Podcasts about Israel Museum

Welcome to The Times of Israel's Daily Briefing, your 20-minute audio update on what's happening in Israel, the Middle East and the Jewish world. Senior analyst Haviv Rettig Gur joins host Amanda Borschel-Dan for a bonus episode of our weekly What Matters Now series. This week, a committee appointed by Prime Minister Benjamin Netanyahu to examine defense spending and IDF military force design for the future announced that the election of Donald Trump as US president offers an unprecedented opportunity to remove the threat Israel faces from Iran. Trump’s return to the White House, said the Nagel Committee on Monday, “creates, for the first time, the potential for a fundamental change, and the removal or meaningful reduction of the Iranian threat.” Likewise this week, incoming US envoy to the Middle East Steve Witkoff announced that he would travel to Doha, saying a hostage deal being mediated by Qatar is on the verge of completion, as Trump again warned “all hell will break loose” in the region if an agreement between Israel and Hamas is not reached by his January 20 inauguration. We all know that Trump is one to talk tough, but the question is -- how much of this rhetoric will translate into action? And will he aid Israel in its effort to prevent a nuclear Iran? For news updates, please check out The Times of Israel’s ongoing live blog. Subscribe to The Times of Israel Daily Briefing on Apple Podcasts, Spotify, YouTube, or wherever you get your podcasts. This episode was produced by the Pod Waves. IMAGE: US President Donald Trump (left) and Israeli Prime Minister Benjamin Netanyahu shake hands at the Israel Museum in Jerusalem, May 23, 2017. (AP Photo/Sebastian Scheiner, File)See omnystudio.com/listener for privacy information.

Welcome to What Matters Now, a weekly podcast exploring key issues currently shaping Israel and the Jewish World, with host deputy editor Amanda Borschel-Dan speaking with The Times of Israel's senior analyst, Haviv Rettig Gur. This week, a committee appointed by Prime Minister Benjamin Netanyahu to examine defense spending and IDF military force design for the future announced that the election of Donald Trump as US president offers an unprecedented opportunity to remove the threat Israel faces from Iran.the Trump’s return to the White House, said the Nagel Committee on Monday, “creates, for the first time, the potential for a fundamental change, and the removal or meaningful reduction of the Iranian threat.” Likewise this week, the incoming US envoy to the Middle East Steve Witkoff announced that he would travel to Doha, saying a hostage deal being mediated by Qatar is on the verge of completion, as US President-elect Donald Trump again warned “all hell will break loose” in the region if an agreement between Israel and Hamas is not reached by his January 20 inauguration. We all know that Trump is one to talk tough, but the question is -- how much of this rhetoric will translate into action? And will he aid Israel in its aid to prevent a nuclear Iran? So this week, we ask Haviv Rettig Gur: What matters now? What Matters Now podcasts are available for download on Apple Podcasts, Spotify, YouTube or wherever you get your podcasts. This episode was produced by the Pod-Waves. IMAGE: US President Donald Trump (left) and Israeli Prime Minister Benjamin Netanyahu shake hands at the Israel Museum in Jerusalem, May 23, 2017. (AP Photo/Sebastian Scheiner, File)See omnystudio.com/listener for privacy information.

James Snyder was Deputy Director of MoMA from 1986 to 1996. He then led the Israel Museum in Jerusalem through 22 years of dramatic growth, securing its stature as one of the world's foremost museums. In 2023 Snyder became Helen Goldsmith Menschel Director of the Jewish Museum in New York, which has been located in the former Warburg Mansion at 1109 5th Ave at 92nd Street since 1947. The Jewish Museum maintains a unique collection of nearly 30,000 works of art and archeology, ceremonial objects, and media reflecting the global Jewish experience over more than 3,500 years...... "We are all foreigners, wherever we are. Even at home, we are foreigners." "....an important point about the history of the region is to understand how, during the Ottoman Empire, there were not countries but rather cultures...." "...there does not have to be a disconnect between your core identity and your cultural identity."

Dance Talk” ® with Joanne Carey and special guest, Artistic Director, Amanda Selwyn In this episode of “Dance Talk” ® with Joanne Carey, join host Joanne Carey as she chats with Special Guest,  Amanda Selwyn, founder of Amanda Selwyn Dance Theatre. Together they discuss Amanda's journey in dance and theater and the future plans of the newly secured Amanda Selwyn Dance Theater Space as they celebrate their 25th anniversary. Amanda stresses her commitment to the community and the importance of dance education for children and its transformative impact her dance programs in schools. Amanda shares several inspiring stories of how dance has changed her students lives, the connection between dance and academic subjects.  Tune in and check out all that upcoming for this amazing organization that is celebrating 25 years! Amanda Selwyn (Artistic Director/Choreographer) founded Amanda Selwyn Dance Theatre/Notes in Motion in 2000 and in 24 seasons, has directed over 110 productions, developed a network of artists, and created Notes in Motion's dance education program. Amanda recently taught workshops at Peridance, a Residency at Hofstra University, New Women, New York, the New York Gender Conference, and a Choreography Master Class at Temple University. Her 24th Season is being presented at BMCC Tribeca Performing Arts Center and her 20th Anniversary Season was presented at Baruch Performing Arts Center both as Residency Artists of the CUNY Dance Initiative. She has choreographed dance for Chicago's Motivity; for theatre productions including House on Mango Street, Free to be You an Me, Once Upon a Mattress, The Wiz, Little Shop of Horrors, and Charlie & The Chocolate Factory; and for her original theatre productions which include Herland, Yellow Feather, and Slitting the Clouds. In addition to her choreographic work, Amanda has directed off-broadway theatre in NYC . Amanda teaches dance and theatre to New York City children and has been on faculty at The Brearley School, Brooklyn Friends School, Beit Rabban School, Solomon Schechter School, and the New Acting Company. She has taught dance composition and technique at the Berkshire Institute for Music and Art and taught dance and theatre in Israel at the Israel Museum, English Village, and the Arad Community Center. She is the recipient of grants from the NY State Council on the Arts, The Harkness Foundation for Dance, the Friars Foundation, Dizzy Feet Foundation, Bronx Council on the Arts, NYC Department of Cultural Affairs Cultural Development Fund, NY City Council Members Bill DeBlasio, Kevin Riley, Andy King, Carlina Rivera, Althea Stevens, James Gennaro, Irma Vernikov, Marjorie Velazquez, Farah N. Louis, Margaret Chin, and Rosie Mendez, Manhattan Borough President, Met Life, City National Bank, Credit Suisse, and the Bossak/Heilbron Charitable Foundation. Her work has been presented on Jacob's Pillow Inside/Out Stage, at Tribeca Performing Arts Center Pushing Progress at Peridance to name a few. She has a Masters from NYU's Tisch School of the Arts in performance studies and a B.S. from Northwestern University in theatre, women's studies, and dance. And follow “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts.  ⁠https://dancetalkwithjoannecarey.com/ Find out more⁠ https://amandaselwyndance.org/ “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts.  ⁠https://dancetalkwithjoannecarey.com/⁠ Tune in. Follow. Like us. And Share.  Please leave us review about our podcast!  “Dance Talk” ® with Joanne Carey  "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Fluent Fiction - Hebrew: Tradition Meets Innovation: A Sukkot Art Revolution Find the full episode transcript, vocabulary words, and more:fluentfiction.org/tradition-meets-innovation-a-sukkot-art-revolution Story Transcript:He: במוזיאון ישראל בירושלים, האוויר מלא בציפייה.En: At the Israel Museum in Jerusalem, the air is filled with anticipation.He: סתיו הגיע, וחג הסוכות מתקרב.En: Autumn has arrived, and the holiday of Sukkot is approaching.He: סוכות קטנות עומדות בחצר, והריח של אתרוג וערבה ממלא את המקום.En: Small sukkah stand in the courtyard, and the scent of etrog and willow fills the place.He: נועם, האוצר הנלהב, מרגיש שהשנה הוא צריך להוכיח את עצמו.En: Noam, the enthusiastic curator, feels that this year he needs to prove himself.He: הוא מתכוון לארגן תערוכה מיוחדת שתזכה בהכרה בינלאומית.En: He intends to organize a special exhibition that will gain international recognition.He: הוא פונה לתמר, המעצבת המדויקת, ולארי, האמן הצעיר והמוכשר.En: He turns to Tamar, the precise designer, and Ari, the young and talented artist.He: נועם רוצה להביא משהו חדש.En: Noam wants to bring something new.He: הוא רוצה לאחד בין מסורת לאמנות מודרנית.En: He wants to unite tradition with modern art.He: הוא יודע שזה יהיה אתגר, כי הנהלת המוזיאון מעדיפה דברים מסורתיים.En: He knows it will be a challenge since the museum's management prefers traditional things.He: תמר חוששת מהרעיון.En: Tamar is concerned about the idea.He: היא מעריכה את המסורת ורוצה להציג תרבות עשירה ועמוקה.En: She appreciates tradition and wants to present a rich and deep culture.He: אבל נועם מסביר לה על החשיבות של השילוב בין ישן לחדש.En: But Noam explains to her the importance of combining old with new.He: הוא מבקש ממנה לנסות לחשוב מחוץ לקופסה.En: He asks her to try to think outside the box.He: ארי, מצדו, מרגיש חוסר ביטחון ביצירות שלו.En: Ari, for his part, feels insecure about his creations.He: נועם מאמין בו ומציע לו לשלב אלמנטים אמנותיים מודרניים בתערוכה.En: Noam believes in him and suggests he incorporate modern artistic elements into the exhibition.He: ארי מהסס אבל מחליט לקחת את הסיכון.En: Ari hesitates but decides to take the risk.He: הערב שלפני פתיחת התערוכה מגיע, וכולם לחוצים.En: The evening before the exhibition opens arrives, and everyone is stressed.He: לפתע, פיסת אמנות קריטית של ארי נפגעת.En: Suddenly, a critical piece of Ari's art is damaged.He: המתח גבוה, ונראה שהכול אבוד.En: The tension is high, and it seems all is lost.He: תמר מציעה רעיון פשוט אך חדשני.En: Tamar suggests a simple yet innovative idea.He: "נוכל לשלב את הפיסה הפגומה בצורה אמנותית," היא אומרת.En: "We can incorporate the damaged piece artistically," she says.He: "זה יכול להיות המוקד של התערוכה.En: "It could become the focus of the exhibit."He: "נועם מסכים.En: Noam agrees.He: ברגע האחרון, כולם עובדים יחד בשיתוף פעולה.En: At the last moment, everyone works together in collaboration.He: התערוכה נפתחת והקהל מתפעל, במיוחד מהפיסה הפגומה שהפכה לאטרקציה מרכזית.En: The exhibition opens and the audience is impressed, especially by the damaged piece that became a central attraction.He: נועם מבין כעת את החשיבות של עבודה יחד.En: Noam now understands the importance of working together.He: הוא לומד להקשיב לרעיונות של אחרים.En: He learns to listen to others' ideas.He: ארי זוכה בביטחון כשהיצירה שלו מתקבלת היטב.En: Ari gains confidence as his creation is well received.He: תמר מגלה שאפשר לשלב מסורת עם חדשנות.En: Tamar discovers that tradition can be combined with innovation.He: כשהתערוכה ננעלת, נועם, תמר וארי מביטים בה בעיניים נוצצות.En: As the exhibition closes, Noam, Tamar, and Ari look at it with sparkling eyes.He: הם הבינו שהשילוב בין מסורת וחידוש יכול ליצור משהו מדהים.En: They realized that the combination of tradition and innovation can create something amazing.He: והם יודעים שהשנה התערוכה לא תשכח במהרה.En: And they know that this year's exhibition will not be forgotten soon. Vocabulary Words:anticipation: ציפייהautumn: סתיוcourtyard: חצרscent: ריחenthusiastic: נלהבcurator: אוצרrecognition: הכרהprecise: מדויקתincorporate: לשלבstimulating: מגרהelements: אלמנטיםhesitates: מהססcollaboration: שיתוף פעולהinnovative: חדשניתimpressed: מתפעלcentral: מרכזיתcombination: שילובinnovation: חידושchallenge: אתגרapproaching: מתקרבmanagement: הנהלהprefer: מעדיפהunite: לאחדdamaged: נפגעתaudience: קהלconfidence: ביטחוןrich: עשירהculture: תרבותartistic: אמנותיתproves: להוכיחBecome a supporter of this podcast: https://www.spreaker.com/podcast/fluent-fiction-hebrew--5818690/support.

Ghada Amer was born in Cairo, Egypt in 1963 and moved to Nice, France when she was eleven years old. She remained in France to further her education and completed both of her undergraduate requirements and MFA at Villa Arson École Nationale Supérieure in Nice (1989), during which she also studied abroad at the School of the Museum of Fine Arts in Boston, Massachusetts in 1987. In 1991 she moved to Paris to complete a post-diploma at the Institut des Hautes Études en Arts Plastiques. Following early recognition in France, she was invited to the United States in 1996 for a residency at the University of North Carolina, Chapel Hill. She has since then been based in New York.   Ghada's work is in public collections around the world including The Arab Museum of Modern Art, Doha; the Art Institute of Chicago, Chicago, IL; the Barjeel Art Foundation, Sharjah; the Brooklyn Museum of Art, New York, NY; Centre Georges Pompidou, Paris; Chrysler Museum of Art, Norfolk, VA; Crystal Bridges Museum of American Art, Bentonville, AR; the Guggenheim Museum, Abu Dhabi; the Israel Museum, Jerusalem; the Samsung Museum, Seoul; among others. She is regularly invited to prestigious group shows and biennials-such as the Whitney Biennial in 2000 and the Venice Biennales of 1999 (where she won the UNESCO Prize), 2005 and 2007. She was recognized with a mid-career retrospective at the Brooklyn Museum of Art in New York in 2008 and a larger, more extensive one at the MUCEM and across other venues in Marseille, France in 2022. Amer studied at the Villa Arson École Nationale Supérieure in Nice, France, at the School of the Museum of Fine Arts in Boston, MA, and at the Institut des Hautes Études en Arts Plastiques in Paris. She lives and works in New York.

On exhibit in the Israel Museum in Jerusalem are artifacts from the excavation of a burial plot from the end of the First Temple period. Among the exhibit is a small thin silver plaque the size of a thumb. Inscribed on it in Hebrew is the Birkat Kohanim, the priestly blessing we still recite today.

This butterfly is excited to be speaking with Maxi Cohen. Maxi is an award-winning artist and filmmaker based in New York City.  Her films have played in movie theaters, in film festivals, and on television internationally. Her films, photographs, and multimedia installations have been exhibited internationally and are in the permanent collections of numerous museums, including the Museum of Modern Art and the Metropolitan Museum of Art, New York; the Museum of Fine Arts, Houston; the Israel Museum, Jerusalem; and the National Gallery of Canada, Ottawa. Currently, she is making Ayahuasca Diaries, a feature documentary for the curious and well-seasoned. From what's mind-boggling humanly possible, to how ayahuasca is changing world culture, it includes spiritual leaders from Peru, Brazil, Ecuador, and Colombia. Previously, she executive produced From Shock to Awe (about suicidal veterans recovering with ayahuasca and MDMA) and directed The Holy Give Me, about the Santo Daime. For twenty-five years she has been filming and photographing bodies of water around the world from Argentina to Zambia, Antarctica to Iceland, Bali, Bosnia, Brazil, and onwards, resulting in video, video furniture, photographs, paintings, multimedia works, and mixed reality. In 2024, her exhibition, “The Poetry of Water” was featured at the Leila Heller Gallery in Dubai, the largest gallery in the UAE. In this episode, you will hear about her multimedia art, Poetry of Water, Four Bodies of Water, the Amazon, her work on social justice, and more. Some notes... More about 1treellion & Maxi Cohen. To support planting all over the world, please check out this link.The great music is credited to Pixabay.

At the end of World War II, at the Potsdam Conference on July 17, 1945, it was decided how Germany would be divided by the American, British, French, and Soviet Allied leaders. Germany was divided into four zones of occupation to be controlled by the United States, Britain, France, and Communist Russia (the Soviet Union). The city of Berlin was split up by the four powers even though it was located within the zone controlled by Russia. Because West Berlin was formed by the American, British, and French sectors, East Berlin would be marked by its stark ideological differences shaped by communism because of its control under the Soviet Union. In 1949, Germany split into two independent nations known as the Federal Republic of Germany (West Germany) as a democracy in stark contrast to the German Democratic Republic (East Germany) that was marked by the communism of the Soviet Union. In 1952, the East German government closed its border with West Germany; to keep people from escaping East Germany to the West, a wire barrier was constructed around West Berlin on August 12-13, 1961, with the plan to build a permanent wall designed to divide neighborhoods, separate families, and keep any influence of a freedom loving West from a restrictive and oppressive East. The Berlin Wall would eventually grow into two walls measuring 96 miles long and 13 feet tall. Anyone who attempted to gain freedom from East Berlin by entering West Berlin was shot. By 1989, more than 100 people died trying to cross the Berlin Wall and hundreds more who tried to escape from East to West. There were 302 watchtowers along the 96-mile-long wall that separated the free from the burdened. On June 12, 1987, President Ronald Regan delivered a speech in West Berlin, a speech I remember well when I heard as it aired on television when I was only 13 years old. President Regans speech has been nicknamed the Tear Down This Wall speech from a line in his magnificent speech; I want you to hear just a sampling of this marvelous and important speech for a reason that will become clear in this sermon: Behind me stands a wall that encircles the free sectors of this city, part of a vast system of barriers that divides the entire continent of Europe. From the Baltic, south, those barriers cut across Germany in a gash of barbed wire, concrete, dog runs, and guard towers. Farther south, there may be no visible, no obvious wall. But there remain armed guards and checkpoints all the same still a restriction on the right to travel, still an instrument to impose upon ordinary men and women the will of a totalitarian state. Yet it is here in Berlin where the wall emerges most clearly; here, cutting across your city, where the news photo and the television screen have imprinted this brutal division of a continent upon the mind of the world. Standing before the Brandenburg Gate, every man is a German, separated from his fellow men. Every man is a Berliner, forced to look upon a scar. As long as this gate is closed, as long as this scar of a wall is permitted to stand, it is not the German question alone that remains open, but the question of freedom for all mankind. General Secretary Gorbachev, if you seek peace, if you seek prosperity for the Soviet Union and Eastern Europe, if you seek liberalization, come here to this gate.Mr. Gorbachev, open this gate!Mr. Gorbachev, tear down this wall! On November 9, 1989, Germans from the East and West gathered and began tearing the Berlin Wall down. On October 3, 1990, East Germany and West Germany were no more; Germany was reunited as one free nation. The Christian Has Been Brought Near to God (vv. 11-13) There are four things that were true of the Christians in Ephesus; these four things are true of you if you are now a Christian; these same four things are still true of you if you are not a Christian. Because most of you in this room are Christians, I will refer to these four truths as something that once was true of you. You at one time were Christless (vv. 11-12a). There were two types of people in Ephesus and in the world: the Uncircumcision and the Circumcision. The Uncircumcision were the Gentiles in the world while the Circumcision were the Jews who prided themselves on being the physical descendants of Abraham. The Uncircumcised Gentiles were convinced that they were very different than the Circumcised Jews, and the Jews felt the same way about the Gentiles. However, there were two things that these two groups did share in common: Both groups believed that so long as they were religious enough, they would be prepared for what comes after death, and both groups were dead in their sins because both were Christless. You were homeless (v. 12b). What I mean by homeless is that the Jews had known about and looked forward to the promises of God made to the descendants of Abraham. For example, when God called Abraham out of the city of Ur, He made the following promise to both him and his wife, Sarah: Go from your country, And from your relatives And from your fathers house, To the land which I will show you; And I will make you into a great nation, And I will bless you, And make your name great; And you shall be a blessing; And I will bless those who bless you, And the one who curses you I will curse. And in you all the families of the earth will be blessed (Gen. 12:1-3). The Jews had grown to assume that the promise was not for Gentiles and failed to realize that it would be through the Jewish people that the Gentile nations would experience the blessing made to Abraham. It was not that the promises were not for the nations also, but that the Gentiles were not aware of such promises. You were hopeless (v. 12c). What were the promises given to the Jews really for? They were promises concerning Gods plan to redeem Adams fallen race. Think about the promises made to the Jews for a moment! How would all the families of the earth be blessed? The Child promised in Isaiah 9:6-7 would be Jewish and would come through Israel, and this promise is for the nations: For a Child will be born to us, a Son will be given to us; And the government will rest on His shoulders; And His name will be called Wonderful Counselor, Mighty God, Eternal Father, Prince of Peace. There will be no end to the increase of His government or of peace on the throne of David and over his kingdom, to establish it and to uphold it with justice and righteousness from then on and forevermore. The zeal of the Lord of armies will accomplish this. So how were the Gentiles in Ephesus without hope? They were without hope because unlike the Jews, they were unaware that unlike emperor Nero of Rome who was reigning at the time Ephesians was written, there was coming a true and better King who would do what Rome could never do: There will be no end to the increase of His government or of peace on the throne of David to uphold it with justice and righteousness from then on and forevermore. For the Gentiles, Rome was as good as it would get is the same way that many today believe that life before death is as good as it will ever get, which is pretty hopeless! You were godless (v. 12d). Finally, the gentiles were godless in the sense that they were left to their idols because they did not know God. This does not mean that the Jews were not godless either, for if they were without Christ, then they were also Godless. To be Godless is to be without God. Do you know what happens when you are Godless? You will find a way to place an idol in the place only God was meant to reside in your life. You will find something that promises the sort of things that only a real God can give and provide; such as joy, satisfaction, contentment, meaning, and purpose to your life and you will be robed of the very things that idols promise to give. The God whose image you bear is the only being who can provide lasting joy, satisfaction, contentment, meaning, and purpose to your life. If you are a Christian, you are no longer Christless. Because you are no longer Christless, you belong to the people of God and are no longer homeless when it comes to the promises of God. Because you are now the recipient of the promises of God through Jesus, you are no longer hopeless. Because your hope rests in Jesus for your salvation, Paul declares: Now in Christ Jesus you who previously were far away have been brought near by the blood of Christ (v. 13). The Christian Has the Peace of God (vv. 14-18) Gods plan for the salvation of sinners always included Gentiles. Before instructions for the construction of a temple that would serve as the center of worship for Israel where the presence of God would be experienced by His people, God instructed Israel: Now then, if you will indeed obey My voice and keep My covenant, then you shall be My own possession among all the peoples, for all the earth is Mine; and you shall be to Me a kingdom of priests and a holy nation. These are the words that you shall speak to the sons of Israel (Exod. 19:5-6). In other words, Israel was commissioned to be Gods priests before the nations to lead the nations to God. Through the prophet Malachi, as He did throughout Israels history, God reminded His people that the redemption of the nations was always the plan: For from the rising of the sun even to its setting, My name shall be great among the nations, and in every place frankincense is going to be offered to My name, and a grain offering that is pure; for My name shall be great among the nations, says the Lord of armies ( Mal. 1:11). So, what is this dividing wall the apostle Paul refers to in verse 14? The temple that King Herod built for the Jews included a place known as, The Court of the Gentiles. The Court of the Gentiles was the place within the Temple Walls that allowed Gentiles to gather and worship the God of the Hebrews, but they were forbidden to go any further than the outer court because they were considered too dirty to come any closer to the inner courts, only the true Jew was permitted to into the holier place that was closest to the Holy of Holies where the presence of God was. There was a wall that stood about 4.5 feet high that separated the Court of the Gentiles from the inner courts and signs that were posted that stated in Greek: No foreigner may enter within the balustrade around the sanctuary and the enclosure. Whoever is caught, on himself shall he put blame for the death which will ensue.[1] The Court of the Gentiles is also the place where Jesus taught while in the Temple (Matt. 21:23; 26:55; Luke 19:47; John 7:14). The Court of the Gentiles is also the place where money was changed because the required coinage for people to use for the Temple tax had to be Tyrian shekels (aka the shekel of the sanctuary) because of the uneven value of other coinages and the idolatrous images on other coins. During Passover, it is estimated that over 200,000 lambs were sacrificed for the sins of the people; the Court of the Gentiles was the place where people could purchase their sacrifice. The Court of the Gentiles was where the money was made and exchanged, and for many, became more important than worship itself. The Court of the Gentiles was not in the original plans God gave His people for the Temple (see Numbers 15:14-15), nor were they ever a part of Gods plans for the place where His people would worship Him. Here is what Isaiah said of the place of Gods worship: Also the foreigners who join themselves to the Lord, to attend to His service and to love the name of the Lord, to be His servants, every one who keeps the Sabbath so as not to profane it, And holds firmly to My covenant; Even those I will bring to My holy mountain, and make them joyful in My house of prayer. Their burnt offerings and their sacrifices will be acceptable on My altar; for My house will be called a house of prayer for all the peoples. It was the Court of the Gentiles that Jesus entered into during Passover week before He would die on the Cross as the perfect and true Lamb of God, and was enraged over the way Israel had perverted the Temple: And He entered the temple area and began to drive out those who were selling and buying on the temple grounds, and He overturned the tables of the money changers and the seats of those who were selling doves; and He would not allow anyone to carry merchandise through the temple grounds. And He began to teach and say to them, Is it not written: my house will be called a house of prayer for all the nations? But you have made it a den of robbers. (Mark 11:15-17). They crucified Jesus because the Jews who were convinced that their religion was enough, but what Israel failed to see was that their problem was the same as the problem of the Gentiles. There exists before all of humanity a far greater wall than the one that separated the Gentiles from the Jews in the Temple! It is a wall that only One Lamb can remedy and of all the peoples of the nations that should have known that such a wall exists, it should have been those who had before them from the commandments, writings, and the prophets, the covenants of the promise (v. 12). The wall is greater than any other wall, for it is the great wall of mankinds sin and guilt before a Holy God and there is nothing that the Jews or the Gentiles could do to tear it down, nor is there anything that you and I can do to remove the wall. For the Jew, the Law simply pointed to the wall of our own sin and that there is only One who is able to tear down the wall (see Gal. 3:23-29). Jesus tore down the wall by going to the Cross, He redeemed us from the curse of the Law, having become a curse for us (Ga. 3:13). It is only through the blood He shed for sins we are guilty of that, we have redemption through His blood, the forgiveness of our wrongdoings (Eph. 1:7). The wall was our sin, the hostility was ours before a Holy God, and our only hope for a peace with Him was and is the Prince of Peace! This is why Paul wrote, For He Himself is our peace, who made both groups into one and broke down the barrier of the dividing wall, by abolishing in His flesh the hostility, which is the Law composed of commandments expressed in ordinances, so that in Himself He might make the two one new person, in this way establishing peace (vv. 14-15). How did He do it? Through His cross: and that He might reconcile them both in one body to God through the cross, by it having put to death the hostility (v. 16). Conclusion Through Christ, the wall that alienated and separated us from any hope of knowing God or being known by God was blown to ashes through the Cross! The Christian, regardless of culture, skin color, or language, is now reconciled to the One whose image we all bearHe is our peace! Christian, because the wall of your sin was torn down by the Lamb of God, you share the same thing that the Chinese Christian, the Korean Christian, the Indian Christian, the Burmese Christian, the Iranian Christian, the Sudanese Christian, the Canadian Christian, and the Mexican Christian all have that you now have through Jesus Christ: Access in one Spirit to the Father through the Son! What better news could there possibly be than what we read in these verses: For He Himself is our peace, who made both groups into one and broke down the barrier of the dividing wall, by abolishing in His flesh the hostility, which is the Law composed of commandments expressed in ordinances, so that in Himself He might make the two one new person, in this way establishing peace; and that He might reconcile them both in one body to God through the cross, by it having put to death the hostility. And He came and preached peace to you who were far away, and peace to those who were near; for through Him we both have our access in one Spirit to the Father. Regardless of your ethnicity, the thing that you share with every other Christian rescued, ransomed, and redeemed by the blood of Jesus is that we now belong to His Tribe and our colors are the same because we are covered by the blood of the perfect Lamb of God! To be a Christian is to be the Church, and to be the Church is to be the People of God! Your identity is no longer in the nation you live, the color of your skin, the language you speak, or the culture that has shaped and formed you. No! Your identity is now in Christ! If you are not a Christian, the great wall of your sin still stands, and your greatest need remains! There is only One who is able to remove the wall of your sin, so why wait any longer to be reconciled to God through the blood of the Lamb of God? [1] One such sign is on display at the Israel Museum and a second in the Istanbul Archaeology Museum.

At the end of World War II, at the Potsdam Conference on July 17, 1945, it was decided how Germany would be divided by the American, British, French, and Soviet Allied leaders. Germany was divided into four zones of occupation to be controlled by the United States, Britain, France, and Communist Russia (the Soviet Union). The city of Berlin was split up by the four powers even though it was located within the zone controlled by Russia. Because West Berlin was formed by the American, British, and French sectors, East Berlin would be marked by its stark ideological differences shaped by communism because of its control under the Soviet Union. In 1949, Germany split into two independent nations known as the Federal Republic of Germany (West Germany) as a democracy in stark contrast to the German Democratic Republic (East Germany) that was marked by the communism of the Soviet Union. In 1952, the East German government closed its border with West Germany; to keep people from escaping East Germany to the West, a wire barrier was constructed around West Berlin on August 12-13, 1961, with the plan to build a permanent wall designed to divide neighborhoods, separate families, and keep any influence of a freedom loving West from a restrictive and oppressive East. The Berlin Wall would eventually grow into two walls measuring 96 miles long and 13 feet tall. Anyone who attempted to gain freedom from East Berlin by entering West Berlin was shot. By 1989, more than 100 people died trying to cross the Berlin Wall and hundreds more who tried to escape from East to West. There were 302 watchtowers along the 96-mile-long wall that separated the free from the burdened. On June 12, 1987, President Ronald Regan delivered a speech in West Berlin, a speech I remember well when I heard as it aired on television when I was only 13 years old. President Regans speech has been nicknamed the Tear Down This Wall speech from a line in his magnificent speech; I want you to hear just a sampling of this marvelous and important speech for a reason that will become clear in this sermon: Behind me stands a wall that encircles the free sectors of this city, part of a vast system of barriers that divides the entire continent of Europe. From the Baltic, south, those barriers cut across Germany in a gash of barbed wire, concrete, dog runs, and guard towers. Farther south, there may be no visible, no obvious wall. But there remain armed guards and checkpoints all the same still a restriction on the right to travel, still an instrument to impose upon ordinary men and women the will of a totalitarian state. Yet it is here in Berlin where the wall emerges most clearly; here, cutting across your city, where the news photo and the television screen have imprinted this brutal division of a continent upon the mind of the world. Standing before the Brandenburg Gate, every man is a German, separated from his fellow men. Every man is a Berliner, forced to look upon a scar. As long as this gate is closed, as long as this scar of a wall is permitted to stand, it is not the German question alone that remains open, but the question of freedom for all mankind. General Secretary Gorbachev, if you seek peace, if you seek prosperity for the Soviet Union and Eastern Europe, if you seek liberalization, come here to this gate.Mr. Gorbachev, open this gate!Mr. Gorbachev, tear down this wall! On November 9, 1989, Germans from the East and West gathered and began tearing the Berlin Wall down. On October 3, 1990, East Germany and West Germany were no more; Germany was reunited as one free nation. The Christian Has Been Brought Near to God (vv. 11-13) There are four things that were true of the Christians in Ephesus; these four things are true of you if you are now a Christian; these same four things are still true of you if you are not a Christian. Because most of you in this room are Christians, I will refer to these four truths as something that once was true of you. You at one time were Christless (vv. 11-12a). There were two types of people in Ephesus and in the world: the Uncircumcision and the Circumcision. The Uncircumcision were the Gentiles in the world while the Circumcision were the Jews who prided themselves on being the physical descendants of Abraham. The Uncircumcised Gentiles were convinced that they were very different than the Circumcised Jews, and the Jews felt the same way about the Gentiles. However, there were two things that these two groups did share in common: Both groups believed that so long as they were religious enough, they would be prepared for what comes after death, and both groups were dead in their sins because both were Christless. You were homeless (v. 12b). What I mean by homeless is that the Jews had known about and looked forward to the promises of God made to the descendants of Abraham. For example, when God called Abraham out of the city of Ur, He made the following promise to both him and his wife, Sarah: Go from your country, And from your relatives And from your fathers house, To the land which I will show you; And I will make you into a great nation, And I will bless you, And make your name great; And you shall be a blessing; And I will bless those who bless you, And the one who curses you I will curse. And in you all the families of the earth will be blessed (Gen. 12:1-3). The Jews had grown to assume that the promise was not for Gentiles and failed to realize that it would be through the Jewish people that the Gentile nations would experience the blessing made to Abraham. It was not that the promises were not for the nations also, but that the Gentiles were not aware of such promises. You were hopeless (v. 12c). What were the promises given to the Jews really for? They were promises concerning Gods plan to redeem Adams fallen race. Think about the promises made to the Jews for a moment! How would all the families of the earth be blessed? The Child promised in Isaiah 9:6-7 would be Jewish and would come through Israel, and this promise is for the nations: For a Child will be born to us, a Son will be given to us; And the government will rest on His shoulders; And His name will be called Wonderful Counselor, Mighty God, Eternal Father, Prince of Peace. There will be no end to the increase of His government or of peace on the throne of David and over his kingdom, to establish it and to uphold it with justice and righteousness from then on and forevermore. The zeal of the Lord of armies will accomplish this. So how were the Gentiles in Ephesus without hope? They were without hope because unlike the Jews, they were unaware that unlike emperor Nero of Rome who was reigning at the time Ephesians was written, there was coming a true and better King who would do what Rome could never do: There will be no end to the increase of His government or of peace on the throne of David to uphold it with justice and righteousness from then on and forevermore. For the Gentiles, Rome was as good as it would get is the same way that many today believe that life before death is as good as it will ever get, which is pretty hopeless! You were godless (v. 12d). Finally, the gentiles were godless in the sense that they were left to their idols because they did not know God. This does not mean that the Jews were not godless either, for if they were without Christ, then they were also Godless. To be Godless is to be without God. Do you know what happens when you are Godless? You will find a way to place an idol in the place only God was meant to reside in your life. You will find something that promises the sort of things that only a real God can give and provide; such as joy, satisfaction, contentment, meaning, and purpose to your life and you will be robed of the very things that idols promise to give. The God whose image you bear is the only being who can provide lasting joy, satisfaction, contentment, meaning, and purpose to your life. If you are a Christian, you are no longer Christless. Because you are no longer Christless, you belong to the people of God and are no longer homeless when it comes to the promises of God. Because you are now the recipient of the promises of God through Jesus, you are no longer hopeless. Because your hope rests in Jesus for your salvation, Paul declares: Now in Christ Jesus you who previously were far away have been brought near by the blood of Christ (v. 13). The Christian Has the Peace of God (vv. 14-18) Gods plan for the salvation of sinners always included Gentiles. Before instructions for the construction of a temple that would serve as the center of worship for Israel where the presence of God would be experienced by His people, God instructed Israel: Now then, if you will indeed obey My voice and keep My covenant, then you shall be My own possession among all the peoples, for all the earth is Mine; and you shall be to Me a kingdom of priests and a holy nation. These are the words that you shall speak to the sons of Israel (Exod. 19:5-6). In other words, Israel was commissioned to be Gods priests before the nations to lead the nations to God. Through the prophet Malachi, as He did throughout Israels history, God reminded His people that the redemption of the nations was always the plan: For from the rising of the sun even to its setting, My name shall be great among the nations, and in every place frankincense is going to be offered to My name, and a grain offering that is pure; for My name shall be great among the nations, says the Lord of armies ( Mal. 1:11). So, what is this dividing wall the apostle Paul refers to in verse 14? The temple that King Herod built for the Jews included a place known as, The Court of the Gentiles. The Court of the Gentiles was the place within the Temple Walls that allowed Gentiles to gather and worship the God of the Hebrews, but they were forbidden to go any further than the outer court because they were considered too dirty to come any closer to the inner courts, only the true Jew was permitted to into the holier place that was closest to the Holy of Holies where the presence of God was. There was a wall that stood about 4.5 feet high that separated the Court of the Gentiles from the inner courts and signs that were posted that stated in Greek: No foreigner may enter within the balustrade around the sanctuary and the enclosure. Whoever is caught, on himself shall he put blame for the death which will ensue.[1] The Court of the Gentiles is also the place where Jesus taught while in the Temple (Matt. 21:23; 26:55; Luke 19:47; John 7:14). The Court of the Gentiles is also the place where money was changed because the required coinage for people to use for the Temple tax had to be Tyrian shekels (aka the shekel of the sanctuary) because of the uneven value of other coinages and the idolatrous images on other coins. During Passover, it is estimated that over 200,000 lambs were sacrificed for the sins of the people; the Court of the Gentiles was the place where people could purchase their sacrifice. The Court of the Gentiles was where the money was made and exchanged, and for many, became more important than worship itself. The Court of the Gentiles was not in the original plans God gave His people for the Temple (see Numbers 15:14-15), nor were they ever a part of Gods plans for the place where His people would worship Him. Here is what Isaiah said of the place of Gods worship: Also the foreigners who join themselves to the Lord, to attend to His service and to love the name of the Lord, to be His servants, every one who keeps the Sabbath so as not to profane it, And holds firmly to My covenant; Even those I will bring to My holy mountain, and make them joyful in My house of prayer. Their burnt offerings and their sacrifices will be acceptable on My altar; for My house will be called a house of prayer for all the peoples. It was the Court of the Gentiles that Jesus entered into during Passover week before He would die on the Cross as the perfect and true Lamb of God, and was enraged over the way Israel had perverted the Temple: And He entered the temple area and began to drive out those who were selling and buying on the temple grounds, and He overturned the tables of the money changers and the seats of those who were selling doves; and He would not allow anyone to carry merchandise through the temple grounds. And He began to teach and say to them, Is it not written: my house will be called a house of prayer for all the nations? But you have made it a den of robbers. (Mark 11:15-17). They crucified Jesus because the Jews who were convinced that their religion was enough, but what Israel failed to see was that their problem was the same as the problem of the Gentiles. There exists before all of humanity a far greater wall than the one that separated the Gentiles from the Jews in the Temple! It is a wall that only One Lamb can remedy and of all the peoples of the nations that should have known that such a wall exists, it should have been those who had before them from the commandments, writings, and the prophets, the covenants of the promise (v. 12). The wall is greater than any other wall, for it is the great wall of mankinds sin and guilt before a Holy God and there is nothing that the Jews or the Gentiles could do to tear it down, nor is there anything that you and I can do to remove the wall. For the Jew, the Law simply pointed to the wall of our own sin and that there is only One who is able to tear down the wall (see Gal. 3:23-29). Jesus tore down the wall by going to the Cross, He redeemed us from the curse of the Law, having become a curse for us (Ga. 3:13). It is only through the blood He shed for sins we are guilty of that, we have redemption through His blood, the forgiveness of our wrongdoings (Eph. 1:7). The wall was our sin, the hostility was ours before a Holy God, and our only hope for a peace with Him was and is the Prince of Peace! This is why Paul wrote, For He Himself is our peace, who made both groups into one and broke down the barrier of the dividing wall, by abolishing in His flesh the hostility, which is the Law composed of commandments expressed in ordinances, so that in Himself He might make the two one new person, in this way establishing peace (vv. 14-15). How did He do it? Through His cross: and that He might reconcile them both in one body to God through the cross, by it having put to death the hostility (v. 16). Conclusion Through Christ, the wall that alienated and separated us from any hope of knowing God or being known by God was blown to ashes through the Cross! The Christian, regardless of culture, skin color, or language, is now reconciled to the One whose image we all bearHe is our peace! Christian, because the wall of your sin was torn down by the Lamb of God, you share the same thing that the Chinese Christian, the Korean Christian, the Indian Christian, the Burmese Christian, the Iranian Christian, the Sudanese Christian, the Canadian Christian, and the Mexican Christian all have that you now have through Jesus Christ: Access in one Spirit to the Father through the Son! What better news could there possibly be than what we read in these verses: For He Himself is our peace, who made both groups into one and broke down the barrier of the dividing wall, by abolishing in His flesh the hostility, which is the Law composed of commandments expressed in ordinances, so that in Himself He might make the two one new person, in this way establishing peace; and that He might reconcile them both in one body to God through the cross, by it having put to death the hostility. And He came and preached peace to you who were far away, and peace to those who were near; for through Him we both have our access in one Spirit to the Father. Regardless of your ethnicity, the thing that you share with every other Christian rescued, ransomed, and redeemed by the blood of Jesus is that we now belong to His Tribe and our colors are the same because we are covered by the blood of the perfect Lamb of God! To be a Christian is to be the Church, and to be the Church is to be the People of God! Your identity is no longer in the nation you live, the color of your skin, the language you speak, or the culture that has shaped and formed you. No! Your identity is now in Christ! If you are not a Christian, the great wall of your sin still stands, and your greatest need remains! There is only One who is able to remove the wall of your sin, so why wait any longer to be reconciled to God through the blood of the Lamb of God? [1] One such sign is on display at the Israel Museum and a second in the Istanbul Archaeology Museum.

Pastor Boots February 4, 2024 Sunday Night

Pastor Steve Boots January 28, 2024 Bible Geography (Sunday Evening)

Pastor Boots January 21, 2024 Sunday Night

As we traced the probable steps of Jesus through Mount of Olives, Gethsemane and Golgotha, our hearts were full! The Israel Museum, with its archaeological treasures and monument to the Dead Sea Scrolls reinforced our faith in the risen Savior.

During this episode of the Red-Haired Archaeologist® Podcast, learn about the collapse of the Northern Kingdom to the Neo-Assyrians. Understand why the conquerors are “neo,” where the “lost tribes of Israel” went, and how the Samaritans' culture developed. Episode links: “House of David“ inscribed on a victory stele, (now at the Israel Museum): https://www.imj.org.il/en/collections/371407-0 Black Obelisk of Shalmaneser III: https://www.britishmuseum.org/collection/object/W_1848-1104-1 “Ashur (Qal'at Sherqat),” UNESCO World Heritage Convention, https://whc.unesco.org/en/list/1130/ Timeline of Nimrud Excavations: http://oracc.museum.upenn.edu/nimrud/index.html Marcia Biggs, “Reduced to rubble by ISIS, archaeologists see a new day for ancient city of Nimrud,” PBS News Hour (12 April 2017): https://www.pbs.org/newshour/show/reduced-rubble-isis-archaeologists-see-new-day-ancient-city-nimrud Relief of Tiglath-Pileser III from Nimrud's Central Palace (now at the British Museum): https://www.britishmuseum.org/collection/object/W_1856-0909-61 “Sargon II - The Ashur Charter," from the Library of Ashurbanipal (now at the British Museum): https://www.britishmuseum.org/collection/object/W_K-1349 Red-Haired Archaeologist® links: https://redhairedarchaeologist.com/free https://www.facebook.com/AmandaHopeHaley/ https://www.instagram.com/redhairedarchaeologist/ https://amandahopehaley.square.site/ Learn more about my fabulous video editor, Tanya Yaremkiv, by visiting her website at ⁠https://tanyaremkiv.com⁠ and listening to her podcast, Through the Bible podcast with Tanya Yaremkiv. You can also follow her on Facebook and Instagram @tanyaremkiv

During this episode of the Red-Haired Archaeologist® Podcast, learn about the Northern Kingdom's most infamous king and queen: Ahab and Jezebel. Find out where Samaria's capital city was built, how Phoenician religion and trade affected the nation, and why we think of Jezebel as a seductress instead of a powerful politician. Episode links: The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection, The New York Public Library. "Elijah meeting Ahab and Jezebel in Naboth's vineyard," New York Public Library Digital Collections: https://digitalcollections.nypl.org/items/510d47e4-5d8f-a3d9-e040-e00a18064a99 Jude Flurry, “Samaria Ivories — Proof of the Bible?” Armstrong Institute of Biblical Archaeology: https://armstronginstitute.org/394-samaria-ivories-proof-of-the-bible John Byam Liston Shaw (1872–1919), “Jezebel,” https://russellcotes.com/collection-piece/jezebel/ The Sidon Excavation: http://www.sidonexcavation.com/sidon-the-city/ “Furniture inlay: Woman at the Window,” IAA 1933-2578, Israel Museum: https://www.imj.org.il/en/collections/365182-0 Red-Haired Archaeologist® links: https://redhairedarchaeologist.com/free https://www.facebook.com/AmandaHopeHaley/ https://www.instagram.com/redhairedarchaeologist/ https://amandahopehaley.square.site/ Learn more about my fabulous video editor, Tanya Yaremkiv, by visiting her website at ⁠https://tanyaremkiv.com⁠ and listening to her podcast, Through the Bible podcast with Tanya Yaremkiv. You can also follow her on Facebook and Instagram @tanyaremkiv.

U-S Department of Defense settles lawsuit filed against rescinded COVID-19 vaccine mandate...more than 100 black faith and community leaders in Ohio urging vote against abortion amendment to state constitution..and American tourist arrested for hurling works of art to the floor at the Israel Museum in Jerusalem.

In this episode of Hebrew Voices #168- “Israelite Archaeology at the Israel Museum,” Nehemia takes us on a tour tracing archaeological history from ancient Israel all the way through the Roman Exile. Pieces include the oldest surviving texts of the … Continue reading → The post Hebrew Voices #168 – Israelite Archaeology at the Israel Museum appeared first on Nehemia's Wall.

In this episode of Hebrew Voices #167 - “Ancient Idolatry at the Israel Museum,” Nehemia shows us exhibits that bring to life the idolatry in the land of Canaan condemned by Yehovah throughout the Bible. Pieces include some familiar bronze … Continue reading → The post Hebrew Voices #167 – Ancient Idolatry at the Israel Museum appeared first on Nehemia's Wall.

IntroductionHaving previously sat down with The Jerusalem Post's wine writer to discuss contemporary trends in wine in Israel, the newest episode of The Jewish Drinking Show features The Jerusalem Post's beer writer. As part of the Toast to Israel at 75 mini-series, Doug Greener and Rabbi Drew Kaplan get together over beers in the Maḥaneh Yehudah Market in Jerusalem to discuss contemporary beer trends in Israel.GuestBorn in New York City, Greener made aliyah (immigrated to Israel) in 1971. Married for 54 years, Greener has three sons and five grandkids. Having worked in journalism, advertising, and public relations, he began writing regularly about beer in Israel a decade ago on his Israel Brews and Views blog in 2013 and has been the beer writer for The Jerusalem Post.TopicsAmongst other topics we discussed, we discussed the Israel Museum's 2023 exhibit on drinking parties, the first commercially-available beer made from 3000-year old yeast (which we drank), and more. You can also check out Greener's article that came out around the time of our recording regarding new spring and summer beers in Israel.Support the showThank you for listening!If you have any questions, suggestions, or more, feel free to reach out at Drew@JewishDrinking.coml'chaim!

Welcome to The Times of Israel's Daily Briefing, your 15-minute audio update on what's happening in Israel, the Middle East and the Jewish world, from Sunday through Thursday. US bureau chief Jacob Magid and News editor Luke Tress join host Jessica Steinberg for today's podcast. Magid discusses Washington equating two weekend attacks, one in which a Palestinian shot and killed a Tel Aviv patrolman and another in which a Palestinian was shot and killed by a Jewish settler. Tress looks at the incident in Memphis, Tennessee, during which a man unsuccessfully fired a handgun at a Jewish school, and was later discovered to be Jewish, and a former student at the school who had suffered a familial trauma years earlier. Magid looks at some of the provocative comments made by the outgoing EU ambassador to the Palestinians, Sven Kühn von Burgsdorff, as he left his post and headed toward retirement. Tress talks about the recent incident with entertainer Jamie Foxx, who made antisemitic statement on social media, and later apologized. Steinberg mentions the small but meaningful new exhibit opening this week at the Israel Museum of the work of American artist Rashid Johnson, a Chicago born New Yorker who has long used his art to talk about life as a Black man. Discussed articles include: US calls both shooting of Israeli patrolman and young Palestinian ‘terror attacks' Suspect in shooting at Memphis Jewish school was haunted by police killing of father Departing EU envoy: I won't accuse Israel of apartheid, but it's worthy of discussion Jamie Foxx apologizes for Instagram post that echoed antisemitic trope Rashid Johnson exhibit at Israel Museum seeks to create ‘discourse about Blackness' IMAGE: EU Ambassador to the Palestinians Sven Kühn von Burgsdorff paraglides over Gaza on July 17, 2023. (EU Mission to the Palestinians) See omnystudio.com/listener for privacy information.

Food, and feasts from the Middle Bronze Age through biblical times. That's the theme of a new exhibition at the Israel Museum. It's called Feasts and it examines how historical banquets were used by ancient rulers for fortify their reign or by others to consolidate whatever religion or ideology was prevalent at the times. It's also no secret that culinary diplomacy was and still is widely popular. Nurit Goshen, curator of Chalcolithic and Bronze Age archaeology, put together ancient artifacts to create a lavish display that offers visitors a peek into how the consumption of food (and beer) took place then and is still relevant today. She spoke with reporter Arieh O'Sullivan. (photo: Elie Posner) See omnystudio.com/listener for privacy information.

Welcome to The Times of Israel's Daily Briefing, your 15-minute audio update on what's happening in Israel, the Middle East and the Jewish world, from Sunday through Thursday. US bureau chief Jacob Magid and military correspondent Emmanuel Fabian join host Jessica Steinberg for today's podcast. Fabian opens with updates on the Tel Aviv car ramming and stabbing Tuesday afternoon with seven injured and the terrorist killed by an armed civilian. He reviews the end of the 44-hour Jenin operation that IDF says won't be the last, in which one Israeli soldier was killed, possibly by friendly fire, as troops were pulling out. Attention then turned to Gaza as rockets were launched toward the Israeli town of Sderot. Magid reflects on the reasons behind the Jenin operation, and Prime Minister Benjamin Netanyahu's change of tactics, not strategy, with brief incursion in order to take care of lack of Palestinian Authority control in Jenin. Steinberg speaks about the spate of international performers in Israel over the next few weeks, including this week's performances from UK's Morrissey, The Black Keys from the US in Israel next week and Christina Aguilera in early August. Magid also discusses the US Embassy July 4 party held at the Israel Museum, that was also a goodbye for US ambassador Tom Nides who is leaving his post after 19 months in the job. He notes that Netanyahu used the opportunity to reiterate Israel's friendship with the US, even as he plans a trip to China. Discussed articles include: 7 injured in ramming-stabbing attack in Tel Aviv; terrorist killed by armed civilian Soldier killed as massive Jenin operation winds down, all troops leave West Bank city Military begins withdrawing forces from Jenin after 44 hours of fighting Five rockets fired from Gaza at south, intercepted by Iron Dome — IDF PA freezes all ties with Israel over Jenin raid, as US urges closer cooperation Morrissey thrilled to be in ‘God's country' as he performs first of two shows Netanyahu calls US Israel's ‘irreplaceable ally' a week after announcing China trip Subscribe to The Times of Israel Daily Briefing on iTunes, Spotify, PlayerFM, Google Play, or wherever you get your podcasts. IMAGE: Prime Minister Benjamin Netanyahu visits at an army base near the West Bank city of Jenin, July 4, 2023 (Photo by Shir Torem/Flash90)See omnystudio.com/listener for privacy information.

Heidi Zuckerman is CEO and Director of the Orange County Museum of Art (OCMA) and a globally recognized leader in contemporary art. She is host of the podcast About Art and author of the Conversation with Artists book series.Appointed in January 2021, Zuckerman led the museum in opening its new home in October 2022 designed by Morphosis Architects under the direction of Pritzker Prize winner Thom Mayne. The state-of-the-art 53,000 square foot building is double the size of the museum's former location in Newport Beach. In a salute to OCMA's thirteen female founders, the opening collection exhibition will be 13 Women, organized by Zuckerman. This is the second building project she has completed. Zuckerman is the former 14-year CEO and Director of the Aspen Art Museum.After reimagining the museum as a world-class institution, she founded its annual ArtCrush gala, raised more than $130 million and built a new, highly acclaimed museum with Shigeru Ban, the 2014 Pritzker Prize winner for architecture. At the Aspen Art Museum, Heidi Zuckerman curated the exhibitions Wade Guyton Peter Fischli David Weiss (2017), Yves Klein David Hammons/David Hammons Yves Klein (2014), Lorna Simpson: Works on Paper (2013), Mark Grotjahn (2012) and Fred Tomaselli (2009).From 1999 to 2005 she was the Phyllis Wattis MATRIX Curator at the University of California, Berkeley Art Museum and Pacific Film Archive, where she curated more than forty solo exhibitions of international contemporary artists such as Peter Doig, Shirin Neshat, Teresita Fernández, Julie Mehretu, Doug Aitken, Cai Guo-Qiang, Tacita Dean, Wolfgang Laib, Ernesto Neto, Simryn Gill, Sanford Biggers, Ricky Swallow and Tobias Rehberger.Formerly she was the Assistant Curator of 20th-century Art at The Jewish Museum, New York, appointed in 1993, and curated Light x Eight: The Hanukkah Project, Contemporary Artist Project: Kristin Oppenheim and Louis I. Kahn Drawings: Synagogue Projects which traveled to The Israel Museum, Jerusalem.She has curated more than 200 museum exhibitions during her career and is the author of numerous books including a widely loved children's book The Rainbow Hour with artist Amy Adler.She was recently appointed to be an Arts Commissioner for the City of Costa Mesa.Zuckerman earned a BA in European History from the University of Pennsylvania, an MA in Art History from Hunter College at CUNY and holds a Harvard Business School Executive Education certification.

We meet living legend DUANE MICHALS (b. 1932, McKeesport, PA) one of the GREATEST photographic innovators of the last century, widely known for his work with series, multiple exposures, and text. For more than 60 years he has pushed photography and art to new dimensions. Without doubt, so many contemporary artists have been inspired by, and have directly referenced, the groundbreaking work of Duane Michals - he has truly shifted the way we think about art forever!!! Duane Michals is an artist who has been much imitated, highly influential and endlessly re-inventive. He celebrated his 91st birthday the week before this episode was recorded, so a big HAPPY BIRTHDAY to Duane!!!Michals first made significant, creative strides in the field of photography during the 1960s. In an era heavily influenced by photojournalism, Michals manipulated the medium to communicate narratives. The sequences, for which he is widely known, appropriate cinema's frame-by-frame format. Michals has also incorporated text as a key component in his works. Rather than serving a didactic or explanatory function, his handwritten text adds another dimension to the images' meaning and gives voice to Michals' singular musings, which are poetic, tragic, and humorous, often all at once.Over the past five decades, Michals' work has been exhibited in the United States and abroad. The Museum of Modern Art, New York, hosted Michals' first solo exhibition (1970). In 2019, The Morgan Library and Museum in New York exhibited a career retrospective of Michals' work The Illusions of the Photographer: Duane Michals at the Morgan. More recently, he had one-person shows at the Odakyu Museum, Tokyo (1999), and at the International Center of Photography, New York (2005). In 2008, Michals celebrated his 50th anniversary as a photographer with a retrospective exhibition at the Thessaloniki Museum of Photography, Greece, and the Scavi Scaligeri in Verona, Italy.Michals's work belongs to numerous permanent collections in the U.S. and abroad, including the Israel Museum, Jerusalem; the J. Paul Getty Museum, Los Angeles; the Metropolitan Museum of Art, New York; the Moderna Museet, Stockholm; the Museum of Modern Art, New York; the National Museum of Modern Art, Kyoto; and the Philadelphia Museum of Art. Michals's archive is housed at the Carnegie Museum of Art, Pittsburgh.Michals received a BA from the University of Denver in 1953 and worked as a graphic designer until his involvement with photography deepened in the late 1950s. He currently lives and works in New York City, USA.Follow @TheDuaneMichals on Instagram.Views more than 50 recent short films at Duane's Vimeo channel: https://vimeo.com/duanemichalsLearn more at DC Gallery: https://www.dcmooregallery.com/artists/duane-michals Hosted on Acast. See acast.com/privacy for more information.

We meet leading artist TOM BURR from his studio in Connecticut, USA!In his spare, enigmatic, mixed-media sculptures and installations, Tom Burr explores the ways in which we imbue the spaces and things by which we are surrounded—like clothing, furniture, or the patterns in wood—with our memories and emotions. As he explains: “I know that objects retain the stain of people and that our memory can be physically located out of longing or grief.” Though his work is grounded in his own memories, it is deliberately ambiguous, allowing viewers to invest it with their own life experiences. He uses what he calls a “focused spectrum” of humble materials and found objects, including plywood, old blankets and t-shirts, radiators, doors, books, and bits of hardware. By draping a pair of nylons over a radiator, encasing sneakers in yellow Plexiglas, or constructing stripped-down rooms, Burr makes his (and our) memories material.Tom Burr (b. 1963 in New Haven, Connecticut) lives and works in New York. He has shown extensively throughout Europe and the United States. He most recently was the subject of a solo exhibition entitled Hinged Figures at the Wadsworth Atheneum Museum of Art, Hartford, CT. His work was recently featured in Queer Abstraction at the Des Moines Art Center, Des Moines, IA.Burr's work has been collected by major museums internationally, including the Whitney Museum of American Art, New York, NY; Migros Museum, Zurich, Switzerland; MOCA, Los Angeles, CA; MuMOK, Vienna, Austria; New York Public Library, New York, NY; Sammlung Grasslin, Germany; Sammlung Verbund, Vienna, Austria; Ludwig Museum, Koln, Germany; Hammer Museum, Los Angeles, CA; FRAC, Champagne Ardenne, France; FRAC, Nord-Pas de Calais, France; Baltimore Museum of Art, Baltimore, MD; and the Israel Museum, Jerusalem, Israel. Burr attended the School of Visual Arts and the Whitney Independent Study Program in New York.Tom Burr's forthcoming solo exhibition runs from 10th March 2023 at Bortolami in New York.Follow @BurrTomBurrVisit: Maureen Paley, London, Bortolami, NYC and Galerie Neu, Berlin. Hosted on Acast. See acast.com/privacy for more information.

Kay WalkingStick is a citizen of the Cherokee Nation. She is a Cherokee/Anglo landscape painter has had over 30 solo shows in the US and Europe.  Her work is in the permanent collections of the Metropolitan Museum in NYC, the Museum of Canada in Ottawa, the Israel Museum in Jerusalem, The Newark Museum in Newark, NJ, the Whitney Museum of American Art, The National Museum of the American Indian, DC, The Smithsonian American Art Museum, DC, The Baltimore Museum of Art, Baltimore MD, and many other museums across the country.  Hales Gallery represents her work in NYC and Europe.   WalkingStick was a full professor at Cornell University for 17 years where she taught painting and drawing. She is now an Emerita Professor. She was given an honorary doctorate by both Pratt Institute and by Arcadia University. She is a fellow of the National Academy of Design and the American Academy of Arts & Science.   In 2015 her retrospective of 75 paintings and drawings covering the years from 1970 to 2015 opened at the Smithsonian, National Museum of the American Indian in Washington, D.C.  After closing the exhibition traveled to five venues across the country. The show was listed by Hyperallergic on-line Magazine as one of the best 15 exhibitions to open nationwide in 2016.  The NY Times gave the exhibit a full-page review written by Holland Cotter when it was shown at the Montclair Museum.   WalkingStick and her husband, artist Dirk Bach, live and paint in a townhouse in Easton, Pa.  WalkingStick had an exhibition of her recent landscape paintings at Hales Gallery in February and March 2022. Website: http://www.kaywalkingstick.com/ Hales Gallery https://halesgallery.com/artists/138-kay-walkingstick/overview/

This week on Times Will Tell, host Amanda Borschel-Dan takes you with her to the Israel Museum in Jerusalem to view for the first time seven new contemporary art sculptures in an exhibit called Disrupted Layer. The seven pieces were all created by artist Zohar Gotesman, who was inspired by archaeological artifacts from the museum's collection. They are distributed throughout the archaeology wing, much like stops on a treasure map. As you'll hear, some pieces blend in more than others. Gotesman and Borschel-Dan were joined by the exhibit's co-curators, Sally Haftel Naveh and Tali Sharvit, whom you'll also hear during this slightly longer-than-usual podcast in which we tour the exhibit and match first impressions with the artist's real intentions. Times Will Tell podcasts are available for download on iTunes, TuneIn, Pocket Casts, Stitcher, PlayerFM or wherever you get your podcasts. IMAGE: Curator Tali Sharvit (from left) with artist Zohar Gotesman and co-curator Sally Haftel Naveh clown around next to the first of seven contemporary art sculptures inspired by the Israel Museum's archaeology wing. (Zohar Shemesh)  See omnystudio.com/listener for privacy information.

Kingdom People10. The King in the Kingdom Dan Bidwell, Senior Pastor Matthew 21:1-19 Symbols I want to start with a little game guess the movie. Give you 30 seconds with the person beside you to name whichever movies you can based on the symbols... Then well check the answers together. Just so you know, this came from a survey of 1000 people in the US. The percentages are the percentage of people who recognised each symbol. (Reveal movies on click) Anybody get 100%? Anybody on 0%? Anybody else whos never seen Dodgeball??? Or Watchmen? When I see the Ghostbusters icon, and it takes me back to 1984 when I was 9 years old, and I went to see Ghostbusters in the movies with my friend Damien. No parents, just two 9 year olds at the movies on their own. Do you remember the opening scene in the library with the ghost librarian? We were terrified... for about 2 minutes anyway. The rest of the movie was hilarious! (at least according to 1984 standards, as reported by a 9 year old! ) Anyway, we have minds that quickly recognise symbols like these. And even simple symbols like these, simple graphics, can evoke the entire plotline of a movie, or a series of movies. Of course you need to have been exposed to these symbols to recognise them. And so when they collated the results of the study by when participants were born, CLICK They found that people born in the 70s recognised the most symbols thats to do with which movies they chose for the study whereas the next generation above that recognised less. If they were icons from older movies Im sure the stats would be reversed. The point Im trying to get at is, in every culture there are icons or symbols that are immediately recognisable. And if youve been brought up with those stories, then an image, a word, a line from a movie, even a misquoted line from a movie is immediately recognisable as part of a bigger plotline. 1 Well in our Bible passage today, Jesus performs three symbolic acts. Symbols that would have been immediately recognisable to the people around him, the people who had grown up with the OT scriptures and prophecies as their popular culture. For us, though, were a bit like people born in the 60s or earlier (at least the ones in the film study we looked at). Well probably recognise a few of the OT symbols and symbolism, but not 100%. But Im hoping today we can come closer to seeing the triumphal entry through the eyes of those who were there, to see it in the bigger plotline of the Bible, and to understand how Jesus wanted people to respond to him. So why dont we pray that God will help us see Jesus clearly and in the larger Biblical context this morning/evening: Dear Father, as we read this passage today, will you help us to see the symbolism, to recognise Jesus (as the promised King), and to respond with faith and fruitful lives as his followers. We pray this for the glory of the King who died for us, amen. The three symbolic acts are not surprisingly the colt, the courtyard and the curse. The Colt Lets start with the colt. Youll remember that Jesus has been travelling deliberately towards Jerusalem ever since he was revealed as the Messiah, back in chapter 16. That was in Caesarea Philippi in the very north of Galilee, the very north of Israel. And as we start ch21 Jesus has travelled all the way south to Jerusalem in Judea, a journey of 100 miles. Which he would have travelled on foot. With him are crowds of people. Some are there for his healing and teaching. Others are making their way to Jerusalem for the Passover festival. Passover was one of the three festivals where Jewish males were expected to go up to the Temple in Jerusalem (along with Weeks Tabernacles1). During Passover, the population of Jerusalem could swell from 30,000 to perhaps 180,000 people, with pilgrims coming from not only Galilee and other parts of Israel, but from all over the Mediterranean. You can imagine how busy it would have been, how many people would 1 France p771 2 have been camped all over the hills around Jerusalem, because there was no way the city could accommodate them all. And this is the scene into which Jesus makes his triumphal entry into Jerusalem, his first symbolic action. So we pick up the action at 21:1 As they approached Jerusalem and came to Bethphage on the Mount of Olives, Jesus sent two disciples, 2 saying to them, Go to the village ahead of you, and at once you will find a donkey tied there, with her colt by her. Untie them and bring them to me. 3 If anyone says anything to you, say that the Lord needs them, and he will send them right away. Now the commentators assume this is something that Jesus has pre-arranged. Its not a Jedi mind trick (these are not the droids you are looking for... the Lord needs them... ;-) (Had to be from the 70s...) No, Jesus has pre-arranged this moment for exactly the reason that Matthew gives in v4 Jesus is planning to ride into the city on a donkey in fulfilment of Old Testament prophecy, prophecies that paints him as the King. 5 Say to Daughter Zion,See, your king comes to you, gentle and riding on a donkey,and on a colt, the foal of a donkey. BTW this quote is actually a mashup of Isaiah 62.11 and Zechariah 9:9. Isaiah and Zechariah are two prophets who wrote 700 and 500 years before Christ respectively. But both are written out of the context of Gods people living under foreign rule. If youll allow me a quick history lesson of the Israelites. Davids kingdom had been split into two after Solomons death, the northern tribes had been destroyed by Assyria in 722BC. The southern tribes had been taken into exile by the Babylonians in the 586BC. After 70 years, the southern tribes were allowed to return Jerusalem when Persia conquered Babylon, but Gods people were still under foreign rule in their own country, in the Promised Land. After the Persians, it would be Alexander the Great, and then the Roman Empire up to the time of Jesus, ruling over Gods people. 3 Gods people were waiting for a king. A Messiah. A savior. A king to bring Gods people under Gods rule. And so Zechariah, in 500BC, imagines the day when Gods king will ride into Jerusalem, and assume the throne, establish the kingdom, restore Israels fortunes. Listen to Zechariah 9:9, and read along with v5 on the passage from Matthew: 9 Rejoice greatly, Daughter Zion! Shout, Daughter Jerusalem! See, your king comes to you,righteous and victorious (Zechariah 9:9) A righteous and victorious king... In the two centuries before Christ, there had been a number of Jewish rebellions against the occupying Roman armies. Men who claimed to be the righteous and victorious king. The messiah. But they were swiftly and brutally put down by the Roman rulers. And now we have Jesus ready to ride into Jerusalem as the promised king. The messiah. You can only imagine the tension in the air... Will he the king they were expecting? Did you notice the difference between Zechariah and what is written in Matthew 21:5? Righteous and victorious. They are missing from Matthew. You see, Gods people had majored on the victorious aspect of Zechariahs prophecy. This king is going to come and he is going to conquer and rule and get trid of the Romans. But they were focusing on the wrong part of the prophecy. Actually, the king in Zechariahs prophecy is not a warrior king. Hes gentle. Lowly. He comes to bring peace. In Zechariah, God says the king will remove the warhorses from Jerusalem. And thats why Jesus is there on this little donkey. Its just like Jesus told the disciples in the last chapter Jesus hadnt come to lord his rule over people like the Gentiles did, instead he taught them that the Son of Man came to serve others. Whoever wants to be first must be a slave. Jesus is a very different kind of king. PAUSE 4 But the crowds, they get the image the Zechariah prophecy is being fulfilled before their eyes. Theres no missing this famous teacher, the one who everyone had been talking about on the road, the one who had been healing and teaching. And now as they arrive in Jerusalem, there he is. Sitting above the crowd, riding on a donkey. So they roll out the red carpet for the king. Palm fronds and clothing anyway. It was part of the festival tradition for people to carry palm fronds or tree branches on their way up to the altar its part of Psalm 118 which is a traditional Passover psalm... A song that the pilgrims would always sing on their way into Jerusalem. But now Psalm 118 (which is where the Hosanna quote comes from) all of it sudden takes on a different meaning when the actual Son of David, the promised King, the Messiah is there in front of them. Hosanna to the Son of David!Blessed is he who comes in the name of the Lord! Hosanna in the highest heaven! Hosanna literally means, Save us. But they would have said hosanna a bit like we say hallelujah that is, a term of praise, more than a literal plea to be saved. But here when theyre singing Hosanna and Jesus is right there in front of them, theres this beautiful double meaning when you know that just a week later, he would literally save them by dying on a cross... So thats the first symbolic act, laden with Old Testament symbols and imagery and fulfilment of prophecy. Its Jesus painted unmistakeably as the Messiah. So what are we supposed to take from these verses? I think were meant to see Jesus as hes portrayed, and see him as the centre of Gods plan to bring peace, the centre of Gods plan to restore his people, the centre of Gods plan to restore his rule over a rebellious world. Thats certainly the wider Zechariah context, and the wider context of all the OT prophecies about the Messiah. So thats the first idea kind of simple recognise Jesus as the Messiah. The Courtyard The next part of the passage teaches us that not everybody will recognise Jesus as Messiah. 5 And that tension begins in v10, when Jesus enters the city. We read that the whole city was stirred that is shaken up. And not stirred with positive emotion, but instead with the first seeds of opposition that will eventually lead to Jesus crucifixion. The Jerusalemites want to know who this is making an entrance as a king. Another Jewish wannabe-Messiah would be bad for them. It would bring political tension with the Roman governor, perhaps jeopardise their way of life, their relative peace. So you have the crowds who had been following Jesus from Galilee who are proclaiming him as Messiah, contrasted with the people of Jerusalem who are questioning Jesus identity. Thats when Jesus performs his second symbolic act and the scene for this is the temple court. [Slide Temple] Just to help you picture it, this is a reconstruction of the Temple in the Israel Museum. In real life the Temple in Jerusalem was huge, the size of 29 football fields. And it was imposing, built on top of a hill so that if you looked up it would fill your vision. A symbol of Gods presence with his people, looming large over the city. It was the place for symbolically drawing near to God, the place where Gods people offered sacrifices of blood to remind themselves of the seriousness of sin. A place to find forgiveness. And a place to remember Gods promises to his people, Gods rescue of his people. Thats why so many had come to Jerusalem, to remember the way God had rescued Israel from slavery in Egypt, the miraculous saving of his people when they painted blood on their doors and the angel of death passed over them, passed them by. But you can imagine the hubbub, the commotion, of 180,000 people arriving and crowding into the Temple precinct. Because they wouldnt have brought their sacrifices with them, all the way from Galilee or further afield. No, they had to buy animals when they arrived. And so there were the merchants selling lambs and goats, and doves and other birds for sacrifices. There were the money changers, who you needed so that you could pay your temple tax in the temples currency. There must also have been food for sale, to feed so many people. You could imagine those tables and stalls and markets all around Jerusalem in the surrounding villages and just outside the temple walls. But in Jesus time, the sellers had taken their trade inside the temple walls, into the Court of the Gentiles the very large courtyard that you can see surrounding the smaller walled area in the centre. 6 Any person could go into the court of the Gentiles but only Jews could go into that inner walled area, and then only certain people could go so far Jewish women to the first part, then Jewish men, then priests into the part where they performed the sacrifices, and then into the most holy place, the Holy of Holies, only the High Priest could go in, and even then only once a year. [Slide off] But now, the outer Court of the Gentiles was filled with merchants and money changers. Jesus is furious. He goes in (v12) and he drives them all out the money changers, the dove sellers. He turns over their tables and he yells at them a mashup of Isaiah 56 and Jeremiah 7 prophecies about keeping the temple holy. 13 It is written, he said to them, My house will be called a house of prayer, but you are making it a den of robbers. (Matthew 21:7) I read that it was perhaps Caiaphas the High Priest who had allowed the merchants into the temple courtyard, and maybe only a year or two earlier. It puts an interesting spin on Caiaphas role in the trial of Jesus before the Sanhedrin you could see this symbolic act in the Temple as Jesus condemning Caiaphas personally and deliberately, then just a few days later Caiaphas getting his revenge on Jesus. An interesting theory, but Matthew doesnt make it explicit, so we can speculate, but I wouldnt stake my career on it. What we do see, though, is Jesus condemning hollow religion. Jesus was condemning the priests and teachers of the law for failing to treat the temple as the holy place it should have been. The same way they failed to treat God as they should have. Its a complaint against many of the priests throughout the OT, and it makes me think seriously about my own heart as someone who works in the church... Because this is the problem I think. Jesus comes into the temple, and he sees all these people who are close to God, living right under the shadow of Gods presence, yet they fail to follow him properly. Its exactly the same as many of the crowds who had followed Jesus they were close to him, they heard his teachings, but they never followed him fully. Never really gave up their lives, never really changed their allegiance towards Jesus. They were close to God, but not really changed. 7 And I think theres a warning for us here in church about that. A warning not to live our lives close to following Jesus, close to knowing him, close but no cigar. That was the rich young man back in chapter 19 wasnt it. From external appearances he looked so close to God, but in the end his heart was far away. His heart was consumed by his stuff, instead of being consumed by God. So what about your heart?Because Jesus third symbolic act tells us that this is a life or death decision. The Curse After the episode in the temple court, Matthew contrasts two very different reactions to Jesus in just one verse (v15): there are the little children who keep shouting what the pilgrims outside the city had shouted Hosanna to the Son of David! Remember all through ch18-20 the little children have popped up as models of dependent faith. Well, here theyre contrasted with the chief priests and teachers of the law who are indignant about what Jesus had done, indignant that anyone should identify him as the messiah. One is a model of faith, the other a model of false religion. To make the point clear, the next day Jesus enacts a parable about the consequences of false religion, the consequence of living a fruitless religious life. Verse 19: he sees a fig tree without any fruit on it, and he curses it, and it withers straight away. The image comes from the OT again the fig is a symbol of the good life that God promises his people, but also something he threatens to take away when his people fail to take him seriously, when they stray to sin and other gods (Jeremiah 8:13). And so here Jesus pronounces judgment on the fruitlessness of the chief priests and teachers of the law. Like the fig tree, God removes his blessing from them. He curses them and they will wither eternally... Again, this is a stark warning for us.Our hearts matter to God, our genuine faith matters... PAUSEJ 8 Thats a heavy message, I know. We normally read this passage at the beginning of Easter week. Because this passage begins the last week of Jesus life... a week that would end with Jesus dying on the cross, then rising to new life on the third day. And that Easter story reminds us that what we just read is not a fairy tale. Its history. And a part of history that hasnt yet been completed. Because Jesus the King will return one day to his kingdom. Just like that day in Jerusalem, he will come back to earth, and hell turn over the tables of hollow religion. He will ask us about the state of our hearts. Hell look for the fruit of faith growing in our lives. And many will be shown to be pretenders. But not those who have cried out Hosanna save us. There is something so beautiful about faith in Jesus. He knows we could never save ourselves. We could never do enough religious ceremonies to save ourselves. We could never do enough penance to earn his forgiveness. We could never outweigh our mistakes with good deeds. There is nothing we could do to stand before God on our own merits. It would be hopeless. And so we need a king who rides into our lives, with the promise of mercy and peace. A king who forgives. A king who saves... Shall we pray? Our loving heavenly Father, help us to draw near to you with all our hearts. Hosanna, save us. Sometimes it is so easy to forget you, or not to take you seriously, or to get caught up with other things. Hosanna, forgive us, and restore us, and save us we pray. Give us hearts to serve you only. And we pray this week that many in the Napa Valley and beyond would hear the news of your love for us in Jesus Christ. We pray that many would recognise Jesus as King, and give their lives to him. And we pray in his saving name, Jesus our Lord and savior. Hosanna and amen. 9

Ep.125 features Danielle Mckinney. Born 1981 in Montgomery, Alabama, she completed her BFA at Atlanta College of Arts in 2005 and her MFA at Parsons School of Design in 2013. Her work is in private and public collections including the Hirshhorn Museum and Sculpture Garden, Washington DC; Dallas Museum of Art, Dallas, TX; Institute of Contemporary Art, Miami, FL; The Israel Museum, Jerusalem, Israel; and the Hessel Foundation Collection at Bard, Annandale-on-Hudson, NY. Her work has been included in the exhibitions Heroic Bodies at the Rudolph Tegners Museum, Dronningmølle, Denmark, IN A DREAM YOU SAW A WAY TO SURVIVE AND YOU WERE FULL OF JOY at The Contemporary Austin, Uncanny Interiors at Nicola Vassel Gallery, and Black Melancholia at Hessel Museum of Art. She is represented by Marianne Boesky Gallery in New York and Night Gallery in Los Angeles. Mckinney lives and works in Jersey City, NJ.  Portrait credit Pierre Le Hors Artist https://daniellejmckinney.com/ Marianne Boesky Gallery https://marianneboeskygallery.com/artists/453-danielle-mckinney/biography/ Night Gallery https://www.nightgallery.ca/artists/danielle-mckinney Juxtapoz https://www.juxtapoz.com/news/magazine/features/danielle-mckinney-comfort-and-quietude/ C& https://contemporaryand.com/exhibition/danielle-mckinney-golden-hour/ W Magazine https://www.wmagazine.com/culture/danielle-mckinney-interview-marianne-boesky-studio-visit Vogue https://www.vogue.com/article/danielle-mckinney-artist-profile-october-2022 Culture Type https://www.culturetype.com/2021/06/02/danielle-mckinneys-portraits-are-self-reflective-sometimes-theyre-me-sometimes-theyre-an-emotion-im-feeling/ Mousee Magazine https://www.moussemagazine.it/magazine/danielle-mckinney-alison-gingeras-2021/ Fortnight Institute https://fortnight.institute/exhibitions/51-danielle-mckinney-saw-my-shadow/ Art of Choice https://www.artofchoice.co/experience-the-poetic-solitude-in-danielle-mckinneys-body-of-work-saw-my-shadow-at-fortnight-institute-ny/ Elephant Magazine https://elephant.art/why-danielle-mckinney-abandoned-photography-in-favour-of-painting-04062021/ Honestly WTF https://honestlywtf.com/art/danielle-mckinney/ ARTPIL https://artpil.com/danielle-mckinney/ GothamToGo https://gothamtogo.com/marianne-boesky-gallery-presents-danielle-mckinney-golden-hour-in-fall-2022/?utm_source=rss&utm_medium=rss&utm_campaign=marianne-boesky-gallery-presents-danielle-mckinney-golden-hour-in-fall-2022

The Ace List - Live with Itay Noy of Itay Noy Watches - S03E08 The only independent high-end watchmaker in Israel is a true artist. Itay Noy is an Israeli watchmaker, designer and artist who creates limited-edition timepieces in his independent studio in the Old Jaffa. Since the year 2000 Itay Noy's timepieces combine true craftsmanship with out-of-the-box designs, meant to induce philosophical perspectives on the concept of time. Itay make about 120 pieces a year, all his own original designs, using components & movements of the highest quality integrated with in-house dynamic dials, modules and complications. Ace Jewelers' CEO Alon Ben Joseph and mastermind Itay Noy are long-time personal friends. They have many mutual interests, besides watchmaking. There are also many ties running back-and-forth between their home countries. Mr. Noy graduated with a BFA from the Jewelry department in the Bezalel Academy of Art and Design in Jerusalem, followed by a M.Des. from the Design Academy in Eindhoven. His work has been exhibited in museums around the world and acquired by important collections such as those of the Israel Museum, the Tel Aviv Museum of Art, the Charles Bronfman Collection in New York and the Droog Collection in Amsterdam. He is the recipient of nine prizes, including the Andy Prize for the Arts, the Israeli Ministry of Culture Prize and the America-Israel Cultural Foundation Prize. Since 2005 he lectures on timepiece making and design at the Bezalel Academy Of Art and Design in Jerusalem. Ace Jewelers has been a proud authorized dealer of Itay Noy watches. Since the demand for Noy's watches are so high and his production capacity so limited, he reverted back to a model of Direct-To-Consumer. But, we at Ace Jewelers are very much ambassadors of Mr. Itay Noy and his artisan timepieces of art. In this interview they discussed creativity, art and timekeeping with the very modest and creative Itay Noy. All episodes are available on http://www.TheAceList.com to watch back. #AceJewelers #TheAceList #ItayNoy#TheAceListLive #Watchmaker #Design #Artist --- Send in a voice message: https://anchor.fm/acejewelers/message

Join us in Israel: https://evidence4faith.org/2023israel/ (https://evidence4faith.org/2023israel/) Reference this lesson and find out more here: Give me a reason to believe (intro). An important field to look at when considering the validity of the Bible is the field of archeology. The Bible describes specific people and places of which we should be able to find remains of today. What does the archeological record have to say about biblical history? Has there been any discovery that challenges scripture? This episode is a general overview of the field of archeology and not an exhaustive list. You can dive deeper into current archeological discoveries through https://biblearchaeology.org/ (https://biblearchaeology.org/) , https://www.biblicalarchaeology.org/ (https://www.biblicalarchaeology.org/) , Israel Antiquities Authority (https://www.antiquities.org.il/ (https://www.antiquities.org.il/) , https://www.deadseascrolls.org.il/home (https://www.deadseascrolls.org.il/home)), and the Israel Museum (https://www.imj.org.il/en/wings/archaeology/archaeology-land-israel (https://www.imj.org.il/en/wings/archaeology/archaeology-land-israel)) Enjoyed this content? Help us keep it free by donating online at https://evidence4faith.org/give/ (https://evidence4faith.org/give/) Evidence 4 Faith is a 501(c)(3) non-profit ministry based in the USA. MUSIC CREDITS: Stock Music provided by https://www.pond5.com/royalty-free-music/item/48170776-memories-deep-melancholic-ambient-rhythmic-technology-electr (mv_production), from https://www.pond5.com/ (Pond5)

To all our "Walk With God" global listeners in 33 nations on six continents – as well as patrons & friends of The Himmelreich Memorial Library, and our many Susquehanna Valley Presbyterian friends... We're TAKING A BRIEF BREAK DURING THIS MONTH OF June, while an exciting career move has us relocating from San Antonio, Texas to Ohio (... a little more on that later on an upcoming podcast)!  MOST IMPORTANT, we're preparing for our upcoming "Walk With God Tour Of Israel" – and you and all our friends and listeners are invited! There are countless reasons to join us on our "Walk With God" Bible Tour of The Holy Land this November 2022. That's why we invite you to join us on our spectacular Bible Tour of Israel – exclusively sponsored by The Himmelreich Memorial Library and The Awakening Worldwide. Our tour brings the Bible into living color as you walk where Jesus walked! You'll sail the Sea of Galilee – in a replica boat from Biblical times. And you'll experience the very wilderness where Jesus was tempted by Satan. EVEN THE OLD TESTAMENT WILL COME ALIVE AS WE VISIT: The home city of Abraham, Isaac, and Jacob. The battlefield where David defeated Goliath. And the caves where David hid in exile. You'll stand where Gideon chose his 300 men for battle. And visit historic Jericho.  Best of all, you'll personally visit many locations where Jesus himself walked! Mount Arbel's stunning vista of the Sea of Galilee. And many sites of Jesus' public ministry: Capernaum, where Jesus preached, and the Mount of Beatitudes.   You'll stand where Peter proclaimed: “Thou art the Christ, the Son of the living God.” And take in the view of Paul's route to Damascus along the Golan Heights. You'll be an eye-witness to the sites of Jesus' final week. Walk in His footsteps down Palm Sunday Road. Visit The Upper Room where Jesus dedicated The Last Supper – and more! The Garden of Gethsemane where Jesus prayed the night he was betrayed...the Via Dolorosa “way of the cross” leading to the site of Jesus' crucifixion...The Garden Tomb & the Mount of Olives where Jesus ascended to heaven.  Along the way, you'll also visit The Herodium, the fortress built by Herod the Great...the “Wailing” Wall...the Israel Museum, home of Israel's greatest archaeological treasures...City of David excavations...overlook the original site of King David's capital...and walk the winding streets within the Old City of Jerusalem city walls. AND THAT'S NOT ALL! You'll enjoy a unique opportunity to be baptized or re-dedicated in the Jordan River. And take part in a Sacred Communion service. You'll visit ancient Roman ruins. Masada. Megiddo. The Dead Sea. The Qumran Desert Caves where the Dead Sea Scrolls were discovered...and so much more!   The Bible comes to life into living color when you "Walk Where Jesus Walked!" Your own Christian walk will never be the same.  Invite a friend! Treat a child or grandchild! Then join us! Get all the details: http://theawakeningworldwide.com/ (TheAwakeningWorldwide.com) and the links below. Thanks for listening! Walt & Brenda TOUR DATES: November 8-19, 2022  GET ALL THE DETAILS HERE: (https://www.morningstartours.com/wbm1318/ (click here))  YOU MAY REGISTER HERE: (https://www.morningstartours.com/wbm1318/ (click here)) We invite you to share  your own comments and questions.  Walk.With.God.WBK@gmail.com We love hearing from you! 

Would you like to sponsor an episode? A series?   We'd love to hear from you : podcasts@ohr.edu   https://podcasts.ohr.edu/   00:00 What is the basis of the Magen David?   01:46 What is the Torah view on liability of a self driving vehicle?   8:23 How important is pronunciation in the formula of tefilla? For example, many people don't pronounce a moving shvah (like in Kedusha or Kaddish), or they misplace an emphasis, such as mezoinos instead of mezonos. Also, when we sing songs, like Lecha dodi or zemiros, or Shir hamalos, we might change the emphasis. Since difference nusachs exist, or people use modern Hebrew, etc…how does that work?   15:49 Do halachos of Rabbeim apply even in a time with no official smicha?    18:37 What response do we as Jews have to school shootings and how should we view gun policies?   23:03 What is the definition of divorce for non-Jews and how should we approach giving advice or otherwise?   28:30 The State of New York is attempting to strengthen oversight of Yeshiva education. Ostensibly, they want to enforce the "core" curriculum of math, science, and the like. If they were to stick to those issues, does a secular government have a right to insist on a population education in math, etc.?   35:19 How does the concept of a Shabbos Goy work?   42:14 Does maaris ayin apply in the case of eating heter mechira?   44:09 Could I put up a sign stating I'm a kosher Jew in a treyf restaurant?   47:05 How do we justify the idea that someone that has “chen” or grace, they have fear of Gd, but in Eshes Chayil, it states that chen is sheker or false?   51:18 What's the rules on after-brachos?   54:35 How can someone understand the idea of uvdin d'chol or a “mundane activity” on Shabbos?    58:18 What is your halachic and legal take on halachic prenups? Do you think couples should get a halachic prenup? Do you think that the way people protested on social media and outside homes last spring is something that should be encouraged especially because many agunos received their gets that way?   1:10:26 There's a new section in the Israel Museum about “magic” in Judaism and segulos—do we believe in them or not?   1:15:44 How do we understand going to a mikveh on Shabbos?   1:18:24 Why are the words RAH and REYAH so similar?   1:20:52 Where do the minhagim of black and white outfits and hats come from?   1:27:20 Why does the bracha for kiddush hat on on Friday night say “Vrozavanu” instead of “Vitzivanu” when seemingly every other bracha on a mitzvah contains the latter?    1:31:09 Why are Shabbos and kosher the main factors mentioned when discussing frumkeit?   1:34:25 Why do Talmudic rabbis use certain hermeneutical principles when inferring various laws?   Visit us @ ohr.edu     

Heidi Zuckerman is CEO and Director of the Orange County Museum of Art (OCMA) and a globally recognized leader in contemporary art. She is host of the podcast Conversations About Art and author of the Conversation with Artists book series.Appointed in January 2021, Zuckerman is leading OCMA as the institution prepares to open a new home in October 2022 designed by Morphosis Architects under the direction of Pritzker Prize winner Thom Mayne. The state-of-the-art 53,000 square foot building is double the size of the museum's former location in Newport Beach. In a salute to OCMA's 13 female founders, the opening collection exhibition will be Thirteen Women, organized by Zuckerman.Zuckerman is the former 14-year CEO and Director of the Aspen Art Museum. After re-imagining the museum as a world-class institution, she founded its annual ArtCrush gala, raised more than $130 million, and built a new, highly acclaimed museum with Shigeru Ban, the 2014 Pritzker Prize winner for architecture. At the Aspen Art Museum, Heidi Zuckerman curated the exhibitions Wade Guyton Peter Fischli David Weiss (2017), Yves Klein David Hammons/David Hammons Yves Klein (2014), Lorna Simpson: Works on Paper (2013), Mark Grotjahn (2012), and Fred Tomaselli (2009).From 1999 to 2005 she was the Phyllis Wattis MATRIX Curator at the University of California, Berkeley Art Museum and Pacific Film Archive, where she curated more than forty solo exhibitions of international contemporary artists such as Peter Doig, Shirin Neshat, Teresita Fernández, Julie Mehretu, Doug Aitken, Cai Guo-Qiang, Tacita Dean, Wolfgang Laib, Ernesto Neto, Simryn Gill, Sanford Biggers, Ricky Swallow, and Tobias Rehberger. Formerly she was the Assistant Curator of 20th-century Art at The Jewish Museum, New York, appointed in 1993, and curated Light x Eight: The Hanukkah Project, Contemporary Artist Project: Kristin Oppenheim, and Louis I. Kahn Drawings: Synagogue Projects which traveled to The Israel Museum, Jerusalem.She has curated more than 200 exhibitions during her career and is the author of numerous books including a widely loved children's book The Rainbow Hour with artist Amy Adler.Zuckerman earned a BA in European History from the University of Pennsylvania, an MA in Art History from Hunter College at CUNY and holds a Harvard Business School Executive Education certification.

Welcome to The Times of Israel's Daily Briefing, your 15-minute audio update on what's happening in Israel, the Middle East, and the Jewish world, from Sunday through Thursday. Editor David Horovitz and diplomatic correspondent Lazar Berman join host Amanda Borschel-Dan. Berman begins with a brief update on events in the escalating war in Ukraine. Over the weekend, Ukraine's President Volodymyr Zelensky suggested Jerusalem serve as the site for negotiations. Is this even a viable notion? Horovitz explains why he felt The Times of Israel needed to take a position on Russia's invasion of Ukraine, even as the State of Israel has not. He discusses other areas in the conflict in which Israel must step up. Berman places reports of some 12 missiles that were fired from Iran today toward the US consulate in Iraq's northern city of Erbil in the context of the stalled nuclear talks. Before leaving Lviv last week, Berman met with some local artists. Why did he feel it important to include their voices? And finally, Borschel-Dan enthuses about reports that Turkey is set to return the Siloam Inscription, a 2,700-year-old ancient Hebrew text that provides concrete historical support for the biblical account of the construction of a tunnel that brought water from the Pool of Siloam to the City of David, below the southern edge of the Temple Mount, during the reign of King Hezekiah. Discussed articles include: Live blog March 13, 2022 Bennett, Zelensky speak on phone after Ukraine leader proposes Jerusalem summit If PM can't say it, we Israelis must: Zelensky, we're with you; Putin, stop the war Ukrainian embassy backs High Court petition to block Israel's refugee cap Iran fires missiles at Erbil US consulate; Tehran: ‘Secret Israeli bases' targeted Drained but defiant, Lviv's creatives struggle to make art in war Israeli official: Turkey agrees to return ancient Hebrew inscription to Jerusalem Subscribe to The Times of Israel Daily Briefing on iTunes, Spotify, PlayerFM, Google Play, or wherever you get your podcasts. This Times of Israel podcast is sponsored by Thirty-Six, in which host Justin Hayet scours Israel to find the 36 most wonderful, interesting people doing the most wonderful, interesting things. Subscribe to Thirty-Six on your favorite podcast platform. IMAGE: A replica of the Siloam Inscription at the Israel Museum in Jerusalem. The original is in the Istanbul Archaeology Museum. (יעל י CC BY-SA Wikimedia Commons) See omnystudio.com/listener for privacy information.

A virtual event presentation by Mindy Weisel ABOUT THE EVENT: This compelling and candid memoir (AFTER: The Obligation of Beauty) by Mindy Weisel, an internationally acclaimed artist and author, traces her search for beauty in her life, which began as a child born in the Bergen-Belsen Displaced Person's Camp to parents who had survived the Auschwitz concentration camp. This is not her parents' story, rather, it is a courageous and honest portrait of her struggle to understand the black hole she was born into. Her successful journey in becoming an artist with her own voice, and an unshakable will to live with beauty, is most inspiring. By weaving an eloquent tapestry of her art, narrative, poetry and journals, Ms. Weisel offers moving insights into her life and work, especially her deep-seated conviction that beauty and love can overcome tragedy. ABOUT THE SPEAKER: Mindy Weisel, an internationally renowned artist, author and speaker, was elected into the Smithsonian Archives of American Artists in 2000. Her works are in the permanent collections of the National Museum of American Art, Oxford University, and the Israel Museum, among many other public and private collections. Weisel is the author of DAUGHTERS Of ABSENCE: Transforming a Legacy of Loss; and TOUCHING QUIET: Reflections in Solitude. She is also a member of the United States Art In Embassies Program; and the Jerusalem Biennial. Weisel, the mother of three, resided in Washington, D.C. for over forty years, where she was an Associate Professor at the Corcoran College of Art and Design (1996-2005). She received her BFA at George Washington University and did her post graduate work at American University, Washington, D.C. Weisel's extensive interviews and TV appearances are documented on her website www.mindyweisel.com. Among them, CNN, Bloomberg, Jewish Women's Archives. Currently, Mindy Weisel resides in Jerusalem Israel, with her husband. You can purchase the book here – https://www.amazon.com/AFTER-Obligation-Beauty-Mindy-Weisel/dp/1913532550/ref=sr_1_1?dchild=1&keywords=Mindy+Weisel+AFTER&qid=1631562301&sr=8-1 ABOUT THE EVENT: This compelling and candid memoir (AFTER: The Obligation of Beauty) by Mindy Weisel, an internationally acclaimed artist and author, traces her search for beauty in her life, which began as a child born in the Bergen-Belsen Displaced Person's Camp to parents who had survived the Auschwitz concentration camp. This is not her parents' story, rather, it is a courageous and honest portrait of her struggle to understand the black hole she was born into. Her successful journey in becoming an artist with her own voice, and an unshakable will to live with beauty, is most inspiring. By weaving an eloquent tapestry of her art, narrative, poetry and journals, Ms. Weisel offers moving insights into her life and work, especially her deep-seated conviction that beauty and love can overcome tragedy. -- DONATE: www.bit.ly/1NmpbsP​​​​​​​ For podcasts of VBM lectures, GO HERE: www.valleybeitmidrash.org/learning-library/ www.facebook.com/valleybeitmi...​ Become a member today, starting at just $18 per month! Click the link to see our membership options: www.valleybeitmidrash.org/become-a-member/

This week I speak to Bill Aron, an internationally renowned photographer of Jewish communities around the world. Many of the photographs taken throughout his 45+ year career have been exhibited in major museums and galleries throughout the United States and Israel, including the Museum of Modern Art, the International Center for Photography, the Boston Museum of Fine Arts, the Jewish Museum, the Chicago Art Institute, the Boston Museum of Fine Arts, the Mississippi Museum of Art, the Museum of American Jewish History, the Israel Museum in Jerusalem, and the Museum of the Diaspora in Tel-Aviv. They have also appeared in a wide variety of publications, and in numerous public and private collections. Bill gained international recognition for his first book, From the Corners of the Earth, which chronicles the Jewish communities of the former Soviet Union, Cuba, Jerusalem, New York and Los Angeles. His latest book, New Beginnings: The Triumph of 120 Cancer survivors, focuses on survivors who have not let their cancer diagnosis prevent them from living their lives to the fullest; in many cases, the diagnosis served as an impetus to better their lives. We talk about why you should never judge someone, what surprised him the most about the parents he interviewed, the important lesson the children he photographed taught him, and the most important thing he wants readers to get from the book. Bill Aron's work can be seen at billaron.com 

What you'll learn in this episode: Why Marc's box art jewelry was inspired by his time working in the theater industry How Marc went from selling his work on the streets of New York City to selling them to Hollywood's biggest celebrities Why artists have always borrowed from each other's work Why box art is a conversation starter that breaks down barriers How every box tells a story Additional Resources: Instagram Photos: Museum of Israel Exhibition  Currently on view at SFO Airport  Marc Cohen and Lisa Berman (no relation)  About Marc Cohen: Marc Cohen is a highly regarded artist known for his wearable box art. As a former actor, stage manager and set designer, Cohen's two-inch-square boxes resemble stage sets with three-dimensional figures and images. His one-of-a-kind pieces sit on the shelves of numerous celebrities and can be worn like a brooch or pin. The archive of Cohen's work is housed at California art jewelry gallery Sculpture to Wear. Transcript: Inspired by his time in theater and created to resemble a stage, Marc Cohen's box art pieces are well-known among rare jewelry lovers and Hollywood's most famous artists, actors and producers. Part three-dimensional art, part jewelry, the two-by-two boxes feature images and tiny figures that reflect our world. He joined the Jewelry Journey Podcast to talk about his process for creating box art; what it was like to work with theater greats like Tom O'Horgan and Paula Wagner; and why his pieces are more than just shadow boxes. Read the episode transcript for part 1 below.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Marc Cohen. Marc is a former actor, set designer and stage manager. He is a highly regarded artist recognized for his box art, which graces the shelves of many celebrities. The box art pieces are often worn as brooches. We'll hear all about his jewelry journey today, but before we do that, I want to thank Lisa Berman of Sculpture to Wear for making it possible for Marc to be with us today. Marc, so glad to have you. Marc: As am I. Thank you for inviting me. Sharon: Great to be with you. Tell us about your jewelry journey. It started with you traveling around the world from what you've said. Tell us about that and how everything worked from there. Marc: I was a 20-year-old young man and I left America, basically, on a freight ship. That's how I started the journey. I have a saying now, which is “Every box art tells a story.” The irony of that is that when I travel, because I was on the road for a very long time, going all over the world, I liked collecting things but I had no place to put them. I found these little, tiny boxes that I used to take candy out of, and when they were empty, I went, “Oh, this is a great thing to put little things inside of.” I already was starting the idea of collecting little objects that I might go back to at some point and use it as a part of the art. But I traveled; I went around the world all the way to India until 1970. Then in 1970, I decided to return to America and relocate myself within the country. Prior to that, I had left in 1966. It was during the Vietnam War.  I was raised in Southern California, so I came back to America and went back to my roots. I have a stepsister, and she had a friend named Tom O'Horgan. Tom O'Horgan is actually very famous in the theater world, primarily because he directed the show on Broadway called “Hair.” He directed many other shows after that, but that is the one he's most known for. In meeting each other for the first time, he asked me about myself, and I said, “I traveled around the world and I don't have any real direction about what I want to do next.” He said, “Well, I need a driver because I'm working on these film projects. Do you drive?” and I said, “Yeah, I drive.” So, he hired me as a driver.  During that period, which was in the mid-70s, I drove him around Los Angeles. I knew Los Angeles like the back of my hand, and we went to all these different studios and met all these different, incredibly famous people; directors, writers and the like, actors and so on and so forth. I was getting a little bit of a background, but what I didn't know at the time, not until many years later, was how I ended up becoming a curator and jewelry maker. I was influenced by the work of Tom O'Horgan. Being a set director, he did plays. The things he worked on in LA ended up getting finished, and he said, “I'm going back to New York. Keep in touch with me. Maybe there's some work for you in New York.”  About six months later, I called him on the phone. He said, “Marc, we're doing this show on Broadway. It's about Lenny Bruce and I have a great job. I'd love you to come and work on it.” I said, “Well, I've never lived in New York, but I do know who Lenny Bruce is. So yeah, I'm coming.” I went to New York and got a room at the Chelsea Hotel. It was during the time of Andy Warhol and a lot of other people living in the Chelsea Hotel. So here I am, in the middle of this incredible epicenter of activity; there was so much different art on the walls of the Chelsea Hotel back in those days, and all these Warhol people and other characters from the avant garde world in New York City. That's the background of how I got to where I got. What I mean is that as a young guy, I didn't know a lot, and I didn't have a lot of background in art per se. I was more like a young guy who was just wandering on the planet, as I said earlier.  So, here I am in New York. I'm in the middle of an epicenter of activity, and Tom says to me, “Well, we're in pre-production for the show, and there are a lot of other things I would like you to do for me.” He gave me a lot of different jobs, and I went around and did that for a while until the show went into production. During those pre-production meetings, he would meet with all these different designers. One of those designers is now a very famous set designer by the name of Robin Wagner. Robin Wagner went on to design “A Chorus Line” and a lot of other incredible Broadway productions. Robin, over the years, became one of my closest friends. The reason I bring him up is because we used to go his studio, which at the time was in a building called 890 Studios, which is owned by Michael Bennett, who was the director of “A Chorus Line.” I'd go to his studio with Tom, and he would have models of shows. I was picking up the incredibly creative process of how you put together an idea for a show and a stage. He would have little characters he would use to put on models of shows. I took note of those little figures, but I kept it hidden in the back of my brain, not knowing anything, nothing preplanned about what I was doing other than being Tom's assistant. We eventually went to Broadway with “Lenny.” “Lenny” opened. It was a big success and for about 30 years, I worked primarily with Tom O'Horgan in theater.  Sharon: Is it Tom O'Horgan? Marc: Yes, it's spelled O-‘-H-o-r-g-a-n. He was an artist. He always considered himself to be one of those people that didn't do things that are the typical Broadway. I mean, when you think about “Hair”—I didn't work on the original. I worked on a later production with Tom, but by that point, I had already worked on “Lenny Bruce,” “Jesus Christ Superstar” and so many other amazing things. We did opera. Tom did a lot of things, and Tom's influences and Robin's influences are guides to what I eventually ended up becoming, which is an artist who creates wearable art.  When you think about jewelry, for me, typically jewelry would be semiprecious stones, silver, gold, pearls, all that kind of stuff. I'm not the kind of creator or designer that would even know where to start to put those things together. I love beads. In the 60s, I made my own beads and necklaces, but I didn't see that as where I wanted to go. Because of my memory of the stage and theater and stories—when I told you earlier about the boxes, during the period I was living in New York, I collected a lot of things in my little East Village apartment.  I happened to be downtown in the Soho area; I was down on Canal Street. I was walking along the street, and all the shops had things out in front of them for sale. I walked by, and there were empty boxes and lots of other things. I was just motivated to buy them, so I bought them. I brought them back to my apartment and I was sitting at my little worktable looking at all these objects. I'm thinking, “Maybe I could make something out of this. I know that this coming year, Tom has this big Christmas party, and usually he's the guy who gives everybody something unique for a present.” There I was, looking at all these things, and I looked at the little box and glued a little figure I had inside the box. For example, this is a box. It's an empty one. Sharon: Like an acrylic, plastic box. Marc: A plastic box, an acrylic plastic box. Most people would take this box. It has a lid. They would put anything in it, but they didn't think they could put a whole story together. When I put the little figures in the box like that, and it has a lid and I put it like that, then I have a box with people standing in front of it, but they're sort of looking through. What are they looking at? I started to figure out I needed to have an image to tell the story. This is the World Trade Center. Sharon: So, you're creating little worlds inside the box. Marc: Right. Since I started the idea in 1985, I have made thousands, and out of those thousands, many of them are one-of-a-kind. How I can I put it? Because of my traveling and because I'm a very sentimental guy—with these boxes, the little characters can't talk; they're little plastic figures. They only way you could tell the story, as jewelry tells a story, is by what you put behind them. So, in this case, I put the World Trade Center. I had a little character standing there looking at it. I actually made this before the World Trade Center fell down.  My meaning of all of this is that it was something in the beginning I was aware of. The one I'm wearing on my lapel—this one is a door. There's a woman standing, looking not at us; she's looking towards the doorway. Anybody who would come up and look at my work, they would say, “Wow, that is amazing! Where did you get that?” This is how it started and how I got into fashion. “Where did you get that?” and I said, “Well, I made it.” And they said, “Really? Where can I get one?” And I said, “You can buy this one.” In the beginning, I used to sell right off my lapel. I love dressing. Double-breasted suits are my favorite attire, so I would have a box on my lapel. As I said, I would go all over New York City to openings, plays and the like. At openings and galleries and museums or wherever I went, people from across the gallery, they would see me dressed and see this thing on my lapel, curious to what it is. They would walk up to me. They wouldn't even look at me; they would look right at the box and go, “Oh my god, what is that?” When I said, “Well, it's a box and I made it,” they would go, “Wow! I want it.”  It got me to the point where—this is the most interesting thing—many years later, after traveling and having lived in Israel—one of the places I did live—after about 25 years, I decided to go back there for a visit. I had friends that had immigrated to Israel, and some of my friends were there to stay. I went to visit them, and they all are in the arts. When I was there, one day they said, “Why don't we go to the Israel Museum up in Jerusalem?” I was in Tel Aviv staying with them. We go up to Jerusalem. I was wearing a box. I'm walking around the Israel Museum—this is so amazing to me—and a woman from across the room, a very tiny lady, walks up to me. She says the same thing many other people said: “Wow! What is that? Where did you get that?” I said, “Well, I made it,” as I said earlier.  The point of it is that these boxes have a story in them. For me, every story leads into another. How I mean that is that a person who I don't even know comes up to me, looks at my work; they're inspired by it; they talk about it; they tell me things about it that I've never myself, as the creator of it, imagined how significant it was or what it meant to them. As in theater, as in my relationship to Tom O'Horgan—who broke the fourth wall when he did “Hair” on Broadway—during the period I was creating these, people in New York and probably everywhere else didn't exactly walk up to each other and start a conversation with strangers. I had the object that changed all that, and I had not realized that until I started going out and wearing them.  Getting back to Israel, this woman, who I later found out was named Tammy Schatz, she was the curator of one of the wings in the Israel Museum. She invites me the next day to come and sit and talk with them, because they were planning this show and exhibition the following year called “Heroes.” So, I went back the next day. I sat with her and bunch of other people and they started telling me what they were planning. They said, “Well, you're an American, and you must know a lot about American pop culture. You know Superman and Batman and all the stuff like that,” and I said, “Yeah, I do.” Once they learned I worked in theater and designed sets—because by this point, I was not only making little box sets, I was also making large set pieces for shows. I have also done installations and the like. So, they invited me based on an illustration I sent to them. The next year, I went back to Israel, and I did this 10-feet-high, 25-feet-long three-dimensional cityscape. It was boxes, another version of boxes. It goes on and on from there, Sharon. It's always been fascinating me, how these boxes have gotten me into all kinds of great trouble. As I continue to say, every box tells a story. Sharon: We'll have pictures of the boxes when we post the podcast, but I want to describe it to people. These are small. What, two by two?  Marc: Two-inch square, three quarters of an inch deep. When you buy them, they're empty; they don't have anything except the lid and the box. I basically invented an idea; up to that point, I never saw anybody else doing what I was doing. Later on, I found that I inspired other people's creativity. There was these little boxes, and every picture tells a story. A picture's worth a thousand words. Sharon: Marc, before all this happened, before you befriended Tom and he befriended you, did you consider yourself artistic or creative? Was that a field you wanted to pursue? Marc: Kind of. I didn't literally say, “Wow, I'm an artist! I'm going to create.” When I was a young guy growing up—I grew up in Philadelphia until I was about 13. My father and mother were in the beauty business. My father was a very well-known women's hairdresser. He had his own beauty parlor. My parents were beatniks back in the 50s in Philadelphia. They were very artistic people, and all their friends were very artistic. When you're a 13, 14-year-old, it doesn't register, “Oh, I'm going to grow up to be like my parents,” but they are influences. They all wore black all the time, and as I was growing up, that was my look; I wear all black. I'm going to high school during the 60s, and it's all surfers and bleach blond hair, and here comes me with skin-tight black pants and Beatle boots and cravats. Kids who were friends, they would come up and say, “Who are you? What do you think you're doing? You must be an artist.” The idea stuck, but as I said about journeys through life, the fascinating thing for me is that I could go around the world, have all these different things happening in my 20s, return to New York and be on this journey where I'm still at.  I know your podcast has to do with why we're here: to talk about jewelry. I came up with a way for people to wear jewelry that has a story in it and it isn't just a beautiful necklace. Most of my clients over the years have been women, and women know something much more than men know about wearing an object that attracts attention. Women know how to find beautiful objects and adorn themselves, whether it's a necklace or earrings or the like. What I also found was interesting—and this actually happened; I neglected to mention this, but at one point when I stopped doing theater with Tom and only focused on making box art, I ended up becoming a street artist.  I was selling in the beginning to every major department store, and I was getting orders for thousands of boxes that I had to come up with. I was a one-man factory, so I was pulling my hair out of my head thinking, “How the hell am I going to get all these boxes out?” Eventually I discovered there's no way I can be a manufacturer of these things; they're all one-of-a-kind. I'm not going to make 12 of the same thing. A friend of my said, “There's a street fair down on Broadway. Maybe you should go there and sell on the street.” That opened a doorway, like this doorway that's on my lapel, into a world that I have never been able to look back on. What I mean by that is that once I discovered going to Soho, which was in the early stages of its evolution to become an epicenter for artists, many of them very famous—Keith Haring, David Hockney, the list is incredible of the people that were living in Soho during this period.  I went down there; on West Broadway there were very few artists, and I was one of them. I would be standing there all dressed, and people would be walking up and down the street. It was the most incredible way for them to find out if I was marketing what I had on my lapel. People would walk by, they'd see this guy with a fedora all in black, wearing a box, and they'd be curious. “What's he wearing?” They'd come up. They wanted to ask me a about them and how much they were. They would say, “I'll take that one, that one and that one,” and that used to happen to me constantly. I never could make enough. The thousands I had made that never got sold in department stores were being sold like crazy on the streets of Soho. I started to get a reputation as the box man. One of the clients that bought from me called me the box man. There were times I would go down to Soho in the early morning on Saturday or Sunday, and there were people milling around where I would stand, waiting for me. They would go, “Here comes the box man.” It was crazy.  Among all those people, some of the people that stopped and looked at my work were people like David Hockney. David Hockney actually came up to me one day, after a lot of people walked away buying my stuff, and he was looking at them real close up. He started talking to me and giving me suggestions about what I could do with them and how I could display them. He said, “You've got this little box. Where are you going to put it? Maybe you should put it in something, like a frame?” That was the most incredibly brilliant selling idea for my boxes. What I did with the frame idea, when I figured out how to do it—there are many of them behind me; they're all frames. The idea was that you can wear it, but you can also put it on your wall, and your wall can wear your art. I made it so the frame had an opening in it that the box sat inside of. If you're going out to an opening or a fashion show or something like that, “I think tonight I'll wear one of the Marc Cohens.” That was the idea, and that took off like crazy from there.  I have to also tell you I didn't have any agents. I didn't have a rep or anything like that. The only rep I had was Marc Cohen. So, it was a cool journey through art. I evolved the idea of being an artist selling on the street, where I just had an easel, to having a pushcart. It was like immigrants coming to America way, way back, my family being some of them that went to Philadelphia. My great, great grandmother, she had a pushcart on South Street in Philadelphia. It's another part of the story of jewelry. It bridged into me getting even more known.  I went back to California where I grew up. I found that in Santa Monica, they had a promenade they were developing. They actually had people with carts they rented they would put out on the promenade. I found out I could rent carts, so I rented one and came up with this idea. It actually came from people on the street. People would walk by and say, “Wow, you're like a tiny gallery with all your art.” I came up with this name, the World's Smallest Art Gallery. I took the cart and turned it into a miniature to scale, like if you went into a gallery, but it was open to the people to see it from all different sides. I had walls and characters that were larger than the ones in my boxes. They were standing looking at the art. It was all on that level; it was very interactive. People would walk by, and there would be a lot of celebrities all the time on the street. Suddenly, not only was it regular people buying work, not only David Hockney, but very famous people in Hollywood. Along the way, I reconnected with a friend of mine who was very famous, Paula Wagner. She's now very famous for being a producer with Tom Cruise; they had a company called Cruise Wagner. She's a friend of mine from all the way back to the “Lenny” days. We rekindled our friendship in LA. She knows everybody in Hollywood, and once she saw my work, she flipped out and said, “We've got to do something with this.” She hired me, and the first thing I did for her was wearable box art in a frame. It was for Oliver Stone.  Sharon: I'm sorry, who it was for? I didn't hear. Marc: Oliver Stone the director. Sharon: Oliver Stone, oh wow!  Marc: She also represented Val Kilmer and Tom Cruise and Demi Moore. Before you know it, she's asking me if I can make a box for this person, on and on. The biggest thing for me at the time was Madonna. I knew Madonna from a long time ago. When I say I knew her, I lived in New York in the early 70s and 80s, and I used to go to all these clubs. I would go to this one called Danceteria. At the time, Madonna was a coat check girl there, and eventually she did a show there, which I saw with a bunch of my friends. Then she went on to do whatever she wanted on her own.  Somehow or another, a friend of hers bought one my pieces to give to her as a gift, but this is the best part of it. I didn't know this until much later on. One night in LA, I went to this private photo exhibition; it was a photographer who had done all the photography for Rudi Gernreich, the fashion designer with those bathing suits. I'm going to the exhibition with friends. I had my box on my lapel. I'm walking around and it's a tiny, little gallery, so people don't follow each other—everybody goes wherever they're going. A bunch of people are coming that way and we're walking, walking, walking. We come to this one, most famous photograph of a topless model. I'm looking at photograph, and standing next to me is Madonna. I turn and right away, she looks at me and goes, “I have one of those boxes.” I said, “I'm the artist. I made it,” and she said to me, “I Iove that box and I have it right by my bed,” and I said, “Oh, how cool.” She asked me a few questions and I filled her in on my background. I didn't bring up the fact that I remember her from Danceteria.  Then it was like an avalanche. I got picked up by Maxfield's Clothing Store in LA when I started the frames. Everybody saw how cool it is as an art piece, but you can wear it. Maxfield loved what I was doing, and he took me on and carried my stuff in his store. This is another amazing thing: the dresser for Arsenio Hall was in the store one day buying things for him to wear on the show. I don't know whether it was a man or a woman, but they bought an outfit for Arsenio, and the salesperson said, “We just got this new wearable art piece in. You've got to see this.” They looked at it and bought one. That night on the Arsenio Hall Show—if you ever watch his talk show, there's intro music, and then the curtain goes away and he stands there; it's Arsenio Hall. On that particular night, he's standing there, wearing a collarless Armani suit, and on his jacket is a square.  From a distance you can't tell what it is. I found out this afterwards. I got the tape. It was amazing; he didn't himself know what it really was, but he came out and the camera zooms up on him. When I saw what the box was, I got a chill. It was a period where I started to not just do people standing in the box, looking at the image or looking out away from the image; it was a period where I was putting images up against the face, so it would be a three-dimensional idea. In this particular one, it was Martin Luther King. I had done part of his face in profile in the foreground, and then I had done some backdrop. It had something to do about racial issues.  I didn't just make cutesy box art. I really am not about cutesy box art. I'm very passionate about a lot of things in life. I'm very political about certain things, and I want people to have an opportunity to talk with each other about things that are meaningful, particularly where we live these days. It's important to have that doorway of how people get through it and interact with each other without being sensitive and thinking you're going to be judged by whatever they say or do. We are in a period where people have to be careful about that. So, it amazes me that this tool—because it is a tool—is, in a way, much different than things made by other jewelry designers that Lisa Berman curates or represents. That is mostly what Lisa represents, like Robert Lee Morris. I knew Robert Lee Morris personally. He's a genius and he's a friend. Thomas Mann is one of my closest friends. I'm friends with others as well because of how we interact with each other.  The image is what it's about. It's how the characters are placed within the box. Along the way, I started thinking, “I want to get out even more than what I've done. I want to try to make work even more original.” We live in a period where they have this thing called a 3D printer. It prints pretty much anything. I can create a series of my own characters, which is something I always wanted to do. I've only just started doing this. I started developing this idea, where I custom make three-dimensional boxes on this scale and a much larger scale. That's where I'm headed. I have lots of collectors. They would be more than happy if I started making little box art again. My newest work is much larger. I make boxes now that are 20 feet big, installation pieces.  Sharon: They're hard to wear. Marc: They're hard to wear, right? I know your program is primarily about jewelry. The thing about that, though, is what I am planning to do. When I do have that exhibition, the large-scale Marc Cohen box art exhibition, I will have miniatures of that exhibition, like many other people do when they market things. The Van Gogh Experience—I don't know if you've seen this, but there's a thing on the road right now that's video mapping Van Gogh's paintings on a building. When you go to the gift shop, they've marketed Van Gogh's work to death. I would do something similar as a collectable.  I had Sotheby's in London; they heard about me through our people in Israel. I was invited to do this big exhibition at Sotheby's. It's a big auction and a silent auction. I got commissioned to make three boxes with lights. There weren't any more wearable, but I did that, and it sold for the equivalent to $10,000. Suddenly, my prices are changing. The people that bought my boxes on the street from the beginning—it's embarrassing to say—but when I first started selling them, my boxes were $20. They're no longer $20. They have been selling at auction for a lot more than $20. Now there's talk about me in way that I never, ever imagined, and it's joyful. After 40 years of doing nothing but making boxes, I don't know what— This is part 1 of a 2 part episode please subscribe so you can get part 2 as soon as its released later this week! Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Welcome to Times Will Tell, the weekly podcast from The Times of Israel. This week, we speak with artist Mindy Wiesel about her lifelong search for beauty in her artwork and life, amid the turmoil, pain and love of her Holocaust survivor parents. "AFTER: The Obligation of Beauty," is an unusual memoir, a hardbound, slim volume that divides Weisel's life into chapters of her artistic experience, with photos of her work, which includes paintings, glassworks and sculpture, illustrating each section. It's a work that Weisel wrote over the course of eleven years, tracing her search for beauty in her life. She was born after the Holocaust, in the Bergen-Belsen Displaced Person's Camp to parents who survived Auschwitz, and is a cousin to the late Elie Wiesel. Yet despite those complicated beginnings, the book is Weisel's own story, her struggles as a "second generation," a child of survivors. The memoir traces Weisel's lifelong journey to understand her parents' trauma into which she was born and an unshakable will to live with beauty, one that she has attempted to fulfill  her entire life. By weaving a tapestry of her art, narrative, poetry and journals, Weisel offers moving insights into her life and work, especially her deep-seated conviction that beauty and love can overcome tragedy. Weisel, her husband and children lived in Washington, DC for forty years before she moved with her husband to Jerusalem ten years ago. Her art is on permanent display at the National Museum of American Art, Oxford University and the Israel Museum, and in many public and private collections. The book is available for purchase on Amazon; Weisel will also have a solo exhibit this November at the Rosenbach Gallery in Jerusalem. Times Will Tell podcasts are available for download on iTunes, TuneIn, Pocket Casts, Stitcher, PlayerFM or wherever you get your podcasts. IMAGE: Artist Mindy Weisel in her Jerusalem home, prior to the September 2021 launch of her memoir, "After." See omnystudio.com/listener for privacy information.

Award-winning filmmaker, multimedia artist and media activist Maxi Cohen tells her story of how questioning authority and pursuing the unknown led her to communicate in new ways, pushing form and creating positive social change in the process. Her groundbreaking work is at once fearless, intimate and always relevant: from the vulnerable and authentic storytelling in Joe and Maxi about her relationship with her father after her mother died of cancer, to South Central Los Angeles - a documentary about the deadly and divisive riots in Los Angeles in 1992 . This was the first film made about racism that included diverse factions and was the first made by real people. Maxi shares her recent projects such as Art2Heart in Soho, New York - bringing together artists during the boarded up summer of 2020 to paint messages of prayer and protest, and A Movement In Water currently in development. This regenerative project bridges art, science and spirituality through an immersive, multimedia, mobile museum of water that instills a greater reverence for what we are made of. “Optimal hydration is an altered state.” says Maxi's co-producer Gina Bria. Her latest work exploring Ayahuasca extends the theme of positive social change to global cultural transformation, by delving into how this ancient sacred plant medicine not only heals trauma and addiction, but also raises consciousness in humanity. About Maxi: Maxi Cohen is an award-winning artist and filmmaker based in New York City. Her films, photographs and multimedia installations have been exhibited internationally and are in the permanent collections of numerous museums, including the Museum of Modern Art, New York, the Whitney Museum for American Art, New York, the Museum of Fine Arts, Houston, the Israel Museum, Jerusalem, and the National Gallery of Canada, Ottawa. Her films have played in movie theaters, film festivals and television around the world. In New York City, she became the director of the first public access facility in the country, as part of the Alternate Media Center. At the same time, she set up the distribution system of Electronic Arts Intermix, now the largest distributor of video art in the world. She co-founded the Independent Feature Project, representing feature filmmakers nationally, and First Run Features, the first company devoted to distributing American independent films. Cohen most recently executive produced From Shock to Awe, the story of suicidal veterans who recover from PTSD with ayahuasca and MDMA to be theatrically released in 2018. Cohen's television work includes short films produced for Saturday Night Live, the Comedy Channel, MTV Networks, PBS, Children's Television Workshop, and Fox Broadcasting, ARTE, in addition to developing series for the BBC, CPB, HBO and Turner. Learn more about Maxi Cohen at http://www.maxicohenstudio.com/ Support A Movement In Water http://www.amovementinwater.com/ Follow on Instagram @maxicohenstudio and @a.movement.in.water ----- Support this podcast: Join our Patreon community! https://www.patreon.com/StephanieWang

To view the works of J.D. Kirszenbaum, please visit the website created by Mr. Diament and please follow this link to see a presentation from Nathan Diament on the life and work of Kirszenbaum.To view rewards for supporting the podcast, please visit Warfare's Patreon page.Show Notes04:30 Kirszenbaum's work in Belgium after World War II07:00 Israeli Museum Curator's belief Kirszenbaum's legacy should not die07:40 Prof. Ziva Amishai-Maisels' encouragement of Diament's research08:30 Art Loss Register and Kandinsky Library at Centre Pompidou 09:15 600 of Kirszenbaum's works burned during World War II10:30 Baroness Alix de Rothschild's assistance11:20 Tel Aviv Museum's works by Kirszenbaum12:00 Dutch Artist Paul Lindgreen, a student of Kirszenbaum's12:20 Frans Hals Museum in Holland13:50 Approximately 200 of Kirszenbaum's works located14:20 Israeli Exhibition of Kirszenbaum's work in 201316:30 Baroness Alix de Rothschild's assistance19:20 Book J.D. Kirszenbaum (1900-1954) The Lost Generation21:00 Croatian exhibition of Kirszenbaum's work22:00 Dutch Artist Paul Lindgreen, a student of Kirszenbaum's23:30 German exhibition of Kirszenbaum's work24:00 French exhibition of Kirszenbaum's work upcoming25:00 Kirszenbaum's works about the Messiah and the Prophets26:00 Tel Aviv Museum; Kirszenbaum's Self Portrait with Cubism26:55 Kirszenbaum's caricatures in Germany during the world wars28:00 Kandinsky Library at the Pompidou Center 30:00 Baroness Alix de Rothschild's assistance34:45 Influences of Kandisky and Klee35:55 Horseman of the Apocalypse36:20 Kirszenbaum's emancipation 37:00 Chagall's life and sources similar to Kirszenbaum's 42:40 Felix Nussbaum and Royal Museum of Belgium's letter about Nussbaum44:40 S.S. St. Louis46:40 Baroness Alix de Rothschild commission of Prophets Triptych (Elias, Jeremiah, Moses)50:00 Diament's membership with Yad Vashem's Commission of the JustTo leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com. © Stephanie Drawdy [2021]

This week, we focus on two books: Aimee Dawson talks to Alice Procter about the debate over contested heritage in the UK and her book The Whole Picture, a strident call for colonial histories to be told in museums. Jori Finkel speaks to Glenn Adamson about Craft: An American History, a radical reappraisal of craft's role in forging American identity. And in this episode’s Work of the Week, Ben Luke talks to the critic Michael Peppiatt—curator of an exhibition uniting Frank Auerbach and Tony Bevan at Ben Brown Fine Arts in London—about Auerbach's EOW Sleeping IV (1967), in the Israel Museum in Jerusalem. See acast.com/privacy for privacy and opt-out information.

Join your tour guide, Abigail, for the second part of this two-part series concerning the Dead Sea Scrolls and their home in the Israel Museum, the Shrine of the Book. Have you ever wondered about how the scrolls were discovered? How much money were they originally sold for? Ever heard of the Aleppo Codex, the ancient manuscript of the Hebrew Bible that was thought to hold mysterious powers and bring a plague on the community if it were ever lost? Come along on The Virtual Voyage to find the answers to all those questions and experience the Dead Sea Scrolls before your very eyes.

Join your tour guide, Abigail, on this week's exciting episode of the Virtual Voyage as we enjoy some hamburgers (no cheeseburgers!) and pizza while discussing Kosher restrictions. We also visit the Israel Museum to see a scaled-down model of Jerusalem in the Second Temple Period and learn about the Dead Sea Scrolls, housed in the Shrine of the Book. Come back next week as we head into the Shrine of the Book to see the actual Dead Sea Scrolls!

Harold Paisley (1924-2015) preaches on the haunting question of Pontius Pilate: “What shall I do then with Jesus which is called Christ?” (The photo above is of The Pilate Stone, held in the Israel Museum, Jerusalem). This is a question you cannot avoid: what will you do – receive or reject the Son of God? Preaching in a Gospel Tent many years ago, this is Mr Paisley in full flow, telling out the same gospel that so radically changed his The post Harold Paisley – What Shall I Do With Jesus? (34 min) first appeared on Gospel Hall Audio.

Truth or Consequences: The Public Display of Things from the Holy Land Presented by Morag M. Kersel, DePaul University When museums place items on display they take on multiple roles as custodians of sacred relics, shapers of public interpretation, fiduciary institutions, and educational establishments. The public counts on the museum to tell the truth, to act ethically, and to be responsible and transparent in the presentation of the past–they place their trust in the organization. This lecture examines the differing strands of attachment to objects and the consequences created by the desire to “own,” interpret, and display the material remains from the Holy Land. A survey of exhibitions of artifacts from the Holy Land at institutions like the Royal Ontario Museum, the Israel Museum, and the Museum of the Bible allows for the consideration of truth and consequences in these museums. **This is an at home lecture, please excuse the audio quality. To learn more about the Eastern Badia Archaeological Project, click this link: https://oi.uchicago.edu/research/projects/eastern-badia This audio recording was originally presented as an illustrated lecture on October 14, 2020. The video of this lecture is available on the OI YouTube channel: https://youtu.be/WwWWQqT6OwQ Our lectures are free and available to the public thanks to the generous support of our members. To become a member, please visit: http://bit.ly/2AWGgF7 2020, Oriental Institute Music credit: bensound.com

In this episode, we speak with Elon Ganor, an Israeli entrepreneur and artist known mainly for his role as one of the world’s first VoIP pioneers. He served as Chairman and CEO of VocalTec Ltd (Nasdaq CALL), the company behind the creation of “Internet Phone,” the world’s first commercial software product that enabled voice communication over the internet. Ganor is an art photographer whose works have been exhibited in various places, including the Israel Museum in Jerusalem. In this talk, we discuss entrepreneurship, art, and what each can learn from each other.Click to see the episode's show notes, recommendations, and other links.

Dr. Eran Arie Curator of Iron Age and Persian Period Archaeology at The Israel Museum, Jerusalem joins sean on the show.   

COVID-19 Disinformation (0:30)Guest: Eric Jensen, JD, Professor of International Law, Brigham Young UniversityThe United States currently leads the world in COVID-19 cases, followed by Spain, Italy, Germany, France and then China. But US intelligence officials say China's numbers are probably much higher and the country's just not reporting them. Same thing may also be true about pandemic information coming out of Iran, Russia and other repressive regimes. How can the world respond to a global health crisis like this if we can't trust each other to tell the truth about how bad it is? Museum of the Bible's Dead Sea Scrolls Are Fakes (19:08)Guest: Jeffrey Kloha, Chief Curatorial Officer at the Museum of the BibleThe Dead Sea Scrolls are among the oldest biblical texts ever found – dating back 2,000 years. Bedouin herders found them in caves in the 1940s and most of them today are in the Israel Museum, Jerusalem. But a few priceless fragments are held in private collections and other museums around the world. So it was a big, big deal for the Museum of the Bible in Washington DC to secure a half dozen Dead Sea Scroll fragments in the last decade. Now, the Museum has learned its fragments are fakes. Really, really good fakes. Family Farmers Are Disappearing. Does America Really Need Them? (35:39)Guest: Eric Sannerud, Farmer, Entrepreneur, and Business OwnerFamily farming was at its peak in America 85 years ago and it's been in steady decline since then. Sure, there's still a lot of farming happening in the country, it's just being done by fewer people with much bigger farms. The shift toward giant farming operations is making it harder and harder for small-time farmers who do it because they love it to stay afloat – and when they're too old to keep it up, their kids and grandkids are often not interested in taking over. Eric Sannerud is an exception. He's under 30 and growing hops on the Minnesota farm that's been in his family for four generations. Sannerud is part of a nationwide effort to save family farming in America.   Manmade Ice Pyramids Compensate for Disappearing Glaciers in Himalayas (50:38)Guest: Sonam Wangchuk, Engineer, Director of the Himalayan Institute of Alternatives, LadakhThe region of Ladakh, high in the Himalayas of northern India, doesn't get much rain, so the people there have long relied on melting glaciers for water to drink and grow their crops. But the glaciers are disappearing. So the people of Ladakh are making their own mountains of ice – they look like ice castles – to store water for the spring and summer. They're called “Ice Stupas.”I Live Simply Movement: https://www.ilivesimply.org/ Teens Who Play Sports Have More Resilience (1:10:34)Guest: Paul Caldarella, Professor of Counseling Psychology and Special Education, Brigham Young University.We're all in need of resilience right now, with the stress of the pandemic weighing on our families and communities. Playing sports turns out to be a great way to teach resilience to kids. Award-Winning Cartoonist on Stepping Into the Unknown With Young Readers (1:20:49)Guest: Gene Luen Yang, MacArthur Genius Grant Recipient, National Ambassador for Young People's Literature, Cartoonist and Graphic Novelist, “Dragon Hoops”Gene Luen Yang's first graphic novel drew from his own experiences growing up Asian in America. It was called “American Born Chinese” and won him all kinds of praise, including being the first graphic novel ever nominated for a National Book Award. Yang's latest graphic novel for teens also draws from real life – but it's about basketball, which is something much less familiar to him.  In fact, the very first line in the book, “Dragon Hoops” is Yang telling us, “I hated sports ever since I was a little kid. Especially basketball.” So why write a whole book on it?

Have you ever wondered what it is like to be an archaeologist? Or what actually happens to an artifact from when it is discovered in the dirt to when it ends up in a museum?  Well this week I talk with Cynthia Shaffer Elliot, an archaeologist who specializes in domestic archaeology with a focus on economics, food preparation and consumption, religion, and the roles and relationships of the family.Click HERE to read more about Cynthia Shafer ElliottLink to books:The Five-Minute Archaeologist BookFood in Ancient Judah BookHere is the link to Israel Museum's picture of the shrine: https://www.imj.org.il/en/collections/372506Cooking pot images from the Museums in Israel website:https://museums.gov.il/en/items/Pages/ItemCard.aspx?IdItem=ICMS_IMJ_371398https://museums.gov.il/en/items/Pages/ItemCard.aspx?IdItem=ICMS-MPC-91-543Link to figurines:https://www.imj.org.il/en/collections/198066

Hagai Segev and I discuss Curating, being a Curator, Curatorial practices, Artist statements, Career levels, Conflict of interest, Curatorial Residencies, Staying still, Jeff Koons, and Damien Hirst. https://telaviv.academia.edu/HagaiSegev   About Hagai Segev is an independent curator and museum consultant. Served as Chief Curator at Beit Hatfutsot, the Museum of the Jewish People, Tel Aviv, from February 2009 through December 2011. Hagai Segev has been working to make Beit Hatfutsot a leading museum telling the history of the Jewish culture, through a wide perspective on the material culture as manifested in art, architecture, design, historical documents, etc. During this time directed more than 15 special exhibitions which have been staged and renewed the museum as a dynamic cultural venue gaining a wide public awareness and reputation. Hagai Segev is a multidisciplinary curator working in various fields of exhibition planning and production. As an art historian with background in archaeology, architecture and contemporary art, Mr. Segev has worked in many museums and galleries in Israel: the Israel Museum, Jerusalem (shows on Etruscan art, Marc Chagall and history of Jerusalem); The Bible Lands Museum, Jerusalem; Petach Tikva Museum of Art; Eretz Israel Museum (the 5th Bienale for Israeli Ceramics 2008), etc. Hagai Segev was the director of the PeKA Gallery for Experimental Art and Architecture at the Technion, Haifa (2004-2008). He has written numerous articles on art and culture and has edited several books and professional magazines. In addition, Segev is a museum consultant to many art institutions around Israel and is active in public committees appointed by the Israeli Ministry of Culture. Currently, Segev is also teaching curatorship and museum studies at the museum program of the Tel Aviv University. Please be sure to visit our Patreon page and help support the podcast by being part of the conversation. The more money raised, the larger the global reach we can offer you: https://www.patreon.com/thewisefool For more information about the host, Matthew Dols http://www.matthewdols.com   Transcript available: http://wisefoolpod.com/transcript-for-episode-014-curator-hagai-segev-israel-czech-republic/

In this episode, your hosts interview Efrat Assaf-Shapira and Diasy Raccah-Djivre, two of the curators of the exhibition "Fashion Statements - Decoding Israeli Dress" that has been on display at the Israel Museum in Jerusalem for the past year. Efrat and Daisy (who joins for some of the interview) have a conversation with us about the exhibition and fashion identity, particularly its ties to sociopolitical context, multiculturalism, and nostalgia.   The "Fashion Statements" exhibition is the first major fashion exhibition in Israel, and it explores the history of Israeli fashion through thematic chapters. It begins with the exploration of two contrasting ideologies - the socialist, genderless, utalitarian clothing created by a company called ATA that would be efficient for people to wear while they worked, versus the high fashion of wealthy European immigrants, inspired by the Parisian standards of the time. The exhibition explores Israeli fashion at its peak, when it had a major place on the world stage, and it ends with a discussion on the future of Israeli fashion, and what it means today.   Three Israel Museum curators worked on the exhibition - Daisy Raccah-Djivre and Efrat Assaf-Shapira, from the Jewish Art and Life department, and Noga Eliash-Zalmanovich, from the Fine Art department. This curatorial team collaborated with Tamara Yovel-Jones, the fashion designer and teacher we spoke with in Episode 6, who initiated and advised the exibition.   For more about the exhibition, visit the Israel Museum website: https://www.imj.org.il/en/exhibitions/fashion-statements   Thanks for listening! We'd love to hear from you.   Follow us on Instagram: @undressingfashion Find us on Facebook: Undressing Fashion   Don't forget to rate, review and subscribe!   Thanks for getting undressed with us!

Noah Efron, Allison Kaplan Sommer, and Don Futterman discuss three topics of incomparable importance and end with an anecdote about something in Israel that made them smile this week. Conscript Kids Does our wont to see all IDF soldiers as our kids, the safety of each and every one of whom is irreducibly and axiomatically important to us, prevent us from thinking morally, or even strategically, about the army? Self-Portrait A Ukrainian immigrant portrays the trauma of her absorption into Israeli culture, especially at the hand of Mizrahi men, in a new controversial exhibit at the Israel Museum. Is there something racist about this heartbreaking display? Seventy Short Reasons On the occasion of Israel's 70th anniversary, a round-robin of the top 70 reasons we love this place! Music Gazoz, “Likhvod ha-Kayitz” (With Mazi Cohen, Central Command Band, 1976-1978, Gidi Gov & Danny Sanderson, Fighting Pioneering Youth Band, 1969-1972) Shalom Hanoch (Fighting Pioneering Youth Band, 1966-1968) “Mechakim La-Mashiach” Nadav Guedj (Education Corps Band, 2016-today), “Ulai Nedaber” DJ Gal Malka and various and sundry from the Army Troupes, “Ayn Lach Ma- Lidog,”

Greediness comes back to haunt one of the kids after they eat too much. Miss Koala suggests the kids decorate thankfulness jars and write down what they’re thankful for and stick in the jar. Mr. Oliver tells a story about Maggie the Magpie, who learns that only God, not things, can satisfy her. Eddie the Explorer takes the kids to the Israel Museum and talks about Ananias and Sapphira, whose greed led to even more sin. Sally Sea Lion helps the kids practice taking turns on her friend’s skim board. 

For over 50 years, James Carpenter has combined art, engineering, and design, using natural light and glass as key elements of his work. His major projects include the Fulton Transportation Center in New York City and the Israel Museum in Jerusalem. Jamie earned a degree from Rhode Island School of Design, where he studied architecture while also working on projects in glass with Dale Chihuly. He is a MacArthur Foundation fellow and the recipient of an Academy Award in Architecture from the American Academy of Arts and Letters. Make/Time shares conversations about craft, inspiration, and the creative process. Listen to leading makers and thinkers talk about where they came from, what they're making, and where they're going next. Make/Time is hosted by Stuart Kestenbaum and is a project of craftschools.us. Major funding is provided by the Windgate Charitable Foundation.

After a decade of stardom in Israel, American dancer Bobbi Jene decides to leave behind her prominent position at the world-famous Batsheva Dance Company, as well as the love of her life, to return to the U.S. to create her own boundary breaking art. Tracking the personal and professional challenges that await her, Elvira Lind’s film lovingly and intimately documents the dilemmas and inevitable consequences of ambition. BOBBI JENE delves into what it takes for a woman to gain her own independence in the extremely competitive world of dance and to find self-fulfillment in the process. Bobbi Jene: Born in Centerville, Iowa. From 2005-2014 she was a member of the Batsheva Dance Company under the artistic direction of Ohad Naharin. She is an alumnus of the Juilliard School, North Carolina School of the Arts, and the Royal Winnipeg Ballet School. Her choreography and solo work has been presented by The Batsheva Dance Company, PS122 COIL Festival, The Israel Museum, and the Luminato Festival. Bobbi is a certified GAGA teacher and has taught Ohad Naharin's repertory in schools and universities around the world. Director Elvira Lind: Elvira Lind graduated from City Varsity - School of Media and Creative Arts in Cape Town, South Africa in 2006 majoring in documentary film. She has worked within that field since directing and shooting documentaries of various lengths for TV, cinema, and web on four different continents. Elvira now lives and works out of New York, where she also writes on various fiction projects. Elvira's first feature documentary Songs for Alexis competed at IDFA in 2014 and screened at a long list of international festivals. Director Elvira Lind stops by to talk about an amazing artist, pushing against artistic boundaries and love. For news and updates go to: bobbijene.oscilloscope.net facebook.com/bobbijene

PORTRAITS FOR GOOD® began as a commission based platform for custom portraiture drawn from photographs. The company is now also a platform for artists to create custom art under the same overarching charitable mission: With each purchase made, Portraits For Good donates a portion of the proceeds to the nonprofit organization of your choice (which is why we are for good!). We are currently donating to the following charities: Israel Museum, Jerusalem, St. Jude Children's Research Hospital, ASPCA (American Society for the Prevention of Cruelty to Animals), JDRF (Juvenile Diabetes Research Foundation), and Spark MicroGrants. If you would us to donate to another organization with your purchase, we are more than happy to accommodate this request. Follow: @PortraitsForGood About Ash Brown: ►Website: http://www.ashsaidit.com ►SUBSCRIBE HERE: http://www.youtube.com/c/AshSaidItSuwanee ►Instagram: https://www.instagram.com/1loveash ►Facebook: https://www.facebook.com/ashsaidit ►Twitter: https://twitter.com/1loveAsh ►Blog: http://www.ashsaidit.com/blog ►Pinterest: https://www.pinterest.com/1LoveAsh/ ►Daily Podcast: https://itunes.apple.com/us/podcast/ash-said-it/id1144197789 ►Newsletter: http://ashsaidit.us11.list-manage1.com/subscribe?u=2a2ca3b799467f125b53863c8&id=a6f43cd472

PORTRAITS FOR GOOD® began as a commission based platform for custom portraiture drawn from photographs. The company is now also a platform for artists to create custom art under the same overarching charitable mission: With each purchase made, Portraits For Good donates a portion of the proceeds to the nonprofit organization of your choice (which is why we are for good!). We are currently donating to the following charities: Israel Museum, Jerusalem, St. Jude Children's Research Hospital, ASPCA (American Society for the Prevention of Cruelty to Animals), JDRF (Juvenile Diabetes Research Foundation), and Spark MicroGrants. If you would us to donate to another organization with your purchase, we are more than happy to accommodate this request. Follow: @PortraitsForGood About Ash Brown: ►Website: http://www.ashsaidit.com ►SUBSCRIBE HERE: http://www.youtube.com/c/AshSaidItSuwanee ►Instagram: https://www.instagram.com/1loveash ►Facebook: https://www.facebook.com/ashsaidit ►Twitter: https://twitter.com/1loveAsh ►Blog: http://www.ashsaidit.com/blog ►Pinterest: https://www.pinterest.com/1LoveAsh/ ►Daily Podcast: https://itunes.apple.com/us/podcast/ash-said-it/id1144197789 ►Newsletter: http://ashsaidit.us11.list-manage1.com/subscribe?u=2a2ca3b799467f125b53863c8&id=a6f43cd472

President Trump Discusses his Trip Abroad Highlights The first sitting US president to visit the Western Wall and Church of the Holy Sepulchre Country Location Date Details Saudi Arabia Riyadh May 20–22 President Trump met with King Salman and Muslim leaders at the Riyadh Summit. He signed a $110 billion arms deal with Saudi Arabia, the largest in world history, and was honored with the Collar of Abdulaziz Al Saud, his first foreign order. President Trump, along with First Lady Melania Trump, visited the National Museum of Saudi Arabia. Israel Jerusalem May 22–23 President Trump met with President Reuven Rivlin and Prime Minister Benjamin Netanyahu. He was the first sitting US president to visit the Western Wall and Church of the Holy Sepulchre. The next day, the President visits the Yad Vashem and later delivers an address at the Israel Museum. Palestinian National Authority Bethlehem 23-May President Trump met with Palestinian National Authority President Mahmoud Abbas in Bethlehem Italy Rome May 23–24 President Trump met with President Sergio Mattarella and Prime Minister Paolo Gentiloni Vatican City Vatican City 24-May President Trump met with Pope Francis. Belgium Brussels May 24–25 President Trump met with King Philippe of Belgium, Prime Minister Charles Michel and attended the 28th NATO summit. He also met with newly-elected French President Emmanuel Macron. Italy Taormina May 25–27 President Trump attended the 43rd G7 summit. He met with German Chancellor Angela Merkel and Japanese Prime Minister Shinzō Abe. 0-00English The President- From Saudi Arabia to Israel to NATO 0-03 to the G7, we made extraordinary gains 0-09 on this historic trip to advance the security 0-12 and prosperity of the United States, our friends, 0-17 and our allies. 0-19 We paved the way for a new era of cooperation among 0-22 the nations of the world to defeat the common enemy 0-26 of terrorism, and provide our children with 0-29 a much more hopeful future. 0-33 I was deeply encouraged to hear from the leaders 0-36 of many Muslim and Arab nations that they are ready 0-39 to take on a greater role in combating 0-41 terrorism and providing young Muslims, in their 0-44 region, with a future of safety and a future 0-48 of opportunity. 0-49 I went to Jerusalem, where I reaffirmed 0-53 our unbreakable bond with the State of Israel. 0-56 I was awed by the majesty and beauty of the Holy Land 0-59 and the faith and reverence of the devoted 1-03 people who live there. 1-05 All children from all faiths deserve a future 1-08 of hope and peace. 1-10 In Rome, I was inspired by the beauty, and even more 1-14 inspired by meeting with Pope Francis. 1-18 Then, I traveled to two summits. 1-20 First, at a NATO summit in Brussels, where we agreed 1-23 to improve the burden sharing among members 1-26 of our alliance, and to further confront 1-29 the shared threat of terrorism. 1-32 Next, I attended the G7. 1-34 I laid out my vision for economic growth and fair 1-37 trade and support of good paying jobs, and I called 1-41 for much greater security and cooperation on matters 1-46 of both terrorism, immigration, migration, 1-49 to protect our citizens. 1-52 We concluded a truly historic week 1-54 for our country. 1-56 We traveled the world to strengthen long-standing 1-58 alliances, and to form a new partnership among 2-01 nations devoted to the task of eradicating 2-05 the terrorism that plagues our planet. 2-09 And I am now more hopeful than ever 2-12 in the possibility that nations of many faiths, many religions, 2-16 and from many regions can join together 2-20 in a common cause.  

05-23-2017 - President Trump Full Speech at the Israel Museum - Jerusalem audio English

  In this episode of the podcast Gary Bembridge of TipsForTravellers.com, visits Jerusalem and provides tips for travellers on the 10 must-see sights and attractions. In addition he also provides some key observations, historical highlights, best time to visit, getting there and around and general tips and advice. The journey of people following my trip was interesting. When I first said I was going the reactions were “is it safe?” and some did not approving my visit, due to the politics of Israel and Palestine. Once there and I started posting pictures, the comments and discussion changed to amazement and interest in the beauty, history and grandeur of the old city. Is it a strange city to visit, but is it a fascinating and remarkable place to have experienced. This podcast will explore all of this - and of course the safety issue. My aim is to ensure you do not waste your time in Jerusalem Old City by sharing the best things to see and do. The episode covers the following must-see sights and attractions: Jaffa Gate. Ramparts Walk. Four Quarters. Western Wall. Dome of the Rock. Church of the Holy Sepulchre. Tower of David and Light Spectacular. Mount of Olives. Israel Museum. Muslim Quarter Markets.   Resources:   Old City Audio Tour App: https://itunes.apple.com/gb/app/the-old-city-of-jerusalem-audio-walking-tours/id493089514?mt=8 US News Recommendations: http://travel.usnews.com/Jerusalem_Israel/Things_To_Do/Official Official site: http://www.itraveljerusalem.com After listening to the podcast: Please leave a comment on Tipsfortravellers.com/podcast, email me or leave a review on iTunes. Subscribe (and leave a review) to the podcast on iTunes, Google Play, Stitcher or TuneIn Radio. Consider becoming a Podcast Patron and visit tipsfortravellers.com/patron. Make a donation at http://www.tipsfortravellers.com/paypal Going on a cruise? Want a great deal? Get great advice and deals through the Tips For Travellers Cruise Line: find out more at http://www.tipsfortravellers.com/cruiseline     Save Save Save Save Save

The Three Hares Symbol The symbol of three hares in a circle joined together at the ears is found in many religions all over world. No one knows the exact meaning of the symbol. ⦁    There is a German riddle concerning the motif of the three hares is quite describing: ⦁     Three hares sharing three ears, yet every one of them has two. This design features three hares, which are shown chasing each other / running in a circle, and joined together at their ears. Although one might expect three hares to have a total of six ears, the ones in the motif have only three ears in total.  Due to an optical illusion, however, it looks as though each hare has a pair of ears. The Three Hares Motif is A Cross-Cultural Symbol with Numerous Interpretations. This design has been uncovered in Buddhist caves that are 2500 years old.  It is found in some Christian churches throughout Europe, in Islamic art and in Judaism. Until recently there has been little awareness of its wide distribution, and peple are uncovering new examples all the time. Striking depictions of three hares joined at the ears have been found in roof bosses of medieval parish churches in Devon, 13th century Mongol metal work from Iran and cave temples from the Chinese Sui dynasty of 589-618. All cultures have interpreted this ancient symbol according to what is appropriate with their belief. In Christianity it has become a symbol of the trinity; Father, Son and Holy Ghost. Originally it may have represented the Triple Goddess.  The hare has a long history of being connected to the moon, as has the goddess. Academics are intrigued at the motif’s apparent prominence in Christian, Islamic and Buddhist holy contexts separated by 5,000 miles and almost 1,000 years. The Three Hares is an ancient motif found in various parts of the world.   Although the Three Hares is a motif shared by a number of cultures, it is likely that its symbolism changed as it crossed the different cultural barriers. Hence, this design probably has differing meanings in the many cultures where it is found. The earliest known examples of the Three Hares motif can be found in China. It can be seen on the ceilings of some of the temples in the Mogao Caves (also known as the Mogao Grottoes or the Cave of the Thousand Buddhas). There are at least 17 temples in this complex where the Three Hares motif is depicted on the ceiling.  The earliest motifs found in this Buddhist site near Dunhuang, Gansu Province, Western China, are thought to date back to the 6th century AD, when China was under the Sui Dynasty.  In the subsequent Tang Dynasty, the icon of the Three Hares continued to be used. Dunhuang, The town, is famous for a network of caves containing thousands of documents and fabrics from the Silk Road, which were sealed in about 1000 AD. The caves and their contents – preserved astonishingly well by the dry local climate – were rediscovered by Hungarian-born, British-based explorer Marc Aurel Stein, who trekked along the Silk Road a series of times between 1900 and 1930. Although China possesses the earliest known examples of this motif, it has been speculated that the Three Hares is not a Chinese design, and may have originated further west, perhaps from Mesopotamia, Central Asia, or the Hellenistic world.  This is based on the fact that many other artistic elements in the Mogao Caves are from the West.   Nevertheless, examples of the design from these proposed areas that predate those at the Mogao Caves have yet to be discovered. Beginning in the Han dynasty (202 BCE-220 CE), Dunhuang was an important stop on the Silk Road, the ancient trade route that stretched from Chang’an (present-day Xi’an) in the east to Central Asia, India, Persia—and, eventually, the Roman Empire—in the west.   And during the period of the Sixteen Kingdoms (366-439), at Mogao, less than a day’s journey from Dunhuang, Buddhist monks began digging out hundreds of cave temples from the cliffs along the Daquan River. The caves were decorated with statues, murals and decorative images, and construction of new caves continued at Mogao for over 500 years. During the Sui and Tang dynasties (581-907), three-hares images were painted on the center of the ceilings of at least 17 caves.  Typically, the circle of hares is surrounded by eight large lotus petals and forms the focal point of a large painted canopy covering the entire ceiling. The following photos show what some of these images look like today. The beautiful image from Cave 407 is the most familiar of all the three-hares designs at Dunhuang. The hares are surrounded by two bands of lotus petals against a background of feitian (celestial maidens) flying in the same direction as the hares.  Notice the hares’ eyes, all four legs, and the white scarves trailing from around their necks. Interestingly, this is the only one of the 17 cave images in which the three hares are clearly running in a counterclockwise direction. The three-hares image of Cave 305 is badly deteriorated. But close study clearly reveals the white triangular silhouette indicating the hares’ ears as well as parts of their bodies. In Cave 420, all that remains is the triangle formed by the hares’ three ears along with parts of their heads. In Cave 406, the rough white silhouettes of the three hares are clearly seen against a tan background.  It would require close examination to determine whether these white areas are places where a darker pigment of the original hares has changed color over time or the original pigment has peeled off to expose a white undercoat. In Cave 383, the slender hares are gracefully leaping with front and hind legs fully outstretched. In Cave 397, the white silhouette of one hare and parts of the other two are still clearly visible. It appears that bits of the original pigment remain, although its tone may have changed over time. In some places all the paint has peeled off, exposing the beige clay. The images of the three hares in Cave 205 are very well preserved. Less so for the images in Caves 144 and 99. In addition to the caves shown above, the three hares motif also appears in Caves 200, 237, 358 and 468 from the Middle Tang dynasty (781-847) and Caves 127, 139, 145 and 147 from the Late Tang dynasty (848-906). (In Cave 127, the artist—either by carelessness or design—has created a unique variation of the three-hares image. Each hare’s ears are together, and the ears of all three hares form a Y-shaped pinwheel instead of the usual triangle.) Of all 17 three-hares images, the one in Cave 139 is the most detailed. This image is also the best preserved—perhaps because the cave is accessible only through a small elevated opening on the right side of the entryway to Cave 138. The three hares are tan against a light green background and are surrounded by eight lotus petals. Each hare is beautifully drawn in pen-like detail, with clearly visible features, including mouth, nose, eyes (with eyeballs!), all four legs, feet (including toes!) and tail. Even the fur on the stomach, breast, legs and head of each rabbit is shown. Four Hares at Guge There is also at least one site in present-day Tibet with puzzling images of hares sharing ears.  Images of four hares sharing four ears can be found in the ruins of the ancient kingdom of Guge, which thrived from the mid-10th century until its defeat in 1630.  On the ceiling of Guge’s White Temple are 314 painted panels, and one of these panels has two roundels, each showing four hares chasing each other in a clockwise direction…. Other Buddhist Images of Three and Four Hares Other Buddhist images of three and four hares occur in Ladakh, within the present Indian state of Jammu and Kashmir.  At Alchi on the bank of the Indus River is a temple complex that was built in the late 12th to early 13th century while Alchi was within the western Tibetan cultural sphere. Within this temple complex, inside the Sumtsek, or Three-Tiered Temple, is a sculpture of Maitreya. On Maitreya’s dhoti are painted more than 60 roundels depicting scenes from the life of Buddha Sakyamuni. Each space between four such roundels is decorated with images with long-eared animals chasing each other in a clockwise direction. Some of the spaces show three animals sharing three ears, while others show four animals sharing four ears.” Dr Tom Greeves, a landscape archaeologist, has suggested the motif was brought to the West along the Silk Road. Dr Greeves, from Tavistock, Devon, said: “It is a very beautiful and stirring image which has an intrinsic power which is quite lovely. “We can deduce from the motif’s use in holy places in different religions and cultures, and the prominence it was given, that the symbol had a special significance. The Silk Road played an important role in the diffusion of the Three Hares motif. It was via this trade route that the Three Hares symbol found its way into the western part of China. Assuming that all later examples of the Three Hare motif have their origin in the ones found in China, then it is possible to say that the motif travelled along the Silk Road to distant lands as well. We don’t know for sure how the symbol travelled to the West but the most likely explanation is that they were on the valuable oriental silks brought to Western medieval churches to wrap holy relics, as altar cloths and in vestments. More than 1000 years ago, Dunhuang was a key staging point on the Silk Road, the famous network of trading routes which linked China with Central Asia and Iran, with branches into Tibet and South Asia. As well as commodities, the Silk Road saw religions and ideas spread great distances, and the researchers said this could be the key to the hare motif. Some later examples of this motif have been found in places such as Turkmenistan, Iran, Egypt, Syria, Germany, France, and England.  The objects on which the Three Hares motif have been found include glass, ceramics, coins, and textiles.  Many of these artifacts date to the time of the Pax Mongolica , i.e. the 13th century, a period when trade and the exchange of ideas between East and West flourished. The Three Hares appear on 13th century Mongol metal work, and on a copper coin, found in Iran, dated to 1281.[16][17][18] Another appears on an ancient Islamic reliquary from southern Russia. Another 13th or early 14th century Reliquary was from Iran from Mongol rule, and is preserved in the treasury of Cathedral of Trier Germany. On its base, the casket reveals Islamic iconography, and originally featured two images of the three hares. One was lost through damage.[19] In central Asian and Middle Eastern contexts the motif occurs • in glass (an Islamic medallion of ca. 1100, now in Berlin); • on ceramics (impressed pottery vessels at Merv, Turkmenistan in 12th c.; polychrome pottery from Egypt/Syria ca. 1200; a tile of ca. 1200, now in Kuwait); • woven on textile (four hares, 2nd quarter to mid-13th c., now in Cleveland); and • on a copper Mongol coin (Urmia, Iran, minted 1281-2). The other possibility is that the motif has a much older provenance, given the religious context in which the Three Hares motif turns up mostly in England, northern Germany, France …and with most of the symbols having either Anglo-Saxon, Celtic or semitic (Ashkenazi) medieval religious associations. In Britain the motif is most common in Devon where 17 parish churches contain roof bosses depicting the hares. On Dartmoor, it is known locally as “The Tinners’ Rabbits”, but there are no known associations with tin mining. Some claim that the Devon name, Tinners’ Rabbits, is related to local tin miners adopting it. The mines generated wealth in the region and funded the building and repair of many local churches, and thus the symbol may have been used as the miners signature mark.[21] The architectural ornament of the Three Hares also occurs in churches that are unrelated to the miners of South West England. Other occurrences in England include floor tiles at Chester Cathedral,[22] stained glass at Long Melford, Suffolk[A] and a ceiling in Scarborough, Yorkshire. The motif of the Three Hares is used in a number of medieval European churches, particularly in France (e.g., in the Basilica of Notre-Dame de Fourvière in Lyons)[23] and Germany. It occurs with the greatest frequency in the churches of the West Country of England. The motif appears in illuminated manuscripts,[24] architectural wood carving, stone carving, window tracery and stained glass. In South Western England there are nearly thirty recorded examples of the Three Hares appearing on ‘roof bosses’ (carved wooden knobs) on the ceilings in medieval churches in Devon, (particularly Dartmoor). There is a good example of a roof boss of the Three hares at Widecombe-in-the-Moor,[7] Dartmoor, with another in the town of Tavistock on the edge of the moor. The motif occurs with similar central placement in Synagogues.[2] Another occurrence is on the ossuary that by tradition contained the bones of St. Lazarus.[25] Where it occurs in England, the Three Hares motif usually appears in a prominent place in the church, such as the central rib of the chancel roof, or on a central rib of the nave. This suggests that the symbol held significance to the church, and casts doubt on the theory that they may have been a masons’ or carpenters’ signature marks.[1] There are two possible and perhaps concurrent reasons why the Three Hares may have found popularity as a symbol within the church. Firstly, it was widely believed that the hare was hermaphrodite and could reproduce without loss of virginity.[19] This led to an association with the Virgin Mary, with hares sometimes occurring in illuminated manuscripts and Northern European paintings of the Virgin and Christ Child. The other Christian association may have been with the Holy Trinity,[19][26] representing the “One in Three and Three in One” of which the triangle or three interlocking shapes such as rings are common symbols. In many locations the Three Hares are positioned adjacent to the Green Man, a symbol associated with the continuance of Anglo-Saxon or Celtic paganism. 16th century German scholar Rabbi Yosef Hayim Yerushalmi, saw the rabbits as a symbol of the Diaspora. The replica of the Chodorow Synagogue from Poland (on display at the Museum of the Jewish Diaspora in Tel Aviv) has a ceiling with a large central painting which depicts a double headed eagle holds two brown rabbits in its claws without harming them. … There are examples elsewhere in Britain in a chapel in Cotehele, Cornwall, in medieval stained glass in the Holy Trinity church in Long Melford, Suffolk, in a plaster ceiling in Scarborough, North Yorks, and on floor tiles from Chester Cathedral and in the parish church in Long Crendon, Bucks. The hare frequently appears in the form of the symbol of the “rotating rabbits”. An ancient German riddle describes this graphic thus: Three hares sharing three ears, Yet every one of them has two.[2] This curious graphic riddle can be found in all of the famous wooden synagogues from the period of the 17th and 18th century in the Ashknaz region (in Germany) that are on museum display in Beth Hatefutsoth Museum in Tel Aviv, the Jewish Museum Berlin and The Israel Museum in Jerusalem. They also appear in the Synagogue from Horb am Neckar (donated to the Israel Museum). The three animals adorn the wooden panels of the prayer room from Unterlimpurg near Schwäbisch Hall, which may be seen in replica in the Jewish Museum Berlin. They also are seen in a main exhibit of the Diaspora Museum in Tel Aviv. Israeli art historian Ida Uberman wrote about this house of worship: “… Here we find depictions of three kinds of animals, all organized in circles: eagles, fishes and hares. These three represent the Kabbalistic elements of the world: earth, water and fire/heavens… The fact that they are always three is important, for that number . . . is important in the Kabbalistic context”.[2] Not only do they appear among floral and animal ornaments, but they are often in a distinguished location, directly above the Torah ark, the place where the holy scriptures repose…”  — Wikipedia: The Three Hares It seems also likely that the commonly seen medieval Christian or Jewish symbols may have been one of the fairly universally known pagan fertility symbols in the past: The Bavarian “Community of Hasloch’s arms[depicted below] is blazoned as: Azure edged Or three hares passant in triskelion of the second, each sharing each ear with one of the others, in chief a rose argent seeded of the second, in base the same, features three hares. It is said, “The stone with the image of three hares, previously adorned the old village well, now stands beside the town hall.” “Hares and rabbits have appeared as a representation or manifestation of various deities in many cultures, including: Hittavainen, Finnish god of Hares;[35] Kaltes-Ekwa, Siberian goddess of the moon; Jade Rabbit, maker of medicine on the moon for the Chinese gods, depicted often with a mortar and pestle;[13][36] Ometotchtli (Two Rabbits,) Aztec god of fertility, etc., who led 400 other Rabbit gods known as the Centzon Totochtin; Kalulu, Tumbuka mythology (Central African) Trickster god; and Nanabozho (Great Rabbit,) Ojibway deity, a shape-shifter and a cocreator of the world.[36][37] See generally, Rabbits in the arts.” — (Wikipedia) The Celts (and Anglo-Saxons, Germans, Dutch and French) all have a folklore of hares, eggs and spring ritual folklore, the Egyptians have their Hare goddess, over a whole district of province Hermopolis, and the hare was sacred and messenger to both Wenet and Thoth (deity of scribes, in kind with the Mayan hare deity who invented writing). Sacred, moon-gazing hares were sacred and associated with moon goddesses like Ostara, Ishtar, Innanna associated with renewal, rebirth and cycles of the moon … as were the Jewish kabbalistic and Persian triple hares, which had in common with the Chinese, Korean and Japanese ones that associated the hare with goddesses of immortality, who bore the task of pounding elixirs or rice-cakes. The first known literary reference is from A Survey of the Cathedral of St Davids published in 1717 by Browne Willis. It says: “In one key stone near the west end are three rabbits plac’d triangularly, with the backsides of their heads turn’d inwards, and so contriv’d that the three ears supply the place of six so that every head seems to have its full quota of ears. This is constantly shewn to strangers as a curiosity worth regarding.” The three hares are depicted in churches, chapels and cathedrals in France and Germany. The symbol has been found in Iran on a copper coin minted in 1281 and on a brass tray, both from the time of the Mongol Empire. Meanings of the Three Hares The symbol’s meaning remains obscure but the hare has long had divine and mystical associations in the East and the West.   Legends often give the animal magical qualities. It has also been associated in stories with fertility, feminity and the lunar cycle. The Three Hares symbolized different things for the different cultures who used it. In the absence of contemporary written records, however, these meanings can only be speculation. For example, in Christian Europe, one interpretation of the motif is that it symbolized the Holy Trinity, which may explain its depictions in churches.  The problem with this hypothesis is that it was made some centuries after the motif was made, and might not coincide with the original meaning as intended by its creators. Another theory is that the hare represents the Virgin Mary, as hares were once mistakenly believed to have been able to procreate without a mate, thus giving birth without losing their virginity.  In some churches, this motif is juxtaposed with an image of the Green Man, perhaps to highlight the contrast between the redemption of humanity with its sinful nature. In the East, on the other hand, the hare is said to represent peace and tranquility, and has been regarded as an auspicious animal.  This may be the reason for its use in the decoration of the Mogao Caves for example. “The earliest occurrences appear to be in cave temples in China, dated to the Sui dynasty (6th to 7th centuries).  The iconography spread along the Silk Road, and was a symbol associated with Buddhism.  The hares have been said to be “A hieroglyph of ‘to be’.” In other contexts the metaphor has been given different meaning.  For example, Guan Youhui, a retired researcher from the Dunhuang Academy, who spent 50 years studying the decorative patterns in the Mogao Caves, believes the three rabbits image-—”like many images in Chinese folk art that carry auspicious symbolism—represent peace and tranquility.” The hares have appeared in Lotus motifs. In both Eastern and Western cultures, the hare was once believed to have magical qualities, and it has been associated with mysticism and the divine. Additionally, the hare can be found in numerous stories relating to fertility, femininity, and the lunar cycle. Thus, it may be these connections that led to the hare being incorporated into the Three Hares motifs. “If we can open a window on something that in the past had relevance and meaning to people separated by thousands of miles and hundreds of years, it could benefit our present day understanding of the things we share with different cultures and religions.” Yew Help http://www.ancient-origins.net/history/three-hares-motif-cross-cultural-symbol-numerous-interpretations-005640 http://www.chrischapmanphotography.co.uk/hares/ http://chinesepuzzles.org/three-hares/ http://news.bbc.co.uk/local/devon/hi/people_and_places/history/newsid_8280000/8280645.stm http://www.legendarydartmoor.co.uk/three_hares.htm http://www.telegraph.co.uk/news/uknews/1466046/Caves-hold-clue-to-the-riddle-of-the-three-hares.html https://japanesemythology.wordpress.com/origin-of-the-three-hares-motif/

Ukrainian folk songs and Hasidic music. Mutual borrowings between the Ukrainian and Yiddish languages. Striking similarities in the architecture of eighteenth-century wooden synagogues and Ukrainian wooden churches.A fascinating new book, The Ukrainian-Jewish Encounter: Cultural Dimensions, documents the vivid highlights of two formerly stateless peoples with strong national aspirations.This collection of essays by a distinguished group of global academics presents an intriguing premise. Namely, a focus on culture illuminates crucial aspects of the Ukrainian-Jewish relationship often missed in standard historical accounts that only leap from crisis to crisis.In other words, cultural interaction between Jews and Ukrainians that unfolded over centuries through diverse and daily encounters had a profound impact on both communities.Culture shapes so many key aspects of life. The cultural history of Ukraine reflects long periods of normal coexistence between Jews and Ukrainians. This cultural history also set the broader context in which the Ukrainian and Jewish peoples developed. Cultural links also reflected the complex nature of their relationship.The book emerged from a pioneering conference held by the Ukrainian Jewish Encounter in conjunction with the Israel Museum and the Hebrew University in Jerusalem. The conference, entitled: “The Ukrainian-Jewish Encounter: Cultural Interaction, Representation, and Memory,” brought together scholars from Israel, Ukraine, North America, and elsewhere.The book, co-edited by Alti Rodal of the Ukrainian Jewish Encounter and Wolf Moskowitz of Hebrew University, addresses three major questions in the rich and varied history of cultural relations between Jews and Ukrainians.First of all, in what ways did the Ukrainian and Jewish cultures influence each other? More specifically, what evidence is there of parallels or cross-cultural influences in specific cultural domains? These domains include folklore, folk art, music, and language.Secondly, what were the prevailing perceptions or images of the “Other” as depicted in the respective cultures? In other words, how did each group view the other group, specifically in artistic representation, folklore, and literature?And lastly, what approaches have been adopted by Jewish and Ukrainian ethnographers and art historians? How have these approaches, both in the past and in the present, apply to the study and preservation of the Ukrainian-Jewish cultural heritage? And how do they apply to the remembrance and revival of this heritage?But the book is not only an investigation of the past. The collection of essays in this volume open doors for new research. There has been very little focused research on Ukrainian-Jewish cultural interaction. And this new research can help create a joint narrative for Jews and Ukrainians.As co-editor Alti Rodal points out, this book is an exploration. An exploration to advance our understanding of the complex and multifaceted cultural encounter between Jews and Ukrainians. An exploration to increase knowledge. To challenge preconceptions and stereotypes. To contribute to a truthful and empathetic accounting of the relationship between Jews and Ukrainians in the past. And through this exploration the book opens avenues for a more powerful and enriched mutual understanding in the future.The richly illustrated book appears within the series Jews and Slavs published by the Hebrew University of Jerusalem.Listeners can find information on how to order a copy on the UJE website.This has been Ukrainian Jewish Heritage on Nash Holos Ukrainian Roots Radio. From San Francisco, I’m Peter Bejger. Until next time, shalom! See acast.com/privacy for privacy and opt-out information.

Artists Julianne Swartz and Ken Landauer joined me Monday at 9am pst on KUCI 88.9fm to talk about their art exhibit Miracle Report -- documenting dozens of people sharing stories of extraordinary experiences! Hear them LIVE locally or stream us on www.kuci.org. ABOUT Julianne Swartz Julianne Swartz lives and works in New York State. Her work has been exhibited internationally, including venues such as The Israel Museum, Tate Liverpool, PS1/MoMA, the Sculpture Center, the New Museum of Contemporary Art, The High Line Park, NYC, the Jewish Museum NYC, the Indianapolis Museum of Art, Colby College Museum of Art, the Tang Museum, Skidmore College, and the 2004 Biennial Exhibition at the Whitney Museum of American Art. Julianne Swartz: How Deep is Your, a survey exhibition accompanied by a full color monograph originated at the deCordova Sculpture Park and Museum, Massachusetts in 2102 traveled to the Scottsdale Museum of Contemporary Art, Scottsdale, AZ (2013) and the Indianapolis Museum of Art (2014). Swartz teaches sculpture at Bard College and is also on faculty at the School of Visual Arts. She holds a BA in photography and creative writing from the University of Arizona, Tucson and a MFA in Sculpture from Bard College. ABOUT KEN LANDAUER Ken Landauer crafted his house in Stone Ridge, NY. His installations have been commissioned by the Public Art Fund, Socrates Sculpture Park, the Providence Parks Department, and the Kansas City Municipal Arts Commssion. His work is now in front of the DeCordova Museum in Boston and in ArtPark in New York City. Other exhibitions include the ASU Museum in Tempe, AZ, the Morris Museum in Morristown, NJ, The Fields Sculpture Park at Art Omi in Ghent, NY and the Albrecht-Kemper Museum in St. Joseph, MO. He teaches in the MFA Program at The School of Visual Arts in New York City.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. During his recent visit to Israel, President Barack Obama began his itinerary with a viewing of the Dead Sea Scrolls in the Shrine of the Book at the Israel Museum in Jerusalem. Officials took this occasion to underscore the continuity from biblical times to the present exemplified by these most ancient of biblical scrolls. Of course, examination of the Dead Sea Scrolls and of the ways they have been understood in ancient and in modern times afford evidence not only of continuity but also of dispute and disagreement. In her Israel Studies Lecture, “Who Wrote the Dead Sea Scrolls and Why Were They Forgotten,” Rachel Elior offers an overview of the provenance of the scrolls and her assessment of their significance in both ancient Judaism and modern scholarship. Rachel Elior is John and Golda Cohen Professor of Jewish Philosophy and Jewish Mystical Thought at the Hebrew University of Jerusalem and Israel Studies Professor for Spring Quarter 2013 at the University of Chicago Divinity School. She is teaching a course at UChicago, “Major Issues in the Study of Jewish Mysticism: Between Kabbalah and Hasidism.” Professor Elior is the fourth visiting faculty member at the Divinity School’s Religion and Culture in the Twenty-first Century: Perspectives from Israel program, made possible through the generous support of the Israel Studies Project of the Jewish Federation of Chicago.

Born in Israel in 1951, Boaz Vaadia is an internationally known sculptor who works primarily in stone and bronze. Vaadia moved to New York in 1975 and his studio is located in Williamsburg Brooklyn. Growing up on a farm in Gat Rimon, Israel, Vaadia was inspired by the nature around him. Vaadia says of his sculpture, "I work with nature as an equal partner, that's still the strongest thing I deal with today, that primal connection of man to earth. It's in the materials I use, the environments I make and the way I work." Vaadia hand-carves slices of slate and bluestone, shaping them to be layers in a kind of topographical map. He stacks the horizontal slabs until the graded silhouette of a person, animal or group emerges. He views the geological layering of the stone as a natural model for his own sculptural process. It seems a logical metaphor for our human layering of experience and memory. Vaadia continues the process by casting select pieces in bronze, creating a limited edition. Paired with his sculptures are glacial boulders which function visually as counterpoints to the figures. His work appears as though created by natural forces, such as wind and water; they look simultaneously ancient and futuristic, as if the workmanship forms a bridge from the Stone Age to the digital age. Vaadia's sculptures are permanently sited in many prominent public locations worldwide such as the Time Warner Center, New York City, and included in many museums and private collections globally, such as the Metropolitan Museum of Art, New York City, the Museum of Modern Art, San Francisco, and the Israel Museum, Jerusalem.

On May 31, 2012, Rabbi Chaim Brovender returned to Jerusalem’s Israel Museum with a group of a dozen friends who have been involved in raising the level of discussion about the place of the arts in religious life. He discussed his interest in art as a tool to developing a variety of habits and sensitivities essential to religious life and we visited the galleries to experience how his way of thinking about art influences the way we experienced the great works.

On January 19, 2012, Rabbi Chaim Brovender toured Jerusalem's Israel Museum with a group of students from Yeshiva University, discussing his interest in art as a tool to developing a variety of habits and sensitivities essential to religious life.