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The fuzzy, neurotic, unmistakably Jewish legacy of cartoonist Ed Koren
(JTA) — The other day I was in a kosher Chinese restaurant and I noticed an older white guy happily eating alone. He had white shaggy beard and white shaggy hair tucked under a ball cap reading “You had me at coffee.” He looked like a former City College professor who was thoroughly enjoying his retirement.
In other words, he looked like an Ed Koren cartoon.
Koren, who died last Friday at 87, published well over 1,000 cartoons in The New Yorker magazine, starting in 1962. His drawings were instantly recognizable, featuring fuzzy, lumpy, big-nosed people who looked vaguely like gentle animals, and fuzzy, lumpy, big-nosed animals that looked vaguely like amiable people.
His subject matter was also consistent: Middle-class, slightly neurotic characters whose challenges were as minor as they were familiar to the New Yorker’s target readers. In one, set in a restaurant, a well-dressed couple is interrupted at their meal by a waitress who explains, “We think it’s terribly important that you meet the people responsible for the food you are eating tonight.” Behind her is a crowd of farmers, along with a turkey and a cow.
In another, set in a playground, a little girl is eating an enormous ice cream cone. “My parents decriminalized sugar,” she tells her friends.
The New York Times, reviewing an exhibit of his work, once described him as the “poet laureate” of the Upper West Side of Manhattan. The same article also described the neighborhood as “the home of overeducated, comfortable but not super rich liberals and the psychotherapists who treat their garden-variety neuroses.”
I hesitate to lay too much Jewish significance on artists or writers who didn’t make much of their own Jewish identities, but many of Koren’s characters seemed Jewish even if he didn’t say so. And Koren, born to Jewish parents in Manhattan on Dec. 15, 1935, seemed never to have said so. The few references to his Jewish background that I found came via his friends, like Ben Cohen of Ben and Jerry’s, who once told a newspaper, “Like Ed, I’m a Jewish guy from the suburbs of New York City.” (Koren grew up in Mount Vernon, in Westchester County.)
Instead, his characters inhabited a world defined by familiar markers of a white, secular, upper middle class New York: Zabar’s tote bags, fussy restaurants, overstuffed apartments, hovering parents, pampered pets. Not explicitly Jewish, but unmistakably so, like the Upper West Side itself.
Koren attended Horace Mann School in the Bronx, and edited the Jester, the student humor magazine at Columbia College. After graduation he worked odd jobs, then got a Master of Fine Arts degree at Pratt and taught printmaking, drawing and design courses at Brown University for 13 years. When he wasn’t drawing cartoons (“I couldn’t survive as a cartoonist, frankly,” he once explained) he did illustrations for other magazines, books and advertisers, and made prints that were shown in gallery shows.
He became a full-time resident of Vermont in 1982, but even his cartoons set in the countryside often featured city dwellers adjusting — clumsily — to rural life. (A pair of hikers are stuck in a tree as a pair of furry beasts shake the trunk. The man says to the woman, “Tell them how hard we’ve worked to protect their habitat.”)
Despite the city’s changes, Koren cartoons still come alive on Amsterdam Avenue and in Riverside Park. Bearded, older dads pushing toddlers in strollers. Vaguely bohemian women walking dogs who look just like them. Precocious tots already thinking about their college essays.
“I’m a social historian in a funny way, I guess. Or, looking at it another way, an armchair anthropologist,” Koren told an interviewer in 2012. “What I find funny is the formulaic way in which people go about their lives and the absurd, silly things they do — unreflectively, unthinkingly, intensely, humorlessly. All those things intrigue me. It’s an endless well of delight and absurdity.”
All of which is to say that some people contribute to the Jews’ self-understanding without, like Koren, wearing their Jewishness on their sleeves or anywhere else. I recently covered an exhibit of Yiddish holdings from the library at the Jewish Theological Seminary. There are cartoons on display that show Jewish immigrants as they were at the turn of the 20th century – peddlers, rabbis, cobblers, garment workers. Perhaps 100 years from now certain kinds of New York Jews of the late 20th and early 21st century will be represented by an Ed Koren cartoon.
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The post The fuzzy, neurotic, unmistakably Jewish legacy of cartoonist Ed Koren appeared first on Jewish Telegraphic Agency.
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This initiative is helping Israeli war survivors heal through art – and is making therapy cool
Tomer Peretz opened the door to his unassuming gallery in Chelsea, draped in a studded black shawl and sporting cartoonishly large – but very cool – sneakers. It was the day after the biggest snowstorm in recent NYC history, and the shoes were, of course, the most practical option for an LA-based Israeli with limited snow experience.
The 8 Project gallery opened in New York this winter, but it is only one piece of a larger initiative. The program, founded by Peretz, brings Oct. 7 survivors, bereaved siblings, Israeli soldiers coping with PTSD, and others affected by the war to Los Angeles for a two-month therapeutic art residency. Participants spend hours each day creating art while also undergoing therapy and mentorship. Now, Peretz has brought the residency program and its accompanying art gallery, which is open only for private events, to New York City.
Upon entering the 8 Project gallery in downtown Manhattan, the first painting one is greeted with is Peretz’s own, a group of Israeli soldiers huddled together, accompanied by the spirits of their fallen comrades represented by icy-white hands painted on the heads of the living. In a city where torn-down hostage posters became almost a fixture of the streets during the Gaza war, the gallery feels both out of place and deeply intentional.
Peretz receives applicants for his therapeutic residency program through rehabilitation hospitals in Israel and via social media. The only real requirement, he says, is a passion for art.
“They don’t have to have technical skills,” he told me. “Art is our toolbox to get through their soul. If they can sit every day and create, they’re already qualified.”
Peretz flies incoming residents to Los Angeles and covers their living expenses so they can focus entirely on healing.
Peretz was a volunteer with ZAKA, the Israeli humanitarian organization that specializes in recovering human remains after terror attacks. In the immediate aftermath of Oct. 7, he helped identify bodies at the sites of the attacks.
Once he returned to his home in LA, where he had been working as a painter for years, he found he could no longer approach his work in the same way. “I realized that everything I had been doing in my life had no real purpose,” he said. “We artists, we think we are so important. But if the work doesn’t do something, it’s just fucking art.”
He began working with artists informally and gradually developed what would become the 8 Project Residency. “I couldn’t create anything besides creating with people who were affected by the war. I cared about nothing else.”
Part of the appeal for residents, he says, is the cool-factor of the program. “People get attracted to cool, fun people.” Unlike traditional therapy — “a boring therapist and psychiatrist in a room,” as he put it — the program offers something different. “We literally brought something completely new, as far as therapy and healing, that is really, really fun.”
Shaked Salton, a former 8 Project resident whose best friend was killed on Oct. 7 and who served as a sergeant in the IDF’s search and rescue unit, told me on Zoom from her new home in LA that she struggled to find motivation after the war. The residency program helped her to find it. “Every day, I needed to wake up in the morning. For someone who’s been through a war, it can be tough.” But in the program, “there is no way you’re not coming to the studio.”
Now, she told me, she’s more connected to her feelings. “I paint better,” she told me. “I came to think more creatively. My brain was blocked.”
Sahar Haba, another former resident who now works as a mentor for the project, also serves as the self-ordained de facto DJ at the gallery. As residents worked on their art in the gallery’s back room, Haba played everything from Billy Joel’s “New York State of Mind,” to techno and Israeli Mizrahi music.
Haba served 15 years in the IDF and experienced the death of several of his friends on Oct. 7 and during the war, including American Hersh Goldberg Polin, whom he met through their shared love for the Israeli soccer team, Hapoel Jerusalem. He adores fashion, evidenced not only by the sneakers and jerseys he designed, displayed throughout the gallery, but also by his decidedly funky graphic socks.
During his residency, Peretz encouraged him to lead art workshops.
“Most of the time, the healing process is like, ‘Let’s talk about you, what do you need?’” Haba said. “Here I had the chance to do it the opposite way — to be the guide.”
Haba led art workshops for Nova survivors, soldiers, families and couples who were affected by the war.
One of the most striking paintings at the 8 Project Gallery is a portrait Peretz painted of Andrei Kozlov, a freed hostage and former 8 Project resident. In the piece, half of Kozlov’s face is incomplete, streaked with black and red contours that suggest the rest of his features.
The painting hung across from where I was conducting interviews that afternoon, so his face had been staring back at me from the gallery wall for much of the day. Unexpectedly, the real Kozlov walked in and introduced himself to me — before joking that I must be interviewing Peretz for a clerk position.
Kozlov became an 8 Project resident a mere five months after he was freed from captivity in Gaza. Now, he lives in New York and spends hours a day working on his art.
Haba showed me a pair of boots he had designed during the war, covered in a collage of hostage posters and featuring a QR code linking to the Bring Them Home website on the tongue of the shoe. He showed his creation to Kozlov, joking that the QR code no longer worked before pulling him into a bear hug.
In the center of the gallery stands a giant tree that Peretz explained was sculpted out of the body bags ZAKA used to collect human remains. References to ZAKA appear throughout the exhibit. In a small side room, a video created by one of the residents is played, which shows ZAKA volunteers sitting in the ruins of the kibbutzim in Israel that were ravaged by the Oct. 7 attacks. The volunteers were instructed to sit in silence for an hour and stare into the camera, resulting in a deeply unsettling film that felt almost too intimate to watch.
Peretz has a self-professed “radical” perspective on healing. “I do not like when therapists or psychiatrists like to dig too much about the past,” he said. “I’m all about shaking the hand of the devil that was with you that day. But once you shake the devil’s hand, OK, let’s move on.”
That’s why the second half of the program is dedicated to helping residents plan for their future. “It’s all about how do we become hungry to wake up tomorrow morning?” said Peretz. “So if I’m going to speak about the past all day, I will not be hungry to wake up tomorrow.”
That concept is where the 8 Project got its name from. “God created the world in 6 days,” said Peretz. “On the 7th day, we got some rest, and on the 8th day, we started to live.” After residents leave the program, Peretz hopes that they, too, can start to live.
Peretz has remained in touch with all of his past residents. “Some of them are going to school. Some of them are building relationships. Some of them are building a career.” He said all have continued to pursue their passion for art.
The gallery is open for private events, and while staff say they have had several people walk into the gallery who are not connected to Judaism or the war in any way, they are not Peretz’s target audience.
“I like that we’re not open for the public, I don’t think we are for the public.” He explained, “I’m not interested to tell my story at all. I don’t want to tell the Jewish story. I’m not trying to get more fans for the Jewish people through this exhibit.”
“I’m not for everyone,” he added. I care only about my brothers and sisters who created this, and the next people who are gonna create more, and that’s it.”
Still, Peretz believes the project’s presence in New York matters.
“New York needs this more than any other city. I realized that the Jewish people in New York are so traumatized, and they need that connection so badly,” he said. “A lot of us, Jewish people in the diaspora, got lost. We need that connection. We want to get the hug.”
The post This initiative is helping Israeli war survivors heal through art – and is making therapy cool appeared first on The Forward.
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Israel says slain brother of Michigan synagogue attacker was a Hezbollah commander
(JTA) — The man who attacked a Michigan synagogue on Thursday was the brother of a Hezbollah commander who oversaw efforts to shoot rockets into Israel before being killed earlier this month, the Israel Defense Forces announced on Sunday.
The mayor of Ayman Ghazali’s city, Dearborn Heights, said in a statement following his attack on Temple Israel in West Bloomfield, Michigan, that members of Ghazali’s family had recently been killed “in an Israeli attack on their home in Lebanon.”
Israel is targeting Hezbollah, an Iranian proxy in Lebanon that attacked Israel in retaliation against the U.S.-Israel war on Iran, in a conflict that escalated on Monday into a ground operation. Ghazali’s family members were killed in a Hezbollah stronghold where Israel had recently warned civilians to evacuate.
But while images purporting to show Ghazali’s brother in Hezbollah garb circulated on social media almost instantly after attack, the IDF’s announcement marked the first official allegation tying him to the terror group.
“Hezbollah commander Ibrahim Muhammad Ghazali was responsible for managing weapons operations within a specialized branch of the Badr Unit. The unit is responsible for launching hundreds of rockets toward Israeli civilians throughout the war,” the IDF said in a statement on Sunday, adding, “Ibrahim was eliminated in an IAF strike on a Hezbollah military structure last week.”
An unnamed Hezbollah official denied the allegation to The New York Times.
The IDF’s statement did not suggest that Ayman Ghazali was affiliated with Hezbollah. The New York Times reported that he attended a memorial service for those killed in the strike, who included Ibrahim’s young children, at a Dearborn Heights mosque on March 8 that was attended by hundreds of people, many from the Ghazalis’ town.
Ghazali’s ties to Lebanon have prompted a sharp discourse about news coverage of the Michigan attack, with some alleging that focusing on his brother’s death, especially without any confirmation of his brother’s Hezbollah affiliation, runs the risk of suggesting that attacking a Jewish institution in the United States is an appropriate response to grief during wartime.
Dearborn Heights Mayor Mo Baydoun rejected that notion during a press conference alongside the local police chief on Friday.
“We do know that the individual had recently suffered a devastating and personal loss overseas due to an Israeli airstrike on his family’s home in Lebanon, leaving two children dead. The grief is real and it’s heartbreaking, but let me be clear: That is not an excuse,” Baydoun said. “There is never an excuse for violence, especially violence directed at a sacred space.”
Meanwhile over the weekend, authorities in Michigan said Ghazali had died from a self-inflicted gunshot wound after driving his fireworks-laden truck into Temple Israel. They had previously indicated that the synagogue’s security staff, which worked immediately to neutralize the threat, might have fired the fatal shot.
Temple Israel held Shabbat services in multiple locations over the weekend, including at the Chaldean country club, Shenandoah, that welcomed children evacuated from its preschool and at a nearby Jewish country club, Tam-O-Shanter, where a bat mitzvah took place as planned. The synagogue announced on Sunday afternoon that extensive damage to the building meant it would be “closed to us for the immediate future.”
The post Israel says slain brother of Michigan synagogue attacker was a Hezbollah commander appeared first on The Forward.
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Amsterdam Jewish school bombed, in 2nd attack in days on Dutch Jewish institution
(JTA) — A blast late Friday outside a Jewish school in Amsterdam has Dutch police racing to safeguard Jewish institutions after two attacks in two days.
As in a blast outside a synagogue in Rotterdam the day before, there were no injuries in the Amsterdam explosion, which caused damage to the school building’s outer wall.
“This is a cowardly act of aggression towards the Jewish community,” Amsterdam Mayor Femke Halsema said in a statement. “I understand the fear and anger of Jewish Amsterdammers. They are increasingly confronted with antisemitism, and that is unacceptable. A school must be a place where children can receive lessons safely. Amsterdam must be a place where Jews can live safely.”
Prime Minister Rob Wetten condemned the attack. “Terrible. In the Netherlands, there must be no place for antisemitism,” he said. “I understand the anger and fear and will quickly engage in talks with the Jewish community. They must always feel safe in our country.”
Calling the incident a “cowardly attack,” David Van Weel, the Dutch security minister, said in a statement, “Thanks to measures and alertness, greater damage has been prevented. The safety of Jewish institutions has our full attention.”
The same group that took credit for the Rotterdam incident as well as a synagogue attack last week in Belgium said in a video that it was responsible for the Amsterdam blast. The group, Islamic Movement of the Companions of the Right, was previously unknown, but watchdogs say its tactics and statements bear hallmarks of affiliation with Iran’s global network of terrorist cells.
Iran has warned that it plans to retaliate across the globe against both U.S. and Israeli targets in response to the war initiated by the U.S. and Israel on Feb. 28. Jewish security watchdogs say “the most elevated and complex threat environment” in recent history has resulted.
Four teens were arrested following the Rotterdam blast but police in Amsterdam have not announced any arrests there, though Halsema noted that a suspect was captured on security cameras installed because Jewish sites in Amsterdam are “under permanent security.”
The school targeted, an Orthodox school of about 120 students founded in the 1970s amid an effort to restore Jewish life after the Holocaust, has a tall, thick security wall as well as bollards meant to prevent vehicles from coming close, according to photographs online. The school’s website says, “The Jewish education and the necessary security of the school are paid for from its own resources and subsidies.”
“Over the past two days, violent incidents have taken place at Jewish institutions. First in Rotterdam, now in Amsterdam. This has a huge impact, not only on the immediate surroundings but on the entire Jewish community, including colleagues,” Amsterdam Police Chief Janny Knol said in a statement. “As the police, we are on standby throughout the country and have scaled up significantly. We are working extremely hard to track down the perpetrators.”
The post Amsterdam Jewish school bombed, in 2nd attack in days on Dutch Jewish institution appeared first on The Forward.