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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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Joel F. Brown named next Chairman of the Board of Directors of the Forward Association
Joel F. Brown has been named the next Chairman of the Board of Directors of the Forward Association, the nonprofit entity that publishes the Forward, America’s most influential and widely read nationwide Jewish publication. He has served as a member of the Forward board and of the Forward Association for 10 years.
Brown most recently served with the Chicago-based law firm Goldberg Kohn as a principal in its Commercial Finance Group. He has written and lectured on a wide variety of finance-related legal topics and was named one of the 2021 Best Lawyers in America honorees in Banking and Finance law. He is a graduate of Wesleyan University and of New York University School of Law.
Since retiring from the practice of law in 2024, Brown has been pursuing a Masters Degree in Jewish Studies from the Spertus Institute. Brown also serves as a member of the Board of Directors of Camp Ramah in Wisconsin, has served as President of Am Yisrael Conservative Congregation (Northfield, Illinois) and is affiliated with the Shalom Hartman Institute.
Brown said, “I am honored to assume this important role in supporting the Forward’s ongoing storied history of reporting on the Jewish American experience in all its diversity. Over the next few years, I expect the Board will help guide the Forward in its mission to cover the full spectrum of Jewish American politics, culture and religion, with an emphasis on reaching new audiences, and in particular younger audiences.”
About the Forward
The Forward is America’s leading voice in Jewish journalism, delivering incisive coverage of the issues, ideas and institutions that matter to American Jews.
The Forward‘s independent, non-ideological perspective on world and national news, and its unparalleled coverage of Jewish arts, culture and opinion, have made it the most influential and widely read nationwide Jewish publication today, and it has been honored with the most journalism awards of any Jewish media organization.
The Forward reaches more than 100 million viewers annually across its website, social media, email newsletters, events and podcasts. The Forward‘s free e-newsletters include the Forwarding the News morning briefing and others highlighting areas of special interest like Yiddish and antisemitism.
Leading outlets turn to the Forward‘s journalists for analysis and interviews, including The New York Times, CNN, Fox, NPR, Politico, Haaretz and The Washington Post. The Forward has been archived by the U.S. Library of Congress and named one of the top nonprofit news sites by Harvard’s Nieman Journalism Lab.
The post Joel F. Brown named next Chairman of the Board of Directors of the Forward Association appeared first on The Forward.
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Eurovision Faces Major Test as Countries Weigh Israel’s Participation
Construction work is ongoing in the main hall of Wiener Stadthalle the venue of next year’s Eurovision Song Contest, in Vienna, Austria, Nov. 18, 2025. Photo: REUTERS/Leonhard Foeger
The Eurovision Song Contest faces a “watershed moment” on Thursday when members of the body that organizes the contest may vote on whether Israel can compete in 2026, as some nations threaten to withdraw if it is not excluded due to the Gaza war.
European Broadcasting Union members will convene to discuss new rules designed to prevent governments and third parties from disproportionately promoting songs to influence voters after controversy this year over Israel’s second-place win.
If members are not convinced the rules are adequate, there will be a vote on participation, the EBU said, without naming Israel specifically.
Public broadcasters from Slovenia, Ireland, Spain, and the Netherlands have all threatened to boycott the event, scheduled for May in Austria, if Israel is allowed to take part, citing concern over the Palestinian death toll in Gaza, where Israeli forces had been waging a military campaign against the ruling terrorist group Hamas until a recently implemented ceasefire.
EUROVISION AIMS TO BE NON-POLITICAL
The televised annual celebration of pop music, watched by around 150 million viewers worldwide, aims to be non-political, but the Gaza war has embroiled it in controversy. A boycott by some of the competition’s biggest European backers, including Spain, risks a major drop in audience numbers and potential sponsorship.
This year, critics accused Israel of unfairly boosting the second-place finish of its entrant Yuval Raphael, a survivor of the Oct. 7, 2023, attack on Israel by Hamas terrorists that triggered the conflict. Israel has not responded to these accusations but frequently argues it has faced a global smear campaign.
“We very much hope the package of measures will assure members that we have taken strong action to protect the neutrality and impartiality of the Song Contest,” the EBU said.
Eurovision expert Paul Jordan, who did a PhD on the contest, said it was a “watershed moment” for the competition.
“This is a real crisis point for Eurovision and the EBU … I think it probably has to go to a vote,” Jordan said.
Ben Robertson from fan site ESC Insight noted the potential impact of a loss in audience, but added without Israeli inclusion, Eurovision risks becoming more isolated.
NORWAY CALLS PROPOSED CHANGES ‘PROMISING’
The Israeli foreign ministry did not respond to a Reuters request for comment.
Luxembourg’s RTL broadcaster backed the proposed changes, while Norway’s NRK broadcaster described the EBU’s signal of major change as “promising.”
If a vote against Israel were successful, Germany would probably withdraw and not broadcast the contest, a broadcasting industry source told Reuters. German broadcaster ARD did not comment. Austrian host broadcaster ORF wants Israel to compete.
Sources within Israeli broadcaster KAN told Reuters it believed discussions about excluding Israel were unjustified, asserting that KAN was in full compliance with EBU rules. It also noted KAN’s support for Israeli acts that have delivered what they described as memorable Eurovision performances.
Russia has been excluded from Eurovision since its 2022 invasion of Ukraine.
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Belgian Police Detain Former EU Foreign Policy Chief Mogherini in Fraud Probe
European Union VIce Presiden and High Representative for Foreign Affairs and Security Policy Federica Mogherini (L) is seen during a talk with Vietnam’s Deputy Prime Minister and Foreign Minister Pham Binh Minh in Hanoi, Vietnam, Aug. 5, 2019. Photo: REUTERS/Kham
Belgian police on Tuesday detained former European Union foreign policy chief Federica Mogherini and a current senior EU diplomat as part of a fraud investigation that included raids at several sites, three sources familiar with the probe said.
The European Public Prosecutor’s Office (EPPO) said the investigation focused on “suspected fraud related to EU-funded training for junior diplomats.” It involved searches at the EU‘s diplomatic service in Brussels, at the College of Europe – an elite university in Bruges that educates many EU officials – and at the houses of suspects.
Mogherini and senior diplomat Stefano Sannino, both Italian nationals, are well known in Brussels diplomatic circles and news of their detentions sent shockwaves through the EU community in Brussels.
Mogherini was the EU‘s high representative for foreign and security policy and head of its diplomatic service from 2014 to 2019. She became rector of the College of Europe in 2020.
TENDER OF TRAINING PROGRAMME PROBED
Sannino previously served as the most senior civil servant in the diplomatic service between 2021 and 2024 and is now director general of the European Commission’s department for the Middle East, North Africa, and the Gulf.
The EPPO said in a statement that three people had been detained but withheld identities, citing the ongoing investigation. Neither Mogherini nor Sannino could be reached for comment.
The prosecutor’s office said its investigation centered on the establishment of the European Union Diplomatic Academy – a nine-month training program for junior diplomats, which was awarded to the College of Europe in 2021-2022 by the EU diplomatic service following a tender procedure.
It said there were “strong suspicions” that confidential information was shared during the process with one of the candidates participating in the tender.
“Prior to the searches, the EPPO requested the lifting of the immunity of several suspects, which was granted,” the statement said. “All persons are presumed innocent until proven guilty by the competent Belgian courts of law.”
A spokesperson for the EU diplomatic service confirmed police visited its offices on Tuesday as part of an investigation into activities that took place before the current foreign policy chief Kaja Kallas took office.
The diplomatic service is “fully cooperating with the authorities,” added the spokesperson, Anitta Hipper. “Since it’s an ongoing investigation, we will not be able to say more.”
The College of Europe said in a statement it would “fully cooperate with the authorities in the interest of transparency and respect for the investigative process.”
“The college remains committed to the highest standards of integrity, fairness, and compliance — both in academic and administrative matters,” it said.