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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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Grok said Hebrew translation was disabled on X — but it’s not
Despite what you may have heard, Hebrew translation still works on X. But allegations that the platform had disabled translation for Hebrew went viral after Grok, the AI chatbot built into the platform, said Hebrew was disabled because posts in the language were likely to encourage violence. As it turns out, the AI was hallucinating — the real question is why.
The rumor seems to have started because a Hebrew post advertising a pop group’s new single, “I, Butterfly,” was not working with the translation tools on the site. An account with the name “Red Pill Media” — though the bio for the account only says “America First,” and does not link to any media site — took a screenshot of an error message pop-up saying that Hebrew was not supported “for this translation.” They then shared the photo with a caption alleging that Hebrew translation was gone because “Jews were calling for genocide on this app without getting suspended.”
In the comments of this post, someone tagged Grok to ask why Hebrew wasn’t available. “Translation from Hebrew was disabled because it often amplified inflammatory or policy-violating content, like calls for violence, to a global audience via inaccurate or literal renditions,” the bot replied. “It’s about platform integrity amid documented spikes in Hebrew hate speech.”
Many people took this as an official confirmation from X that Hebrew translation had been turned off.
But while engineers, and the platform’s owner, Elon Musk, often tinker with the AI’s responses — for example, Musk made Grok more right-wing, and programmed it to flatter him — it largely consumes responses on X itself as its training material, which means that it is easy to mislead it. This is particularly the case on new, viral topics that its programmers have not had time to put up safeguards around.
In the comments on the original post, users speculated as to why the translation wasn’t working, quickly coming up with nefarious explanations. One user posited, or joked, that there was a Mein Kampf excerpt in the caption. Others guessed that it was an effort to “protect hate speech” in Hebrew so that English speakers can’t condemn it or use it to criticize Israel.
The original post that Grok could not translate contained no hate speech at all. It simply lists the song’s composers and the members of the band. (The translation issue may have stemmed from the fact that the song’s title was in English, and mixing characters from different alphabets confused the translation software.) But that didn’t stop false ideas about what it said from circulating. This is likely how Grok came to its conclusion — by consuming and regurgitating the conspiracy theories that users had themselves generated.
Chatbots and AIs are prone to hallucinations like this because of the way that they are trained; they tend to use human-generated input as their main source of information, which means that they are easily influenced by people’s own thoughts, incorrect beliefs and conspiracy theories. (This is also why they are prone to spouting neo-Nazi talking points without safeguards; there’s a lot of those floating around on the internet that the programs learned from.)
In fact, the error message in the screenshot saying that Hebrew was not available for that translation was not actually part of X; it was a pop-up from Apple Translation, the iPhone’s built-in translation tool, which was probably also confused by the mixed alphabets. And Grok has elsewhere confirmed that Hebrew can be translated on X, and that mixed alphabets cause a glitch. Still, theories continue to swirl that Grok may be refusing to translate Hebrew posts that include hate speech as part of an effort to reduce outcry against Israel.
But whether or not it’s good for the Jews, it’s still perfectly possible to translate plenty of racist statements in Hebrew, and any other language.
The post Grok said Hebrew translation was disabled on X — but it’s not appeared first on The Forward.
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French Court Cuts Sentence for Teen in Antisemitic Gang Rape of 12-Year-Old Jewish Girl
France, Paris, 20/06/2024. Gathering at place de la Bastille after the anti Semitic rape of a 12 year old girl in Courbevoie. Photography by Myriam Tirler / Hans Lucas.
More than a year after the brutal gang rape of a 12-year-old Jewish girl, a French court has dramatically reduced the sentence of one of the two teenagers convicted in the attack, citing his “need to prepare for future reintegration.”
On Tuesday, the Versailles Court of Appeal retried one of the convicted boys — the only one to challenge his sentence — behind closed doors, ultimately reducing his term from nine to seven years and imposing an educational measure, the French news outlet Le Parisien reported.
“The court took into account the entire case as provided for by law: the facts, their seriousness, but also the personality of the minor and the need to prepare for future reintegration,” the boy’s lawyer Melody Blanc said in a statement.
The original sentences, handed down in June, gave the two boys — who were 13 years old at the time of the incident — seven and nine years in prison, respectively, after they were convicted on charges of group rape, physical violence, and death threats aggravated by antisemitic hatred.
The third boy involved in the attack, the girl’s ex-boyfriend, was accused of threatening her and orchestrating the attack, also motivated by racist prejudice.
Because the girl’s ex-boyfriend was under 13 at the time of the attack, he did not face prison and was instead sentenced to five years in an educational facility.
The lawyers of the victim, Muriel Ouaknine-Melki and Oudy Bloch, praised “the courage of [their] client” for confronting her attackers and ensuring that two of them were imprisoned.
According to police reports from the time, the two French boys cornered the girl on June 15, 2024, inside an empty building in Courbevoie, a northwestern suburb of Paris, questioned her about her Jewish identity, and then physically assaulted and raped her.
The assailants who were Muslim also allegedly called the victim a “dirty Jew” and uttered other antisemitic remarks during the brutal gang-rape.
Under threat of death, she was forced to perform penetrative and oral sex on two of the boys, while her ex-boyfriend threatened to burn her cheek with a lighter and attempted to make her sit on her handbag, which he had set ablaze.
Local reports indicate that part of the assault was recorded, and at least one assailant allegedly demanded 200 euros from the girl to withhold the footage, which was eventually circulated.
The ex-boyfriend sent footage of the assault to a boy the girl had gone out with that afternoon, with the message “Look at your chick,” according to law enforcement. After receiving such a message, the boy informed the girl’s family, who found her an hour after the attack.
“Before letting her leave, they made her swear on Allah not to say anything and that she should not tell anyone, neither her parents nor the police,” the girl’s mother told Le Parisien at the time.
The three-day trial, held behind closed doors, took place in a regional juvenile court in Nanterre, a suburb west of Paris.
During the proceedings, the judge explained that the severity of the sentence came “in view of their concerning personality traits and the immense social disturbance.”
“There is no doubt that [the victim] would not have been assaulted or raped if she had not been Jewish,” the judge said at the time.
The brutal crime sparked outrage throughout France and among the Jewish community, unfolding against the backdrop of a disturbing surge in antisemitism that has gripped the country since the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023.
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Miami Dolphins QB Tua Tagovailoa says he wants to play an NFL game in Jerusalem
(JTA) — The phrase “Next year in Jerusalem” is customarily spoken at the end of the Passover seder. But this past weekend its sentiment was conveyed at the end of a different kind of gathering: a low-scoring NFL game between the Miami Dolphins and Washington Commanders.
“Shoot, it’d be pretty cool to go play in Jerusalem,” Dolphins quarterback Tua Tagovailoa said postgame.
The game — which the Dolphins won 16-13 in overtime — was the NFL’s first in Spain, as part of a growing international series that’s seen contests played in England, Germany, Brazil, Ireland and Mexico.
Tagovailoa, a Christian, was asked where else he’d like to play after experiencing Madrid and previously Frankfurt, Germany. And his answer caught the eye of a high-ranking diplomat: Mike Huckabee, the United States Ambassador to Israel.
“Tua is right,” Huckabee wrote on X. “Bringing an NFL game to Israel is a great idea. Next year in Jerusalem…I like the sound of that.”
The suggestion comes amid an increasingly contested role for Israel as a host in global sporting events. EuroLeague basketball is supposed to return next month, and officials from the league are in Israel now to assess conditions before finalizing the plan.
Soccer, too, has been a fraught space for Israeli participation. The Union of European Football Associations had been set to vote on suspending Israel but paused the process after the ceasefire in the Israel-Hamas war in Gaza that began last month. Some want the organization to return to the deliberations, with Ireland’s soccer federation submitting a motion earlier this month to ban Israel from all UEFA competition for “organising clubs in occupied Palestinian territories without the consent of the Palestinian FA” and “the alleged failure of the IFA [Israel Football Association] to enforce an effective anti-racism policy.”
Tagovailoa’s comments on playing in Israel did not mark the first time speaking about the country during a postgame media availability. Following a home game on Oct. 15, 2023, Tagovailoa paused the press conference to talk about Hamas’ attack on Israel, which had taken place just over a week earlier.
“I didn’t really realize how bad things were in Israel,” Tagovailoa said. “And just wanted to bring to the attention for those who don’t necessarily understand things that are going on, that it really is bad.”
He added, “I don’t know what we’ve come to, but just my thoughts, my prayers are out with those people in Israel,” continuing on to note that there is “also the Ukraine and Russia war still going on as well.”
There has been no indication from the NFL about a potential game in Israel, though Robert Kraft — the American billionaire owner of the New England Patriots, who is Jewish and founded the Blue Square Alliance against Hate, formerly called the Foundation to Combat Antisemitism — sponsored the construction of the Kraft Family Sports Campus in Jerusalem, which includes an American football field. The adjacent park, Gan Sacher, is routinely home to informal football and flag football games.
Meanwhile, the capacity of Jerusalem’s largest stadium, Teddy Stadium, is just 31,000. Attendance at the NFL’s international games have ranged from upwards of 86,000 to, at their lowest, 47,000.
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