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These NYC college students want to kickstart a Jewish arts renaissance
(New York Jewish Week) – On a mild Thursday evening in late March, some 100 people gathered at Kistuné, a hip café and bar in the West Village that’s associated with the French-Japanese “lifestyle brand” of the same name.
Sipping on custom-designed cocktails — like the Refusenik, a Moscow mule with a “resilient mix of vodka, ginger beer and lime” or the Tamar Collinsky, a Tom Collins reimagined and given “very possibly the name of someone you went to summer camp with” — guests mingled, discussing topics as varied as college classes, career choices and their favorite poetry.
Nearly everyone in the room was a Jewish artist or writer; the gathering was to celebrate the launch of “Verklempt!”, a new quarterly print magazine that bills itself as “The Magazine of Jewish Art and Literature.” The 75-page first issue is filled with paintings, photographs, drawings, poetry and fiction solicited from more than 30 Jewish artists around the country.
“We see the Jewish community as a place where people want to engage with fiction and poetry more seriously,” editor-in-chief Yoni Gutenmacher, a 24-year-old creative writing MFA candidate at Brooklyn College, told the crowd, which included two of his brothers and his parents. “This is a personal dream of mine so I’m very happy that it’s real.”
Specialty cocktails were on offer at the launch party of “Verklempt!” (David Gutenmacher)
The aim of “Verklempt!” (Yiddish-English slang for “overcome with emotion”) is to publish and amplify art and literature with a specifically Jewish lens — hopefully in a way that encourages pursuing art as part of a spiritual journey, Gutenmacher explained. A painting of a man praying with tefillin and tallit; a poem about Leopold Bloom, the Jewish anti-hero of James Joyce’s “Ulysses” and a collage of the Lubavitcher Rebbe and a drawing of a half-drunk bottle of Kedem grape juice all grace the pages of the first issue, whose theme is, fittingly, “On Creation.”
“I write fiction and I have a whole friend group and community in New York who aren’t Jewish, and if they are, they’re not really interested in religious or communal Jewish life,” Gutenmacher told the New York Jewish Week. “Then I have my Jewish life on the Upper West Side and all my friends from summer camp and school and everything else who are not really interested in engaging with high quality literature and art. At certain points in my life, I felt like I kind of have to choose.”
By working on “Verklempt!” he’s come to understand that those choices shouldn’t have to be so mutually exclusive, he said.
The journal is a project of Havurah (Hebrew for “fellowship”), an organization founded by two Modern Orthodox sophomores at NYU whose lofty but determined vision is to be the “bearer of a new Jewish renaissance” for young Jews in New York, according to their impressively designed website.
Founded by Daniella Messer and Eitan Gutenmacher (Yoni’s younger brother), Havurah aims to create a gathering place, a “kehila (community) of frum Jewish creatives” — both virtual and IRL — where Jewish artists can meet and mingle, make art, perform and share ideas about how all of those endeavors connect them to religious life. One of their goals, according to the “manifesto” on their website, is to “invigorate a generation of young Jews and restore the Jewish artistic impulse.”
While “Verklempt!” has wide-reaching aspirations — the artists they hope to publish can come from anywhere and be of any age — Havurah was founded to appeal to a hyper-specific community: young New York artists who are dedicated to being Jewish and Jews who are dedicated to being artists.
The idea arose during Gutenmacher and Messer’s freshman year of college in the winter of 2022. “I remember going to Israel over winter break, experiencing such an obvious realization that art and creativity is so integral to religious lifestyles,” Eitan Gutemacher, who is studying studio art at NYU’s Gallatin School of Individualized Study, told the New York Jewish Week. “But [at NYU] for example, in a lot of the artistic programs, if you’re a religious Jew, you are usually the only religious Jew in the classroom, and, more often than not, the only one in the department.”
“Daniella and I wanted to create a community of lively Judaism expressed in any artistic and creative way,” he added.
With funding from the Next Gen Inc., “a start-up style incubator” that’s a project of the World Jewish Congress and World Union of Jewish Students, Havurah pursues their vision through a variety of avenues, including real-life events and performances, such as art fairs, concerts and Torah study conversations held at bars, cafés, apartments and synagogues.
In addition to the physical journal, the organization’s high-design web site publishes essays, interviews, criticism, reviews and Torah commentaries, as well as “Sessions” for musicians, which are professionally mixed video tapings of live music performances similar to NPR’s “Tiny Desk Concerts.”
“When Eitan and Daniella approached us and told us about Havurah, we knew instantly they would be a great fit for our incubator,” Yoni Hammerman, senior manager of the NextGen, told the New York Jewish Week via email. “Their work, to build a university student-run art community, perfectly aligns with NextGen’s mission of amplifying and supporting the voice and the work of Jewish student leaders.”
The Havurah staff — all eight of them are volunteers — believe that their offerings are the first time people who are both deeply involved in their Jewish communities and in their artistic pursuits have had a definable place to gather and collaborate that celebrate both.
“It’s so simple that you’d think it would already exist,” said Yosef Itzkowitz, a 24-year-old artist and poet who has three drawings in the first edition of “Verklempt!” “Jews love writing and art, and love talking about writing and art,” so why not make it happen?” Itzkowitz got involved, he said, after Eitan Gutenmacher reached out via Instagram.
Of course, similar initiatives have and do exist — for example, the fiction journal JewishFiction.net publishes original and in translation work from Jewish writers around the globe, while CANVAS matches emerging Jewish multimedia artists with funders and grants. The Jewish Book Council puts out their literary journal “Paper Brigade” with art, interviews, essays and fiction, once a year.
On Tuesday, the inaugural Jewish Writers’ Initiative Digital Storytellers Lab showcased works by creators taking part in an eight-month fellowship supported by the Maimonides Fund. The work shown at Manhattan’s Rubin Museum included animation for Jewish kids, pop songs about women in the Bible and a podcast about the gay Jewish dating scene in Los Angeles.
According to Yona Verwer, founder of the Jewish Arts Salon — “a global network for Jewish visual art” that does regular programming in New York — while what the group is doing may not be “new,” one of the most exciting things about Havurah is how young its members are and how dedicated they are to the cause.
“Being geared specifically towards people in their 20s” attracts people who have to be “very enthusiastic and very into it,” Verwer said.
“It’s interesting to see this immense interest in Jewish arts” from younger generations, added Verwer, who started the salon in 2008 and now serves as an advisor for Havurah. “When I started the salon, it was something that a lot of people were not interested in. Things have really changed over the years and it’s great to see people so dedicated.”
Yoni Gutenmacher reads a poem at the launch party of “Verklempt!”, March 30, 2023. (David Gutenmacher)
As of now, contributors are unpaid, though there are hopes that the cover price of “Verklempt!” ($10) may help change that. “There’s a lot of places I see where you submit completely unpaid and it is completely not worth my time,” said Kim Kyne, a 32-year-old painter and sculptor from Los Angeles whose painting was in the first edition of the journal.
“What felt different about this is it feels like everyone’s all in it together,” she added. “Yoni and his brother are super humble and super young. What was really attractive to me about it is being connected with all these other Jewish artists in a way that I haven’t been before.”
Messer and the Gutenmacher brothers understand that the media and literary magazine worlds are very crowded spaces, especially in New York. But for now, they are embracing the heimish vibe and say they’ve seen, first-hand, just how many Jewish artists were looking for a space exactly like this. Submissions are already arriving for the next edition of “Verklempt!”, which is set to be published this summer, and according to Gutenmacher, he doesn’t recognize any of the names — meaning no repeats of last time, and no friends submitting as a favor.
“Of course, there are Jewish artists all over the world. But it feels different because it has more of a modern take and the younger feel,” Kyne said. “It feels like the beginning of a movement.”
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The post These NYC college students want to kickstart a Jewish arts renaissance appeared first on Jewish Telegraphic Agency.
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The Hardest Thing in Philanthropy Is Saying ‘No’
An aerial view of the Temple Mount in the Old City of Jerusalem. Photo: Wikimedia Commons.
When people ask what the hardest thing about working in philanthropy is, they expect to hear about challenges related to raising money or dealing with difficult donors or recipients in various situations.
In actuality, the answer is significantly more painful: The hardest thing in philanthropy is saying “no.”
We know when there is money available and when there isn’t. At the end of the day, someone needs to make decisions.
I recently looked into the origin of the word philanthropy. The word is derived from an ancient Greek word “philos,” which refers to love, and “anthropos,” which refers to people. Basically, philanthropy literally translates to the love of humanity.
Note that there is no mention of money or donations in this definition. This shows something profound: the basic necessity of philanthropy is having a genuine desire to help other people. Money is simply a tool.
Imagine two cases that come up on the same day: One person needs an urgent financial grant for food. The second person requests support for studies that will allow him to earn a decent living and become independent, helping him stand on his own two feet. The budget is only able to help one of them. Which would you choose?
What needs to be considered: Is it better to give someone a fish, or teach them how to fish? I believe that it’s better to invest in someone who will be able to stand on their own two feet tomorrow and potentially even help others in the future. True, we have to say “no” to someone else, but that’s part of the decision.
I’ve been working in fundraising for more than 40 years in the United States, Canada, and Israel. The money we transfer is not ours — it’s the money of other people who have trusted us. We are the faithful messengers, which means we must ask: What will the effects of this money be?
It’s also a matter of professional responsibility. Every dollar is scrutinized — is the organization legitimate? Does it comply with tax laws on both sides? Just a month ago, I had to explain to a donor that donations to military causes do not meet the definition of charity under US tax law. That’s the kind of guidance an intermediary organization should give — even when it means saying “no.”
At our foundation, we work as a bridge between donors in North America and nonprofits in Israel. A donor in Toronto or New York wants to help in Israel, but they need someone on the ground to check and verify their potential projects. True philanthropy begins with loving people, but continues with the understanding that you can’t help everyone. And when the moment comes to say “no” — and it always will — you have to remember that it’s part of the mission. Because if we say “yes” to everyone, it would prevent us from helping anyone.
Chaim Katz is the founder and CEO of the Ne’eman Foundation, which helps Israeli non-profits receive donations from North America.
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UC San Diego ‘Guardian’ Journalist Unfairly Attacks Study Abroad Program in Israel
The San Diego skyline. Photo: Wikimedia Commons
Following the announcement of the UC San Diego study abroad program in Israel and Jordan this winter, some students — including UCSD Guardian senior staff writer Jaechan Preston Lee — expressed outrage at the Anthropology department’s decision to host the trip.
The critical article that Lee published in the university paper last month parades misinformation as truth, and exacerbates the already fragile climate on campus.
His article conveys Israel as a militaristic, vengeful, malevolent, and hateful state. And his argument promotes exclusion and discourages students from gaining a comprehensive understanding of perspectives they may not agree with.
Accepting Lee’s call to cancel the trip would undermine our school’s commitment to academic freedom, further demonize pro-Israel and Jewish community members, and allow his deeply distorted worldview to continue bullying its way into wider acceptance.
On Oct. 5, the UCSD Anthropology Department sent an email to all undergraduate students offering the opportunity to learn about the region’s “ancient and recent past” by “meeting people of very different religious and ethnic backgrounds.”
Two weeks later, Lee argued that the trip is “unethical and reckless” because it is “a form of American and Israeli soft power influence on the West’s perception of land rights and indigeneity in the Middle East.” He justifies his position in a number of ways, all of which collapse under even modest scrutiny.
First, it’s important to address his false claims. The characterization of Israel as an “apartheid state” and the current conflict with the Palestinians as a “genocide” are easily disproven.
Palestinian Arab citizens of Israel enjoy full and equal rights. They serve in every single level of society — from the Supreme Court and Knesset to all levels of civil life — and policies regarding the disputed territories are either temporary or a response to constant terror threats.
The genocide accusation is equally false. First, there was no intention to commit genocide — which is legally and morally required for the term to ever apply. Israel was fighting a war of self defense after the Oct. 7 massacre. Second, any arguments about population decline in Gaza cannot be proven — because the death tolls released by the Hamas-run Gaza Health Ministry have been falsified and also debunked.
The genocide accusation is also a complete insult to populations that have undergone an actual genocide — since no “genocide” in history has included protective actions such as leaflet distribution to encourage evacuation, nor has it ended immediately after hostages were released. Israel had the fire power to kill hundreds of thousands, if not a million Gazans. If genocide were Israel’s true aim, why were none of these capabilities ever used?
What’s more, all of the sources that Lee offers have faced widespread criticism for being incredibly dishonest and systemically biased against Israel for decades.
The UN report Lee hyperlinks was co-written by a rapporteur who is so antisemitic that she is being sanctioned by the US government. Lee also cites Hamas-allied Qatari state media Al Jazeera to suggest that Israel attacked its neighboring countries unprovoked, without mention of Hezbollah in Lebanon, the Houthis in Yemen, or jihadist activity in Syria.
Lee’s work follows a pattern in biased discourse where the lie of Israel’s unique evil is repeated until nobody questions if it’s true. Regardless of intent, Lee has become a mouthpiece for the propaganda that he claims to oppose.
One revealing argument targets Israel’s archaeological work, which Lee portrays as a means for the state to exert control over disputed land. By acknowledging Jewish artifacts beneath the soil, he implicitly affirms the deep historical Jewish roots in the region, yet dismisses that history as irrelevant to Jewish claims to the land. He also overlooks concerns that, under full Palestinian control, many of these sites and artifacts would risk neglect or destruction. The very existence of this debate underscores the importance of students seeing Israel’s archaeological realities firsthand.
Lee also fails to mention that the trip will include excursions in Jordan. The program is clearly designed to provide a balanced regional perspective rather than promote any single narrative.
At its core, the article is an excuse to attack Israel and isolate Zionist students. To deprive students of the opportunity to visit Israel is to attack our community’s freedom of choice and academic strength.
If the mere exposure to opposing perspectives derails your cause, perhaps it isn’t an honest one.
The campus culture at UCSD has been divisive and exclusionary towards Jews and Israelis since Oct. 7, 2023. Harmful narratives shut out anyone whose experiences do not align, and Lee’s piece will likely contribute to this trend.
By hosting this trip, the Anthropology Department takes a step toward changing that. It demonstrates a commitment to fostering global citizens and critical thinkers who inform their opinions through conversations with real people rather than 60-second videos on TikTok feeds.
I hope that the trip’s participants will show our campus what it means to engage rather than alienate. Maybe they will open the door for a generation of students who choose curiosity over banishment, and have the courage to see one another as people, not as sides of a centuries-old geopolitical conflict.
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The Netherlands Shows Her True Colors Once Again
A view shows the Peace Palace, which houses the International Court of Justice (ICJ), in The Hague, Netherlands, April 28, 2025. Photo: REUTERS/Piroschka van de Wouw
I never thought I would write these words, but I have lost respect for my own country. I say that with sadness, not anger. For years, I believed in the Dutch reputation for fairness, nuance, and moral clarity. Today, that image has crumbled. The way Dutch media covers Israel is not just biased; it is intellectually lazy, historically empty, and socially dangerous. Worst of all, it fuels a rising wave of antisemitism in a nation that should know exactly where that road leads.
The most recent example came from Trouw, a newspaper that once claimed to value journalistic integrity. It published an uncritical article praising the views of Ta-Nehisi Coates, who labeled Israel an “apartheid state.” That accusation was presented to readers as if it were self-evident truth, not an opinion. No context. No history. No pushback. No mention of equal rights for all Arab citizens. No mentions of terrorism, of facts on the ground, of the repeated rejection of peace initiatives, or of the lives Israelis have been forced to defend from relentless violence. It was a piece of writing that replaced journalism with activism, and knowledge with slogans.
If Dutch journalists insist on making comparisons, then honesty requires them to explain what real apartheid actually looked like. South Africa enforced legally defined racial categories, stripped millions of their citizenship, banned interracial marriage, separated schools, hospitals, beaches, toilets, buses, universities, and neighborhoods. Black South Africans were barred from voting, from certain jobs, and from owning land in most of the country. They were forced into impoverished “homelands,” denied freedom of movement, and subject to routine torture and violence by the state. None of this resembles Israel. Not even remotely.
But the truth no longer seems to matter in Dutch newsrooms. Nuance has disappeared. Context has vanished. Emotion has replaced evidence, and ideology has replaced inquiry. Israel is guilty by default, while its critics are treated as prophets whose words require no verification.
The Dutch media’s relentless one-sidedness reveals something deeper and more troubling than mere ignorance. It reflects a renewed comfort with blaming Jews for the world’s problems, a habit with a long and ugly history in Europe. When articles like the one in Trouw are circulated without challenge, they do not educate the public; they radicalize it. They normalize anti-Jewish hostility. They transform a complex conflict into a morality play, where Israelis are cast as colonial villains and Palestinians as blameless victims, regardless of reality.
As a Dutch citizen, I am ashamed. Ashamed of the intellectual laziness in our press. Ashamed of the moral posturing that ignores Jewish suffering. Ashamed of how quickly we have forgotten our responsibility to truth after the darkest chapter in European history. And ashamed that my country, once known for moral clarity, now prefers fashionable outrage over honest reporting.
Israel is not perfect. No nation is. But the apartheid accusation is not journalism. It is propaganda. And when the Dutch media amplifies it, they are not holding power to account — but are helping to spread a lie with real consequences for Jewish communities and for the possibility of peace.
It is time for Dutch journalists to rediscover integrity. And it is time for readers to demand it.
It is also time, more than ever, to stand up for Israel, because truth still matters.
Sabine Sterk is CEO of the NGO Time To Stand Up For Israel.