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Celebrities Help ‘Spotlight’ Holocaust Survivors, Their Testimonies in New NYC Portrait Exhibit
A new portrait series and exhibition that opened in New York City on Tuesday showcases Holocaust survivors paired up with some of the most notable figures in media, fashion, and entertainment, in an effort to preserve survivor testimonies and amplify their stories, as well as to help combat antisemitism.
The portraits in “Borrowed Spotlight,” which is on display at the Detour Gallery, were captured by South African-born, renowned fashion photographer Bryce Thompson. They debuted ahead of Israel’s Holocaust Remembrance Day (Yom HaShoah), which begins on Wednesday night and marks 80 years since the end of World War II. The photographs feature portraits of survivors alongside prominent Jewish and non-Jewish figures such as Cindy Crawford, Jennifer Garner, Billy Porter, Wolf Blitzer, Chelsea Handler, Jenna Dewan, Barbara Corcoran, Nicola Peltz Beckham, Scooter Braun, David Schwimmer, Martha Grant, Ashley Benson, Josh Peck, George Stephanopoulos, Sheryl Sandberg, and Julius Erving.
The recognizable names heard testimonies from the Holocaust survivor they were paired with and then posed for photographs together with the survivor. A total of 18 celebrity and Holocaust survivor-paired portraits are in the series, and they were all taken by Thompson in 2023 and 2024. The exhibit features these large-scale portraits but also additional behind-the-scenes photos and other elements that aim to educate and inspire the public.
One section showcases notes written by some of the Holocaust survivors about life, hope, and reflection. In one such note that was on display, Holocaust survivor Risa Igelfeld, who is 107 years old, wrote: “I am writing this to urge the world to bring only positive thoughts to one another and let love flow.”
“Holocaust survivors are few and far between. Special people with special stories, and I really felt like they need to be told. [And] firsthand was really important to me,” Thompson, who is not Jewish, told the large crowd that attended the exhibit’s opening on Tuesday night. “Hearing a story from someone who has told a story is not the same as sitting in a room with someone who lived through something.”
Thompson told The Algemeiner he was originally hoping to only include non-Jewish celebrities in the portraits because “I wanted non-Jewish people standing up for Jewish people.” But once the project started, Jewish celebrities reached out to him and said they wanted to participate in the portrait series. He also admitted that he had a hard time getting some celebrities on board for the project.
“It wasn’t as easy as I had hoped, but the ones who did say ‘yes’ said [it] willingly and happily, and we were lucky to have them,” he said.
The Holocaust survivors in the series include natives of Poland, Czechoslovakia, Hungary, Belgium, Romania, and one man who was born in a Budapest ghetto basement during a bombing raid in 1944. The photographs feature survivors of the Warsaw Ghetto, Auschwitz and Bergen-Belsen concentration camps, and one person who survived 12 concentration camps. After surviving the genocide of World War II, some of these Holocaust survivors went on to have large families, become graduates of MIT, rocket designers, entertainment lawyers, writers, acclaimed sculptors, tailors, members of the Israeli Air Force, doctors of clinical psychology, and Holocaust educators. The photo series also highlights a survivor of the Farhud pogrom that targeted Jews in Baghdad, Iraq.
The goal of the portrait series and exhibit is to take the spotlight off the featured celebrities and instead use it shed some light on the Holocaust survivors, to help magnify their testimonies and help them reach a larger audience, especially the next generation. “In these pairings, recognition is redirected, and the attention so often given to fame is instead used to illuminate history,” read a description of the exhibit that was on display at its entrance. “The result is a series of intimate portraits and conversations where past and present collide, where silence is broken, and where remembrance becomes an act of defiance against forgetting.”
Brazilian model Daniela Braga is featured in the portrait series alongside Czech Holocaust survivor Gabriella Karin, who survived the war as a teenager by hiding in the one-bedroom apartment of a non-Jewish young lawyer who was located directly across the street from the Nazi-Slovak Gestapo. Born and raised Catholic, Braga converted to Judaism and her husband is Jewish. She told The Algemeiner that hearing about Karin’s experience during the Holocaust made her “very emotional because growing up in Brazil, we learned just a little bit about the Holocaust and World War II. But to have the experience to actually talk to someone who lived through it, it’s something so mind-blowing to me.”
“I could hear the pain in her voice,” Braga added. “It made me happy in the end that she’s alive and is able to tell her story to all of us, to share with other people. When we say, ‘Never Again,’ it really has to be never again.”
Braga also told The Algemeiner she met a Jewish people for the first time ever when she moved to New York 15 years ago.
“I’ve been immersed in this [Jewish] culture for 15 years. The Jewish culture is something very close to my heart. Anything that I can do to help the Jewish community, I will do it,” she said while explaining why she wanted to participate in Thompson’s portrait series.
Jewish actress Kat Graham is photographed in the portrait series with Holocaust survivor Yetta Kana. Graham spoke at the exhibit opening and said Thompson’s portraits capture “truth, resilience, and humanity.” The “Vampire Diaries” actress – whose maternal grandmother fled Europe during the Holocaust – additionally said the photographs “build a bridge between generations; a conversation between memory and legacy.”
“This project is about remembrance but it’s also about responsibility,” she told the crowd. “We are the torchbearers now. It is up to us to keep these stories alive and to ensure that history is never forgotten. That the voices of survivors, like Yetta, are not only heard, but felt. I invite you to see, to feel, and to carry these faces with you, long after you leave … Let’s never forget.”
The opening of “Borrowed Spotlight” on Tuesday night was attended by other well-known figures including Gregg Sulkin, Remi Bader, Moti Ankari, and “Real Housewives of New Jersey” stars Margaret Josephs, Melissa Gorga, and Lexi Barbuto. Sulkin, who is Jewish, told The Algemeiner he wanted to be in the portrait series but ultimately was unable to participate in Thompson’s project because of scheduling conflicts.
The photographs in the exhibit, as well as additional ones not on display, were compiled into a coffee table book available for purchase that features a foreword by Crawford. Proceeds from the book sales will support efforts to educate younger generations about the Holocaust. Proceeds from a private auction on Monday night of select prints in the series will benefit Selfhelp, which provides services and assistance to living Holocaust survivors in New York, and the United States Holocaust Memorial Museum.
There are more than 200,000 Holocaust survivors worldwide. Nearly 50 percent of all Holocaust survivors will die within the next six years, while 70 percent will no longer be alive within 10 years, according to a new report released this week by the Conference on Jewish Material Claims Against Germany (Claims Conference). There are estimated to be more than 1,400 alive today around the world who are over 100 years old.
“Borrowed Spotlight” will be open at the Detour Gallery through Sunday.
The post Celebrities Help ‘Spotlight’ Holocaust Survivors, Their Testimonies in New NYC Portrait Exhibit first appeared on Algemeiner.com.
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‘Growing Pogrom-Like Atmosphere’: German Antisemitism Commissioner Issues Warning After Synagogue Arson Attack
Anti-Israel protesters march in Germany, March 26, 2025. Photo: Sebastian Willnow/dpa via Reuters Connect
The commissioner to combat antisemitism in the German state of Hesse has sounded the alarm after an arson attack on a local synagogue in the town of Giessen, warning that it reflects a “growing pogrom-like atmosphere” threatening Jewish life across Germany as Jews and Israelis continue to face an increasingly hostile climate.
In an interview with the German newspaper Tagesspiegel, Uwe Becker — who has served in his role since 2019 — condemned the latest attack, saying it occurred “in a poisoned antisemitic climate that is steadily worsening.”
The horrific act occurred in a “growing pogrom-like atmosphere that, as a society in Germany and Europe, we are currently not doing enough to counter,” the German official said.
On Tuesday, a 32-year-old man was arrested after allegedly setting fire to a trash can outside a local synagogue in Giessen, west-central Germany, in an attack that damaged a roller shutter and entrance gate, though no one was harmed.
According to local reports, a Giessen district judge has ordered the suspect to be placed in a psychiatric hospital, citing signs that he may be suffering from a mental illness.
However, the suspect remains in police custody as local authorities investigate the circumstances and motive of the attack, including whether it was politically motivated.
This latest attack came just a week after Andreas Büttner, the commissioner for antisemitism in Brandenburg, northeastern Germany, was targeted for the second time in less than a week after receiving a death threat.
According to the German newspaper Potsdamer Neueste Nachrichten (PNN), the Brandenburg state parliament received a letter earlier this month threatening Büttner’s life, with the words “We will kill you” and an inverted red triangle, the symbol of support for the Islamist terrorist group Hamas.
Authorities are now probing the incident as part of an ongoing investigation into threats against the German official, after his private property in Templin — about 43 miles north of Berlin — was also targeted in an arson attack and a red Hamas triangle was spray-painted on his house.
A former police officer and member of the Left Party, Büttner took office as commissioner for antisemitism in 2024 and has faced repeated attacks since.
“The symbol sends a clear message. The red Hamas triangle is widely recognized as a sign of jihadist violence and antisemitic incitement,” Büttner said in a statement after the incident.
“Anyone who uses such a thing wants to intimidate and glorify terror. This is not a protest, it is a threat,” he continued.
Hamas uses inverted red triangles in its propaganda videos to indicate Israeli targets about to be attacked. The symbol, a common staple at pro-Hamas rallies, has come to represent the Palestinian terrorist group and glorify its use of violence.
In August 2024, swastikas and other antisemitic symbols and threats were also spray-painted on Büttner’s personal car.
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How Alvin Ailey’s ‘Revelations’ evokes Yom Kippur for me
My last semester of college, I had an Alvin Ailey phase.
My time in Philadelphia was rapidly coming to a close and I felt an urge to make it to as many of the performing arts venues in the city as I could (not an easy feat). With a close family friend, I attended my first Alvin Ailey performance at the Forrest Theatre. Soon after, I went to a talk at the African American Museum in Philadelphia about Ailey and the piece The River. That weekend, I also watched the 2021 documentary Ailey. Then I found myself doing a sociolinguistical analysis of Ailey’s most famous work, Revelations, for a class.
To call my interest in Ailey a phase is actually a misnomer since, two years later, I am still an Ailey fan — and now the owner of an actual Alvin Ailey-branded hand fan. Last June, I attended a performance during their run at the Brooklyn Academy of Music and fell in love with Grace, choreographed by Ronald K. Brown. I bought a ticket to see it again, along with Revelations and two shorter works, during their winter season at New York City Center.
While the end of Grace — in which a dozen dancers take a nearly 30-minute-long journey to a promised land — made me tear up, it wasn’t until Revelations that I actually began to cry. It happened during the duet “Fix Me, Jesus,” in which a female dancer searches for spiritual guidance and a male figure depicts divine support.
I was aware of the irony. As a lifelong Jew, I have never wanted Jesus to “fix” me. But the piece moved me to tears nonetheless. Within the gospel music, New Testament themes and African American cultural imagery of Revelations — composed of multiple smaller pieces — is a universal story of desire for redemption and turning to faith in times of great suffering.
The choir that accompanies the dance sings “fix me for my long white robe,” a reference to Revelation 6:11, where those that have lived their life without sin are told they will be given white robes for their ascension to Heaven. I was reminded of the kittel, a plain white robe some in the Ashkenazi tradition wear on Yom Kippur. Some rabbis have interpreted the robe to symbolize the blank slate we are creating for ourselves in the new year. Dressing plainly can also be another way of resisting earthly pleasures on the Day of Atonement. Since some people are also buried in their kittel, another interpretation is that wearing it helps one consider their death and what legacy they want to leave behind, thinking of how they may “fix” themselves to be ready for when they will be brought before G-d.
These echoes of Yom Kippur make another appearance in Ailey’s Revelations in the solo “I Wanna Be Ready.” The single dancer dressed in white alternates between contracting and expanding their body, kneeling and prostrating on the ground, as if they are repenting for something. The choir chants that they want to be ready to put on their long white robes and the lead singer explains he has avoided the temptation to sin so his soul will be ready for death.
This deviates slightly from how I think of preparing for the Day of Judgment. For me, Yom Kippur has always been about acknowledging that we will sin, that we are human, flawed, prone to jealousy and gossip and all those other things we list as we beat our chests during the confessional. In the Reconstructionist Press version of the Prayerbook for the Days of Awe, Rabbi Rami M. Shapiro writes that “we freely admit our failings” in order to “create our atonements.” In the confessional, we are instructed not to tell G-d that “we are righteous, and we have not sinned,” for “indeed we have sinned.”
I have always experienced Yom Kippur as an intense emotional journey to find within myself the ability to do better, be better, perhaps with some divine guidance. This is what I recognized in “Fix Me, Jesus,” this burning desire to exceed our own expectations.
But the yearning of Revelations is not just about individual spiritual reckoning. Throughout the work, you can feel Black Americans pushing toward freedom as they emerge from the degradation of slavery and Jim Crow.
I connect with this existential cultural aspiration to escape systemic degradation both as a Black American and as a Jewish American, descended from enslaved people on one side and pogrom survivors on the other. Although Revelations originated in a specific cultural context — born from Ailey’s experiences growing up in the Black church in 1930s Texas — its broader message about redemption feels unifying across cultural divides. I have imagined seeing Revelations with my paternal grandmother, an active and dedicated member of the Black Presbyterian church. Even if we were to appreciate the dance’s spirituality for different reasons — her for the work’s reflection of her faith in Jesus, me for its raw portrayal of an intense desire to improve — it’s something that would move both of us.
Probably my tears were triggered by the intensity of the piece and the beauty of its dancers and not by some spiritual awakening. Still, despite — or really, because of — the emotional unrest Alvin Ailey put me through, they will probably be seeing me again soon.
The post How Alvin Ailey’s ‘Revelations’ evokes Yom Kippur for me appeared first on The Forward.
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Police Chief in UK Retires After Facing Scrutiny for Banning Israeli Maccabi Tel Aviv Fans From Soccer Match
WMP Chief Constable Craig Guildford speaking before the Home Affairs Committee on Jan. 6, 2026. Photo: Screenshot
West Midlands Police (WMP) Chief Constable Craig Guildford retired on Friday effective immediately after increasing public scrutiny and revelations over his use of “exaggerated or simply untrue” intelligence to justify a ban prohibiting Maccabi Tel Aviv soccer fans from attending a match late last year.
Simon Foster, the police and crime commissioner of WMP, announced Guildford’s retirement in a formal statement delivered outside Birmingham’s Lloyd House, which is the headquarters of the West Midlands police force. Guildford will collect his full pension after three decades of service. Foster thanked Guildford for his service and said he welcomes the chief constable’s decision to retire. He added that Guildford’s stepping down is in the “best interest” of the police force and the local community.
Guildford’s retirement follows the decision of the Birmingham City Council Safety Advisory Group, based on the recommendation of West Midlands Police, to ban traveling Maccabi Tel Aviv soccer fans from attending the Europa League soccer match between Aston Villa and the Israeli team on Nov. 6, 2025, at Villa Park in Birmingham due to “public safety concerns.”
The announcement also comes just two days after British Home Secretary Shabana Mahmood told the British Parliament that she has lost confidence in Guildford. The minister said she came to the conclusion after receiving a “damning” and “devastating” report by Sir Andy Cooke, his Majesty’s chief inspector of constabulary, on Wednesday that revealed several failings by the WMP force in relation to its recommendation to ban Maccabi soccer fans, including “misleading” public statements and “misinformation” promoted by the police.
Foster acknowledged on Thursday that the police forced faced “understandable intense and significant oversight and scrutiny.”
“The findings of the chief inspector were damning. They set out a catalogue of failings that have harmed trust in West Midlands Police,” Mahmood said in a statement following Thursday’s announcement. “By stepping down, Craig Guildford has done the right thing today … Today marks a crucial first step to rebuilding trust and confidence in the force amongst all the communities they serve.”