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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 secret Jewish history of the ‘Rocky Horror Picture Show’
“Rocky Horror,” which opened in London cinemas on this day in 1975 is the cultural phenomenon that simply refuses to die. Rather, since its first incarnation as a 1973 London stage musical, “The Rocky Horror Picture Show” has been continuously reborn on the silver screen, in subsequent Broadway stage productions, and, in 2016, as a direct-to-TV film, starring Laverne Cox of “Orange Is the New Black” fame as the transgender Dr. Frank-N-Furter, the mad-scientist role originated by Tim Curry.
In all its incarnations, however, “Rocky Horror” has always been more than just a performance. Its appeal has been widely driven as a participatory event. Film critic Roger Ebert summarized it best writing about the original 1975 film: “‘The Rocky Horror Picture Show’ is not so much a movie as more of a long-running social phenomenon,” because “the fans put on a better show than anything on the screen.” What Ebert refers to is the interactive tradition that has grown up around “Rocky Horror,” whereby fans attend midnight showings primed for a party as much as a screening: reciting the lines out loud along with the characters and interspersing them with “callouts” — responses that have been accepted into the Rocky Horror canon much as the Talmud is commentary on the Mishnah that has in and of itself become part of the sacred text. In the case of “Rocky Horror,” this also includes activities, such as throwing rice or confetti in the air when the married couple in the film leaves the church; squirting water pistols during a rainstorm; and tossing rolls of toilet paper when one character says “Great Scott!”
In one of the most overtly Jewish moments in and outside of the film, a speech by Dr. Frank-N-Furter hailing the creation of the Golem-like creature of the title, Rocky Horror, is met by chaotic noisemaking on the part of the partygoers onscreen and off. In the original film, some of the crowd generates noise with ratchets – a percussion instrument that looks suspiciously like a gragger, as if Dr. Frank had said “Haman.” There are other Purim-like touches in the film, such that temple congregations have made “Rocky Horror” into part of their annual ritual, such as a “Rockin’ Hora Purimshpiel” in which several of the musical numbers are rewritten as Purim songs.
Other Judaized versions of “Rocky Horror” that have appeared over the years include “Hebrew Horror,” which was staged in Los Angeles in 2007, and the “Rocky Hora Chanukah Song” by the Jewish punk-rock parody group, the Shlomones (sort of a redundancy, since several members of the Ramones were in fact Jewish, as was their outlook in numerous ways, including their song, “Bonzo Goes to Bitburg.”
The original London stage version was produced by British-Jewish theatrical impresario Michael White, who was born to Eastern European Jewish-immigrant parents in Glasgow, Scotland. White’s credits had already included the boundary-shattering “Oh! Calcutta!” — the first all-nude revue in commercial theater — and he went on to co-produce the “Rocky Horror” film as well as “Monty Python and the Holy Grail.”
The original musical and film were decades before their time in celebrating the sexual fluidity of the LGBT world – indeed, there wasn’t such a term as LGBT, much less a socio-political acceptance of it, for years to come. The new TV film version is in no small part an effort to seize this cultural moment when LGBT, and particularly transgender issues, are now part of mainstream political and cultural discussion, especially what with the casting of openly trans actress Laverne Cox.
The original did, however, have a political consciousness beyond its seemingly outrageous effort to provoke. Dr. Frank-n-Furter’s lab coat in the movie was inspired by a Nazi concentration camp inmate uniform and was adorned by the pink triangle that the Nazis used to label what we now call LGBT inmates. And in the film at least, there were implications that Frank’s rival, Dr. Scott was a Nazi.
The 2016 version was again produced by music industry legend Lou Adler, who was responsible for turning the stage musical into the original film starring Tim Curry, Susan Sarandon, Barry Bostwick and Meat Loaf. In that version, Eddie was played by American Idol star Adam Lambert, the role played by Meat Loaf in the original Broadway cast and film. Lambert, who starred as Joshua in “The Ten Commandments: The Musical,” has achieved fame as a solo artist and as the replacement for the late frontman Freddie Mercury in the rock band Queen. Lambert’s Jewish mother, Leila, was a dental hygienist.
Seth Rogovoy is a contributing editor to the Forward.
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Sister of pro-Israel stalwart Lindsey Graham secures GOP Senate nomination
(JTA) — South Carolina Sen. Darline Graham defeated U.S. House Rep. Ralph Norman in a special primary runoff on Tuesday, putting her in a dominant position to win the Senate seat left vacant with the death in July of her older brother, the pro-Israel stalwart Lindsey Graham.
The Associated Press called the race two hours after polls closed at 9:01pm. By the time 99% of votes were tallied, Darline Graham had secured 52.3% of the votes to Norman’s 47.7%.
“Tonight is a great victory, but it’s not the finish line,” Graham told her supporters on Tuesday night. “In fact, it is the starting line for an even bigger fight, which lies ahead.”
If Darline Graham goes on to win November’s general election against Democrat Annie Andrews, she will have big shoes to fill. Her brother served 23 years in the Senate and eight in the U.S. House. He traveled to Israel about a dozen times between Hamas’s Oct. 7, 2023 attack on the Jewish state and his death at age 71.
Heading into the primaries, analysts expressed no doubt that Darline Graham would be pro-Israel. But matching Lindsey Graham’s level of foreign policy activity, they warned, would be a formidable task. Meanwhile, her campaign to date has largely avoided discussion of international affairs. Instead, she has focused on domestic concerns like reducing spending, securing borders and promoting Trump-backed policies.
During a debate aired on C-SPAN last week, Graham struggled to respond to a foreign policy question about Taiwan and the South China Sea, ultimately admitting that she’s “not that informed on national security.”
“I’m not a polished politician up here,” she said. “National security is not my thing, not my area of expertise.”
Later addressing issues of affordability, Graham linked the domestic economic situation to the war in Iran and said she trusts President Donald Trump “to get the Strait of Hormuz open.” She also voiced her preference for financial sanctions over putting troops on the ground.
Asked about the country’s relationship with Israel, Graham described the Jewish state as “one of our strongest allies.” Recognizing her brother’s close relationship with Prime Minister Benjamin Netanyahu, she added that during a recent meeting with the Israeli premier, she vowed to “continue supporting Israel in any way” she can.
“We have to stand with Israel,” Graham said.
At their previous face-off, Graham had secured 33% of the vote, while Norman came in second place, at 25%, against eight fellow Republicans. But South Carolina requires primary winners to earn a majority of votes in order to avoid a two-candidate runoff. In the November general election, Graham will contend with Democrat Annie Andrews, a pediatrician who is unlikely to prevail in the solidly Republican state.
Tuesday’s runoff marked the third time in two months that South Carolina Republicans came to the polls to select a Senate candidate. Lindsey Graham, won the first primary in June but died suddenly the next month from an aortic dissection.
A few days later, South Carolina Gov. Henry McMaster, a Republican, appointed Darline Graham to finish her brother’s term. Though she only had minimal policy experience, including a leadership role at the South Carolina Commission for the Blind, she earned President Donald Trump’s endorsement and declared her candidacy in the full race.
Trump celebrated Graham’s nomination in a Tuesday night Truth Social post, writing that “Darline Graham rides Trump endorsement to win GOP nomination for brother’s South Carolina seat.”
Graham thanked Trump profusely during her Tuesday night acceptance speech, recognizing the president as one of her brother’s “closest friends” and crediting him for helping her secure a victory.
Norman, meanwhile, thanked his supporters on Tuesday night for their “prayer crusade of a campaign,” stressing that he “did not prepare a concession speech.” He accused “outside PACs” of spending $8 million opposing him and blamed the Democrats for this situation, adding that “they got what they wanted.”
He recognized Trump’s role in the race as a supporter of Graham, noting that he “never understood why he got involved” but that it is the president’s prerogative to do so. Nonetheless, Norman pledged that there “won’t be any tears” and that he planned to back Graham.
“I’m not supporting a Democrat, so I will support her, Darline, as best I can,” he added. “We’ll live to fight another day.”
This article originally appeared on JTA.org.
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Progressive politics notches another deep-red win in Oklahoma race, bolstered by anti-AIPAC messaging
(JTA) — Oklahoma nurse and activist N’kiyla Jasmine Thomas, who ran a campaign with anti-AIPAC messaging, defeated centrist Jim Priest in a Democratic Senate primary runoff on Tuesday that marked the latest victory for a progressive politician in a solidly conservative state.
The Associated Press called Tuesday’s race, a sequel to the state’s June primary, less than an hour after polls closed. By the time 80% of votes were tallied, Thomas had accrued 59.9% of the votes to Priest’s 40.1%.
Like many progressives in the current election cycle, she repeatedly vowed during her campaign to reject funds from the American Israel Public Affairs Committee, the influential pro-Israel lobby.
Although AIPAC has not participated in this race, Thomas posted a social media reel in November that showed her pulling a giant red trash bin, labeled “AIPAC Funds” and “Corporate PAC Funds.” Adjacent to the reel is a caption that reads, “Just taking out the trash.”
“I am a sole grassroots candidate,” she said in the reel. “And we are not accepting AIPAC or corporate PAC funds. It’s garbage.”
Asked about her rhetoric on AIPAC, Thomas told the Jewish Telegraphic Agency in a written statement that her “concerns [with AIPAC] have NEVER been about Jewish people, Judaism, or Israel’s existence,” adding that she instead prioritizes human rights, civilian lives and the accountability of all governments.
“When I discuss political influence or organizations, my focus is on the broader role of money, lobbying, and special interests in our political system, not on any one religion or community,” she added.
In their previous matchup, a five-candidate race, neither candidate had earned the majority required to secure a win. Thomas earned 45% of votes in June, while Priest, a lawyer and ordained minister, accrued 24%.
Heading into Tuesday’s runoff, it was already clear that both Thomas and Priest would be longshots this November in a state that hasn’t sent a Democrat to the Senate in more than three decades. The Republican opponent, Rep. Kevin Hern, swept his primary and has the endorsement of President Donald Trump.
But Thomas’s win served as yet another litmus test on the potency of progressivism in a deep-red state, just a week after democratic socialist Angie Nixon knocked trounced a moderate candidate in Florida’s Democratic Senate primary.
Thomas, unlike Nixon, is not a member of Democratic Socialists of America, but she has openly identified with socialist policies. The 31-year-old is a citizen of the Chickasaw Nation who says she represents “the next generation of leaders.” Among her priorities are women’s health and safety, civil rights and LGBTQIA+ protections.
During a debate this past Saturday, both Thomas and Priest described a “genocide” in Gaza. Priest linked the word to Israel, while Thomas connected it to the actions of Prime Minister Benjamin Netanyahu.
She emphasized that “we can be for our Jewish brothers and sisters, and we can be against Netanyahu and what he is doing.”
“He is committing genocide. He is absolutely murdering children,” Thomas said at the debate. “We have to stop providing funding for these wars.”
In her statement to JTA, Thomas expressed her commitment to a two-state solution, adding that “both Israelis and Palestinians deserve the opportunity to live in peace, security and self-determination.”
This article originally appeared on JTA.org.
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