Warrior Windows” were dedicated in Cleveland’s Reform Temple Tifereth Israel on the last day of Hanukkah in 1947. Commissioned to honor congregants who fought in World War II, the 15 windows include the names of fallen soldiers and showcase the biblical figures Judah Maccabee, Samson and Gideon, resplendent in sumptuous battle dress.
In a letter to Silver, Szyk explained that he would have ordinarily charged $15,000 for the project (the equivalent of $200,000 today). But because Szyk aligned so closely with the rabbi’s ideological mission — Silver was a leading proponent of Zionism — he viewed the job as “a personal favor,” and agreed to a much lower sum of $4,500.
Bokser, a social justice activist whose edition of the Jewish prayer book was a staple of Conservative synagogues for decades, was also drawn to Szyk’s bold, innovative style for the sanctuary of his congregation’s sleek new building on Queens Boulevard. Art historian and Cleveland State University Distinguished Professor Samantha Baskind calls it “sui generis”: Like Szyk’s illuminated manuscripts, the ark’s design packs in a dizzying array of abstract ornaments woven together with Jewish emblems. Scrolls, flowers, acorns and leaves are interspersed with holiday symbols, lions of Judah and representations of the Israelite tribes.
Its baroque form is reminiscent of the arks of Eastern European synagogues that were destroyed in the war. But Szyk was neither mournful nor nostalgic. Forward looking and hopeful, his ark doors are flanked by birds that can be read as either eagles or doves. With their wings spread wide, the figures stretch toward the biblical and Talmudic passages that border the work, invoking God’s judgment and heralding freedom.
Ungar assesses the ark as “an American and a Jewish icon” and a “culmination of [Szyk’s] prayers” as expressed through his art. Gregor refers to it as the artist’s “ark de triomph,” quite literally: “It is Szyk’s own statement of triumph, celebratory and grand,” she said.
The Forest Hills Jewish Center has been a fixture on Queens Boulevard since the late 1940s. (New York Jewish Week)
Ironically, its grandeur is precisely the source of its uncertain future.
When the Jewish Center’s current building was dedicated in 1949 in the presence of 5,000 guests, its scale was meant to accommodate a growing membership. Its main sanctuary held 1,200 seats, and its religious school would eventually accommodate some 900 students. Now the hulking space has become too large and costly for its 300-400 member families to maintain. The congregation has not yet announced relocation plans. But their hope for the future is an intimate space with a cozy aesthetic, where the monumental scale of the Szyk ark will likely not fit in.
Art historian Samantha Baskind has been preoccupied with the issue. “A logical solution would be to unite it with Szyk’s Warrior Windows” in Cleveland’s Temple Tifereth Israel,” she said. “Bringing the works into conversation with each other in the same sacred space is conceptually brilliant and would honor the memory of Rabbi Silver at the same time that it beautifies the synagogue.”
Whatever the future holds for the ark, some Forest Hills Jewish Center members are finding it hard to say goodbye. Kingsley recalled the central role the synagogue has played in her life since she moved to Forest Hills 57 years ago. For her, the ark is not just about its aesthetic details, or the artist who created it.
“That was the ark Rabbi Bokser commissioned,” she said wistfully. It holds his spirit, too.
Alanna E. Cooper serves as the Abba Hillel Silver Chair in Jewish Studies at Case Western Reserve University. Her book “Disposing of the Sacred” is forthcoming with Penn State University Press.
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The post A Queens synagogue is moving, and the fate of its storied ark is in limbo appeared first on Jewish Telegraphic Agency.
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Turning Point USA Disaffiliates Woman Who Verbally Attacked Jewish Students: Reports
Kaylee Mahoney, a University of Miami student and conservative influencer who verbally attacked Jewish students on campus on Jan. 27, 2026. Photo: Screenshot.
The Turning Point USA chapter of Miami, Florida, has reportedly fired a right-wing influencer and University of Miami student who upbraided Jewish peers in a tirade in which she denounced them as “disgusting” while accusing rabbis of eating infants.
“Christianity, which says love everyone, meanwhile your Bible says eating someone who is a non-Jew is like eating with an animal. That’s what the Talmud says,” the social media influencer, Kaylee Mahony, yelled at members of Students Supporting Israel (SSI) who had a table at a campus fair held at the University of Miami. “That’s what these people follow.”
She continued, “They think that if you are not a Jew you are an animal. That’s the Talmud. That’s the Talmud.”
The Talmud, a key source of Jewish law, tradition, and theology, is often misrepresented by antisemitic agitators in an effort to malign the Jewish people and their religion.
Mahony can also be heard in video of the incident, which took place on Tuesday, responding to one of the SSI members, saying, “Because you’re disgusting. It’s disgusting.”
Students told The Miami Hurricane newspaper that she further charged that “rabbis eat babies” during the altercation.
Mahony, who has more than 125,000 followers on TikTok, was the head of public relations for the university’s College Republicans club and the head of social media for Turning Point USA’s Miami chapter, according to her LinkedIn.
However, The Miami Hurricane reported that College Republicans terminated Mahony’s membership in the club. And now it appears that Turning Point (TPUSA) has taken a similar step.
According to StopAntisemitism, a nonprofit which tracks antisemitic incidents across the world, Mahony is “no longer affiliated” with the organization and is now being investigated by the university to determine whether her comments violated its code of conduct.
Laura Loomer, a conservative activist and self-described investigative journalist also reported that Mahony was “fired” by TPUSA.
After Tuesday’s incident, Mahony took to social media, where she posted, “Of course the most evil (((country))) in the world is filled with (((people))) who hate Jesus [sic].”
The “((()))” is used by neo-Nazis as a substitute for calling out Jews by name, which, given the context in which they discuss the Jewish people, could draw the intervention of a content moderator.
The confrontation highlights a growing divide within TPUSA over Israel and antisemitism in the aftermath of the assassination of conservative activist Charlie Kirk, who started the political advocacy organization.
Kirk was avidly pro-Israel and counseled conservative youth to avoid neo-Nazis and antisemitism, but a core of TPUSA’s demographic has embraced figures such as Nick Fuentes and Candace Owens, both of whom have reprised medieval conspiracy theories about Jewish influence, perfidy, and libertinism.
Far-right activists have attempted to distort Kirk’s legacy since his death, with figures such as Tucker Carlson implying that he was murdered by “guys sitting around eating hummus” in Jerusalem and Owens suggesting Israel was behind his death. Meanwhile, Owens has suggested that Kirk’s widow, Erika, was a co-conspirator in her husband’s killing.
There has been no evidence to support such claims. Tyler Robinson, 22, has been charged for murdering Kirk and potentially faces the death penalty. He was romantically involved with his transgender roommate, and prosecutors have reportedly argued that Kirk’s anti-trans rhetoric was a key factor that allegedly led him to shoot the Turning Point USA founder.
Experts have argued that far-right efforts to distort Kirk’s stance on Israel and antisemitism are part of an effort to undermine not only the US-Israel alliance but Washington’s leadership in the world more broadly.
“It’s antisemitism for the purpose of undermining Americans’ confidence in ourselves and in our post-World War II role in the world,” Hudson Institute scholar Rebeccah Heinrichs said during a conference on antisemitism held in Washington, DC in December. “That is very dangerous because we can’t come to consensus on anything else we need from a grand strategy perspective if Americans scapegoat our problems to the Jews and if they believe that Israel is no longer an ally but it never was, and in fact that we were on the wrong side of World War II, which is now the narrative being pushed.”
Meanwhile, antisemitism is surging across the US.
Earlier this month, a 19-year-old suspect, Stephen Pittman, was arrested for allegedly igniting a catastrophic fire which decimated the Beth Israel Congregation synagogue in Jackson, Mississippi. According to court filings, he told US federal investigators that he targeted the building over its “Jewish ties.” Prior to that, the Anti-Defamation League (ADL) published statistics showing an atmosphere of hate not experienced in the nearly 50 years since the organization began tracking such data in 1979.
The FBI has disclosed similar numbers, showing that even as hate crimes across the US decrease overall, those perpetrated against Jews continue to rise to record numbers. Jewish American groups have noted that this surge in antisemitic hate crimes, which included 178 assaults, is being experienced by a demographic group which constitutes just 2 percent of the US population.
Amid these convulsions in the US, as well as across the Western world, Jewish communities around the world continued to remember Kirk as a friend of both Israel and the Jewish people.
Last week, the State of Israel posthumously honored Kirk for his efforts to combat antisemitism at the 2026 International Conference on Combating Antisemitism in Jerusalem.
Follow Dion J. Pierre @DionJPierre.
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When Catherine O’Hara delivered the perfect Purim spiel
Catherine O’Hara, the SCTV star who rose to international fame in Home Alone and had a late career renaissance on Schitt’s Creek and on Apple TV+’s The Studio, has died at 71. The cause of death was not clear at press time.
O’Hara was an actor known for her versatility, convincing millions she could forget her son as she left for vacation (twice) and going on to play a series of eccentrics, like Moira Rose, the self-involved, delusional ex-soap opera star and mother of an interfaith on Schitt’s Creek, opposite her regular collaborator of decades, Eugene Levy.
While O’Hara may be best remembered for that show, for which she won a Golden Globe and an Emmy, or in the improvised mockumentaries of Christopher Guest, it was in a rare scripted film by Guest where she gave perhaps the most indelible Purimspiel in cinema history.
In 2006’s For Your Consideration, O’Hara plays veteran actress Marilyn Hack, cast in an awards-baity picture called Home for Purim. We get a glimpse of the film, a weepy melodrama set in the American South and starring Hack as a terminally ill matriarch.
Together the family joins with groggers to sing a tune that speaks of Achashverosh telling Esther “don’t farbrent” and rhymes it with “shep naches later in my tent.”
Of course the comedy here is that this film could have wide commercial appeal, and the premise that one would travel great distances to come home to observe Purim with the family as if it were Christmas (it’s later changed to Home for Thanksgiving).
After the family finishes singing the song, Hack in character, sounding like a Tennessee Williams matron, coughs ominously on cue into a napkin to signal her time is near.
“My time is short and I will not leave the Purim table,” Hack says as the hacking mother.
On request from her daughter — played by O’Hara’s frequent co-star Parker Posey — she then explains the significance of Purim to her brood.
“I’m an Esther, like the queen,” she says, wearing a glittering diadem. “She was a woman who came from the worst of times to the best. To a palace where she had everything she wanted. Comfort, riches, power. And she risked it all, including her life to serve a higher purpose, commit a selfless act to save a nation.”
O’Hara plays this to the just-believable-hilt, scored by an Itzhak Perlman-esque violin strain. When she asserts that “my selfless act was to protect my family from all the Hamans,” her kin spin their groggers and she loses it as only she could.
“I don’t have much time! Put your toys down!”
She then flips the story, realizing the irony that the Haman she was trying to protect her daughter from, turned out to be her. In what would have been the Oscar clip, the children dispute this: “You’re no Haman, Mama. You’re Queen Esther.”
Played for laughs, the scene — and indeed the premise of the film-within-a-film — was in some ways prescient, as Evangelicals increasingly look to Esther’s example.
A proof of O’Hara’s range is that, while making her mark in a Christmas film franchise, she could contribute perhaps the highest profile instance of Purim to the canon. That it wasn’t believable was the point, but the fact that she could so effortlessly embody an actor acting badly makes you think she could have sold the real thing.
The post When Catherine O’Hara delivered the perfect Purim spiel appeared first on The Forward.
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Iranian Jews caught between frustration and hope as US debates intervention
Over the past several weeks, Iranian American Jews have watched a historic uprising unfold in Iran. For many in the diaspora, the protests feel like a potential watershed moment for revolution in Iran. But alongside that hope is concern that the American conversation around Iran has been subsumed in domestic debates about American power abroad.
For Iranian Jews, this moment is sharpened by history. Most fled Iran during and after the 1979 Islamic Revolution, when social and political instability became widespread, Sharia law was imposed, and life for religious minorities fundamentally changed. The Jewish population, once estimated at around 100,000, has since dwindled to between 8,000 and 10,000. As Iranian Jewish human rights activist Marjan Keypour told the Forward, “the Jews in Iran were given a one-way ticket right out of the country.”
These protests have unlocked long dormant possibility that Jews might one day return to Iran — if not to live, then at least to visit on their own terms.
“Every Persian kid is asking their parents, ‘Where would you go first? If we go back to Iran, where will you take me?’” said Moji Pourmoradi, former assistant director of the High School at Temple Israel of Great Neck, a community that is home to one of the largest Persian Jewish populations in the country. “People haven’t asked those questions since they left. They were not allowed that hope.”
America First?
That newfound optimism makes the stakes of the uprising profound for Iranian Jews. “When I’m with my family, we talk about Iran every day,” said Tyler Moshfegh, a 21-year-old Iranian Jew from Los Angeles who still has relatives in the country. Recently, he said, those conversations have been marked by frustration over how many other anti-regime protest movements in Iran since 1979 have been crushed.
“Every time, the U.S. government says they’re going to support the people of Iran,” Moshfegh said, “and then it just gets thrown under the rug after a week.”
Iranian Jews had initially been buoyed by comments from President Donald Trump, who said in a Jan. 14 Truth Social post addressed to Iranian protesters, “KEEP PROTESTING – TAKE OVER YOUR INSTITUTIONS!!!… HELP IS ON ITS WAY.” The U.S. moved major military assets to the Middle East this week, and threatened the use of force unless Iran agreed to a nuclear deal.
But in the time between the message and the military movement, thousands of protesters were reportedly killed by Iranian regime forces, giving some the impression that Trump’s shifting rhetoric had left the protesters defenseless. For them, allowing the regime to evade accountability for the mass killing of demonstrators in exchange for a nuclear deal does not go far enough.
“There are many people who are like, ‘Trump, you better not back down,’” said Rabbi Tarlan Rabizadeh, a vice president at American Jewish University and the daughter of Iranian immigrants. “We believed in you. If you do this, we’re never going to believe in you again. And you’re going to have blood on your hands.”
At the same time, some Iranian American Jews described feeling pressure to defend their concerns as calls grow on the American right to avoid foreign intervention altogether. Former Rep. Marjorie Taylor Greene wrote on X that “President Trump threatening war and sending in troops to Iran is everything we voted against in ’24.”
Anna Hakakian, a community leader and president of the Babylonian Jewish Center Sisterhood in Great Neck, said, “The ‘staying out’ rhetoric feels like abandonment, especially when it translates into silence on human rights or appeasement of the regime.”
Rabizadeh said she struggles to understand how critics ignore the Iranian regime’s broader threat to the U.S. because it is the world’s foremost state sponsor of terrorism, funding groups like Hamas, Hezbollah and the Houthis.
“Forget about Israel,” she said. “What about the Houthis and all of the American ships they keep bombing?”
A deafening silence
Yet even more resistance to the idea of U.S. military action in Iran comes from Democrats — 79% of whom oppose intervention even if protesters are killed while demonstrating, compared to 53% of Republicans.
For Hakakian, the paucity of activism supporting the protesters revealed a double standard.
“Where are all the celebrities who speak loudly about human rights?” Hakakian said. “Where are the feminists? Where are the campus activists? It’s not west versus east, it’s not colonizer versus oppressed, so the suffering is ignored.”
That frustration has been compounded by antisemitic conspiracy theories circulating in some progressive spaces – including one shared by a Columbia University professor – claiming the protests in Iran were instigated by the Mossad to distract from the Israeli-Palestinian conflict.
“In Great Neck, where many families have direct memories of persecution and exile, this framing seems dehumanizing, and it has an antisemitic undertone,” Hakakian said, adding, “It’s very much in line with what the regime narrates and what they want people to believe.”
On social media, some on the left have criticized the Iranian diaspora’s support for opposition figure Reza Pahlavi, who has been widely attacked for being pro-Israel. Pourmoradi said that Iranian Jews are frustrated by the refusal of those on the left who refuse to back U.S. intervention because they believe it is connected to promoting Israeli interests.
“Their ignorance isn’t just ignorance anymore. It’s detrimental. How many of those people that can’t back it have spoken to anybody who lived through it?” she said. “I think that most of my community feels the same way.”
Keypour said involving Israel in the conversation was a cheap way to dismiss the thousands of lives that had already been sacrificed in the Iranian people’s struggle for freedom.
“If we are mixing the conversation about Iran with Israel, Zionism, and Mossad,” said Keypour, “we discredit the agency of the Iranian people that they have exhibited so bravely.”
The post Iranian Jews caught between frustration and hope as US debates intervention appeared first on The Forward.