The Jewish Folk Gallery is a modest space that can barely contain the artistic output of the emigre artists and artisans who rely on it as a showplace for their work.
The walls and the shelves of the 300-square-foot gallery (formerly the first-floor library at Bnai Zion House) overflow with scenes of shtetl life and people at prayer, landscapes of Russia and Israel, engraved copper plaques and carved wooden ritual objects. There is just enough room for a tea-service cart to fit behind the door.
The cover illustration of Etgar Keret's first book in English shows a smiley-faced figure in the act of blowing its brains out. Inside, suicide, murder and other forms of mutilation are featured in a good portion of the "other stories" in "The Bus Driver Who Wanted to Be God and Other Stories."
Far from turning off readers, Keret's combination of bittersweet prose and morose subject matter has hit a nerve among Israelis born in an age of political and moral uncertainty.
With his odes to Italian restaurants and songs about Catholic girls, most Billy Joel fans may never have pegged the "Piano Man" for the scion of a once-thriving German-Jewish mercantile family whose fortunes were swept away in the Holocaust.
No tinsel, no Santa, no carols, no nog. Some Jews feel they're missing out on the fun of Christmastime. Sure, there are alternatives like Chinese-food-and-a-movie or Matzah Ball dances: the ethnic equivalent of artificial snow. These activities capture the season's festive mood without drawing on its Christian origins.
When history touched Yonia Fain's life, it hit with gale force. For 30 years he was "dragged by the storm of events over half a world," the Brooklyn-based painter and Yiddish poet once wrote.
Between 1923 (when a 9-year-old Fain and his family fled Bolshevik Russia, and 1953) when he settled in New York City: Fain outran Nazi troops in Poland, was imprisoned by the Soviets, escaped to Japan, was deported to China and eventually made his way to safety and artistic success in Mexico.
Some people call her film daring, others dangerous. First-time filmmaker Anat Zuria admits that "Tehora," her hour-long documentary about Jewish family purity, is meant to provoke. But she sees greater peril in keeping quiet about a subject that shapes the lives of Orthodox Jewish women.
Roman Polanski's latest feature film is a dramatic account of one man's survival in wartime Warsaw. "The Pianist," which opens Dec. 27, is also a documentary in at least one respect: its star, Adrien Brody, nearly starved himself to portray the Jewish musician and composer Wladyslaw Szpilman, shedding some 30 pounds from his already slender frame as filming progressed.
Most visitors to a new Chagall exhibition at the Children’s Museum of Manhattan likely will find more interest in the Velcro animals on display than in Vitebsk, the artist’s beloved hometown. But while they putter and play among the exhibits that make up “Chagall for Children,” young audiences are getting a foundation in art appreciation, the exhibition’s organizers say.