New York’s Morgan Library features an online version of an exhibit devoted to “The Book of Ruth: Medieval to Modern,” which was on view when the museum closed in March. A survey of the library’s manuscript collection of the biblical Book of Ruth, the show put the spotlight on a modern manuscript of the Old Testament story, a recent donation from Joanna S. Rose, the collector and patron who commissioned the work. Completed over a two-year period from 2015-2017, this newest Book of Ruth is an 18-foot long two-sided English and Hebrew accordion-fold vellum manuscript. Artist Barbara Wolff, renowned for her mastery of the technique of illumination, rendered illustrations in black ink, gouache, and gold and silver platinum. 

As beautiful as it is, Wolff’s creation is more than just a dazzling surface; a wealth of treasures is revealed in these panels, which include both figurative and non-figurative images. Her intricate and painstaking process partners with her ability to mine underlying nuances of emotion through her choice of subject and enhances the narrative in ways that will deepen the understanding of the story of Ruth even to those possessing an extensive knowledge of the Old Testament and commentaries.

The Bible records the story of Ruth, a young widow who pledges to share the life and faith of her Jewish mother-in-law, Naomi. Together they leave Bethlehem to escape the famine. They arrive in Moab, where Ruth meets Naomi’s relation, the wealthy landowner Boaz. After his wheat is harvested, he allows Ruth to collect the leftover grain from the threshing floor. The couple is destined to marry and become the great grandparents of the future king of Israel, David, and, according to Christian tradition, possess direct lineage to Jesus.

For her sources, Wolff studied diverse and wide-ranging texts by theologians, scientists, philosophers and historians. Expanding her understanding of the narrative, they addressed topics that ranged from Iron Age (1200-1000 BCE) archeology, biblical anthropology, and 21st century climate change, to cartography and horticulture. With her thorough knowledge and understanding of the iconographical traditions of medieval manuscripts and codices that include this story, Wolff chose to follow a new path. She approached the narrative from a different perspective, augmenting the events recounted in the Old Testament through her pictures of Israel’s landscape, geology, flowers and plants as well as farming implements, shoes, clothing and textiles used during this time. As the backdrop for the Old Testament story, the illustrations convey a sense of immediacy through their subtle and poignant references to the plight of the poor, the vulnerable and the immigrant in today’s world.

Wolff’s art has been previously featured at the Morgan. Of her esoteric medium, she has noted: “It's like being an alchemist….It's magic turning these pieces into gold. You live a 13th-century timeline in the 21st century.” Wolff has observed: “the work is slow in the best sense of the word. By slow I mean with thoughtfulness, deliberation, great care.”

​Sol LeWitt’s Wall Drawing 522D, a gift of the LeWitt family installed in the museum’s lobby space since 2018, is also available for online viewing.  A giant at 20 x 30 feet, the richly colored geometric work was not painted by the artist, but existed as a set of detailed instructions, generated during the 1980s, to be executed directly in the space where it would be installed. A 20th century master, LeWitt, (1928-2007), laid the groundwork for Minimalism — a cerebral approach to art-making developed in the 1960s and ‘70s in response to the improvisatory and emotional Abstract Expressionist Movement. Wall Drawing 522D manifests the artist’s groundbreaking rethinking of process as opposed to fabrication, articulated simply and directly in his 1967 statement:  “In conceptual art the idea or concept is the most important aspect of the work.  All of the planning and decisions are made beforehand and the execution is a perfunctory affair.”

​Simon Barazin is an architect and interior decorator whose renovation of the 20-year old Barzilay Café in Tel Aviv’s Hashmal Garden district has elevated the standard coffee shop to a new level of design aesthetics, visually redolent of Donald Judd’s geometric sculptures and Dan Flavin’s light works. Installing specially treated glass windows that optimize the changing qualities of the natural light flooding the cafe throughout the day, Barazin reconfigured its three spaces—kitchen, roasting room and seating area—to exploit the reflective surfaces of made-to-order seating, brightly colored illuminated tables and gleaming metal countertops, for a Barzilay experience that is artsy, fun and inviting. Glass partitions allow for customers in the main room to see and smell the coffee being roasted.

The owner of his own firm specializing in design and spacial experience, Mr. Barazin studied at Israel’s famous Bezalel Academy of Art and Design, where he is now a teacher.

This month, Theater J, part of the Edlavitch Jewish Community Center in Washington, D.C. has enabled audiences across the country to register and enjoy free dramatic readings of new English versions of two early 20th century Yiddish plays at https://theaterj.org/yiddish-theater-lab/.

A finalist for the 2019 O’Neill Theater Center Festival in Waterford, Connecticut, Alix Sobler’s Miriam, is a reworking of Miryam, Peretz Hirschbein’s 1905 drama about a prostitute—a frequent subject for the Yiddish stage, strongly influenced by European Realist theater in that era—originally published in Hebrew. Known as the “Yiddish Chekov,” the prolific Hirschbein (1880-1948) is best remembered for his classic Green Fields. Featuring an all-female cast, it focuses on the lives of three women, who forge a bond as they reveal their unfortunate histories and look forward to a better life. Laley Lippard directs actresses Felicia Curry, Diane Figueroa Edidi and Kimberly Gilbert. Miriam can be seen live via Zoom on Sunday, June 7, at 5:00 pm, and will available from Monday, June 8 until midnight, Wednesday, June 10.
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Allen Lewis Rickman has translated and adapted One of Those (1912) by Polish poet, playwright and author Paula Prilutski (1876-19??), which will air on Thursday, June 18 at 5:30 and will be streamed until midnight, Sunday, June 21. Its premiere performance in Warsaw was mounted by the legendary actress-manager Esther-Rokhl Kaminska, mother of Ida. Despite its grim narrative, this proto-feminist story of Judith, a rebellious young woman who suffers the dire consequences of her actions, is supposed to be very funny. Kevin Place will direct an ensemble, tba.
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Alix Sobler’s play Sheltered won the 2018 Alliance/Kendeda National Graduate Playwriting Competition. A graduate of Brown University, she received her MFA in playwriting from Columbia University in 2017. Playwright, director and actor Allen Lewis Rickman has adapted, directed and written Yiddish supertitle translations for New York’s Folksbiene and New Yiddish Rep. 

You’ve seen him in many guises: the Frankenstein monster, the Incredible Hulk, even as the heart-breaking protagonist of Diane Arbus’ photograph, Jewish Giant with his Parents in the Bronx. But even in his original guise, his dramatic, but very soulless persona, he just can’t be kept down. He is the Golem, whose name and brief and violent existence in the Prague ghetto continues to resonate in novels by authors including Elie Wiesel and I.B. Singer, poetry, plays, comics, operas, ballet and an early film classic whose imagery inspired several generations of those seeking to capture the monster’s persona. 
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Legends vary regarding the larger than life male creature, but one of the most prevalent attributes its creation to the 16th century by Rabbi Loew of Prague, a mystic who in at least one version of the folktale had the power to enervate inanimate clay by means of cabalistic rituals and prayers. Controlled by combinations of Hebrew letters imbued with magical powers, the super strong Golem could destroy any enemy and would be ready to do so in times of trouble. Incapable of thought, the Golem could only obey orders, that is, until it didn’t.  

Now wonderfully restored with color added, the early German expressionist cinematic feature, The Golem (1920), directed by and starring Paul Wegener in the title role (which can now be viewed on YouTube) depicts Loew as a medieval sorcerer who not only violates God’s law by creating life, but does so by calling on the devil for his help. When he loses control over the Golem, the monster violently turns against the Jewish community, wreaking havoc. Characteristic of German films of this era, the use of stylized two-dimensional sets – the endless stairs and crumbling architecture of the nearly animate ancient ghetto – is what sets this movie apart.

An actor who worked for the great Jewish theater director Max Reinhardt, Wegener had become obsessed with the Golem legend in 1913 and had based several of his films on the story.

While thousands of graphic art aficionados are familiar with the many guises of the comic book Golem, his giant form packs the greatest wallop when it can be experienced in three dimensions. California-based artist Joshua Abarbanel created his first small-scale Golem in 2013 for a Los Angeles gallery show centered around sacred texts. The multi-media artist remembered that “I spent a lot of time thinking about the subject and experimenting with Hebrew letters for both their aesthetic forms and various word associations. Eventually the Golem story came to my mind, especially the version in which the Golem is ‘activated’ and ‘deactivated’ through the power of Hebrew letters.” In this work, Abarbanel fuses the Golem’s physical and metaphysical natures; his sculpture is constructed from a dense wooden latticework of calligraphy referencing its magical birth and unique mission.
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The artist’s monumental, Golem-size version commissioned by Berlin’s Jewish Museum for its 2016 show devoted to the mythic creature will soon be on view again in the city of Worms, where it will be on display at Rashi House for SchUM on the Rhine – from Medieval Era Into Modernity, a city-wide celebration of the region’s Jewish heritage.

 If your budget, work schedule or other circumstances have put a damper on that bike trip on the continent, a great sightseeing holiday is not out of the question for anybody these days. Jewish history in all its glory comes to you via three websites reviewed below.

Sponsored by the Council of Europe under the umbrella of its “Cultural Routes” program, (www.AEPJ.org), the website of The European Association for the Preservation and Promotion of Jewish Culture and Heritage is supported by a consortium of 21 organizations, including B’nai B’rith Europe. Claude Bloch, B’nai B’rith Strasbourg and historian of the Jewish community of Alsace, who founded the association and developed its annual European Day of Jewish Culture, is now its honorary president; its current president is B’nai B’rith leader Françoise Moyse. Visitors to its pages are able to hop from country to country, exploring both restored and unrestored synagogue landmarks housed in an ever-growing group of European countries, from the United Kingdom to Turkey; the journey is augmented by three themed sections charting modernist currents (spanning Art Nouveau and Art Deco through Expressionism), surveying the construction of Polish wooden synagogue buildings and locating places where important Jewish women left their mark. Through their beautiful and detailed photos, even those who possess an expertise in subject matter connected to 19th and 20th century art and history will come away with new insights that recontextualize Judaism’s significant contribution to, and inspiration from, the evolution of European culture.

Far from stagnant, the AEPJ website is continually introducing and developing new methods for expansion and education through its “incubator” pages, recent additions to the site that outline opportunities for those who wish to create, develop, learn or teach. Innovations in technology meld the past with the present on a sister website, Parallel Traces: a new lens on Jewish heritage, (https://paralleltraces.eu/), where award-winning entries of cutting edge multi-media works and pictures shining the light on Jewish life and history by European artists and photographers can be viewed. Through this site, those interested can also download three apps devoted to different aspects of Jewish heritage.

AEPJ has recently entered into a collaboration with Ruth Ellen Gruber, coordinator of Jewish Heritage Europe (https://jewish-heritage-europe.eu/), a site sponsored by the Rothschild Foundation, which includes the latest news about resources for restoration support and recently opened heritage sites. Here, a series of exhibits describe and document imagery and symbolism specific to Jewish architecture, liturgical objects and decoration, folk art and monuments, including gravestones, located throughout the continent. Similar to the presentation on the AEPJ site, a series of photo galleries are devoted to the art and architecture of specific countries. This joining of forces will surely foster the continued appreciation and renewed understanding of such important and literally eye-opening subject matter. To be sure, there is much that remains unexamined.
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For those inclined to venture closer to home, but who still want to thrill to some amazing sights, the website of The Shapell Collection (https://www.shapell.org) has much to offer. There, everyone can see and learn about actual letters written by Jewish Civil War Soldiers or tour curated exhibits which spotlight Jewish legends like Albert Einstein or investigate the lives of President Abraham Lincoln and the writer Mark Twain, historic figures impacted by their encounters with the Jewish community here and abroad, all presented in the letters and manuscripts they left behind.

​Woman in Gold
Honored for her starring role in Woman in Gold, a 2015 film about American émigré Maria Altmann’s ultimately successful legal efforts to reclaim a painting – stolen decades earlier from her family by the Nazis –  from the Austrian government, Dame Helen Mirren has continued to speak out on behalf of Holocaust restitution. It was her involvement with the movie that raised her consciousness and helped to catalyze her empathy for this cause.
 
Testifying before the U.S. Congress in support of expanded legislation in June 2016, Mirren noted that “what was so extraordinary specifically about Maria Altmann's world, the Viennese world… this glorious time in Vienna that was so full of culture and art….  And being in Vienna and shooting the film and seeing those beautiful houses that were built by the Jewish community, I realized it was a Jewish culture. It was – [the perception that] this beautiful memory of Vienna and the music and its painting was actually created by the Jewish people.”
 
#AnneFrank.Parallel Stories
Intended to appeal to the social media generation, the 2019 Italian documentary #AnneFrank. Parallel Stories now being screened at Jewish film festivals and movie theaters in the U.S.,  brings Dame Helen into the spotlight again. Filmed in a setting resembling the Frank family’s hiding place in Amsterdam, Mirren provides historical background, reads excerpts from Anne’s diary, and introduces filmgoers to the stories of other young women who experienced persecution during those terrible times. A modern retelling of Anne’s story, the movie celebrates her legacy during her 90th birthday year in what is described as “profound new ways.” 
 
Resistance
Playwright/actor Jesse Eisenberg portrays legendary mime Marcel Marceau in the new movie, Resistance. Born Marcel Mangel in Strasbourg, France, he was the son of a kosher butcher, who turned to the stage in his adolescence and joined the French resistance in Paris during the Nazi occupation at age 16 in 1939. He was tasked with assisting other Jews to hide or  escape the country. In an interview about Resistance, Eisenberg said that “[Marcel Marceau] was asked to save these kids who his cousin was saving. He is reluctant at first, but then realizes that the way to save their lives is to use his art [to entertain and keep the children quiet].” The film, which premieres on March 27, will be shown in theaters as well as On Demand.
 
Shared Legacies
On its opening night this month, the Atlanta Jewish Film Festival screened the world premiere of Shared Legacies, Shari Rogers’ documentary about the civil rights movement in the 1960s, in which she focuses on how the bond between Jews and African Americans was shaped by Old Testament narratives and texts, often quoted by Reverend Martin Luther King, Jr., and a mutual history of oppression. After a visit to Detroit’s Charles Wright Museum of African American History, Rogers asked  King’s attorney and speechwriter, Clarence B. Jones, to talk about Jewish participation in the fight against prejudice in the south and what he told her inspired the movie, which seems especially informative to people under the age of 40, who Rogers says knew nothing about this relationship.

Revealed through though archival materials and interviews with celebrities who lived through those times, including Louis Gossett, Jr. and Harry Belafonte, as well as historians and scholars like Hebrew Union College-Cincinnati historian Gary Zola, Jews –  civil rights workers, attorneys, rabbis, and other Jewish people from all walks of life –  were fully committed to, and sometimes lost their lives for the cause of racial justice. 

The film also includes a segment on the first public, integrated dinner in Atlanta honoring King after he had received the Nobel Peace Prize, hosted by activists Rabbi Jacob Rothschild and his wife, Janice, who married David Blumberg, B’nai B’rith’s president from 1971-78, after she was widowed.