Death of Prof. Bezalel (Tzali) Narkiss (1926-2008)

Death of Professor Bezalel Narkiss, Founder of Center for Jewish Art
By Samuel D. Gruber

It is with deep sadness that I report the death last week of Professor Bezalel Narkiss, Nicholas Landau Professor Emeritus of Art History at The Hebrew University, Jerusalem. Professor Narkiss – or Tzali to generations of students and colleagues - was one of the world's foremost scholars and teachers of Jewish art, and the founder and former director of the Center for Jewish art at Hebrew University, Jerusalem. Professor Narkiss was born in Jerusalem in 1926 and educated at The Hebrew University, and the Courtauld and Warburg Institutes at the University of London, from where he received his Ph.D. in 1962. His dissertation on the Golden Haggadah was just one of his many close examinations of Hebrew illuminated manuscripts. That work began a lifetime commitment to the study and presentation of Hebrew Illuminated manuscripts in the British Isles.

In 1974 Tzali founded the Index of Jewish Art, modeled after the Index of Christian Art at Princeton University. From this effort grew the Center for Jewish Art at Hebrew University, founded in 1979, and since then the major research engine for the identification and study of Jewish art worldwide, and especially the iconography of Jewish art as found in illuminated manuscripts, wall paintings and a wide variety of ritual objects. In more recent years the Center has also turned its
attention to documenting architecture, particularly synagogues. The Center, under Tzali's guidance, has produced several generations of scholars of Jewish art, curators of museums and activists in the field of documentation and protection of Jewish heritage. For many years, under Tzali's direction, the Center published The Journal of Jewish Art (Later Jewish Art).

Tzali Narkiss published scores of books and articles in his lifetime. He also served as illustration editor of the Encyclopedia Judaica in the 1960s. Through that important scholarly and popular vehicle, he helped introduce the diversity and richness of Jewish art to tens of thousands of Jewish and non-Jewish users of the Encyclopedia around the world.

Tzali was indefatigable participant in scholarly conferences, including the many important congresses which he helped organize in Jerusalem over the years. He regularly attended the sessions of the International Survey of Jewish Monuments held at the College Art Association meetings. I last saw him in October, when he attended and presented (despite his illness) at the important conference "Jewish Architecture in Europe," held at the Technische Universität Braunschweig, Germany. It was a grand affair for Tzali, with many of his students and colleagues of several generations present. The conference celebrated the successful partnership between the Center for Jewish Art and the Technische Universität Braunschweig in the creation of Bet-Tfila, Research Unit for Jewish Architecture in Europe. For many of us, he knew and we knew that it would be our last meeting.

On behalf of the ISJM membership, I extend condolences to Tzali Narkiss's family and friends, and to all his associates at The Hebrew University.

For read more about Prof. Narkiss's work, see: http://cja.huji.ac.il/

Syracuse (USA) Temple Society of Concord added to National Register

(ISJM) On June 18th, the nomination of the 1910-11 Classical Revival style Temple Society of Concord synagogue in Syracuse, New York to the New York State and National Registers of Historic Places was unanimously approved by the NY State Review Board meeting in Syracuse. Final designation is expected in Washington, DC later this summer. The historic designation helps kick off the congregation's centennial celebrations for the building.

Temple Concord is home to one of the oldest Jewish congregations (1839) in America. The present building is the congregation third home. It was designed by local architect Alfred Taylor and noted American Jewish architect Arnold W. Brunner, whose 150th birthday is
begin celebrated this year. The nomination was prepared for the congregation by ISJM which, since 2007, has used former classroom space at the Temple for its offices.

For more on the history and architecture of the building see:
http://www.isjm.org/AboutISJM/OurHistoricHome/tabid/100/Default.aspx

Fate of early modern synagogue in Phoenix, Arizona, linked to Holocaust survivors and Steven Spielberg, remains unresolved

Fate of early modern synagogue in Phoenix, Arizona, linked to Holocaust survivors and Steven Spielberg, remains unresolved
by Samuel D. Gruber

Demolition of the former synagogue known in Phoenix as Beth Hebrew (or Beth Hebree), an important early modern American synagogue, is still a likely possibility, despite efforts of local preservationist and developer Michael Levine who has sought to save the building. Many architects and historians in the United States and Europe have written to the Phoenix Mayor and other officials to save the building.

The former synagogue served until recently as the home of the Phoenix's Black Theater, which despite receiving grants to restore the building, decided to sell it instead, preferring new and bigger quarters. Levine unsuccessfully tried to purchase the building in order to save it, but it was recently sold to another buyer who may demolish it outright, or allow it to be destroyed through neglect.

The former Beth Hebrew at 333 E. Portland Street, while a small and seemingly simple building, is large in architectural and historical significance. It was designed in 1954 by Max Kaufman, and is an important and even exemplary example of early modern synagogue architecture in United States, and is among a handful of innovative modern interpretations of the traditional synagogue form which were built across the country – often by small congregations of modest means – in the first decade after World War II. These synagogues, almost all of which were inspired, sponsored or designed by Jewish refugees from Europe, laid the foundation for the widespread acceptance and use of modern architecture not only for synagogues in America, but for religious buildings of all denominations. Synagogue congregations, since they are independent bodies, could quickly decide to build in the new style for both practical and philosophical or religious reasons – they could be stylistic innovators and leaders, not followers. Other religious denominations, which are organized hierarchically, had to wait several years for stylistic (and functional) changes to be broadly accepted before adopting modern designs.

Orthodox Jewish congregations, of which Beth Hebrew was Phoenix's first, were particularly drawn to the modern style for religious and aesthetic reasons since they more strictly interpret the Bible's Second Commandment which forbids many types of decoration. Orthodox Jews also especially value the practical and symbolic qualities of light – in which Kaufman's design excelled. According to the book of Genesis light was a creation of God on the first day. Natural light also facilitates the required (thrice-weekly) reading of the Torah, and daily prayer. Orthodox Jews are also more apt to view the synagogue building as a container for prayer for their community – rather than as civic or public monument (or the sort that had become popular in American in the pre-War period). Such congregations favored intimacy over ostentation, which explains why Beth Hebrew was easily adapted for use as a small theater.

Kaufman's design relates to the first synagogue building of the great German-Jewish refugee architect Eric Mendelsohn – B'nai Amoona (1947-50) in St. Louis, and also to two 1960s synagogues of another Holocaust survivor, Werner Seligman (perhaps not coincidentally, B'nai Amoona is now used a performance space in a community culture center). To understand the continuing influence Beth Hebrew's style on synagogues you need only travel to nearby Scottsdale to see Will Bruder's Kol Ami. Like Beth Hebrew, Kol Ami uses simple forms and inexpensive materials to create a dynamic shape, and open flexible interior space, and it uses light as a dramatic and symbolic element.

The materials of Beth Hebrew are simple, but the design is elegantly refined to serve its function. Sightlines and especially the placement of the high clerestory windows are carefully considered. The high windows of the sanctuary provided light without distraction (as prescribed by many rabbis). There is also a kind of skylight set above the reader's desk where natural light falling on the desk (bimah) could offer dramatic effect, but it also helped the Torah reader to see – especially at the Sabbath morning Torah reading, when the use of artificial lights is discouraged.

Beth Hebrew is important for another reason. Like the mythical bird the Phoenix, for which its home city is named, the synagogue represents a Jewish community of Holocaust refugees that was reconstituted and reinvigorated out of the very real ashes of their destroyed communities, and the ashes of the six million European dead. Phoenix-like, Jewish survivors, led by the real Jewish hero Mr. Elias Loewy, rebuilt their lives in their new home of Phoenix and significantly rebuilt a new Jewish identity and life. Like so many across America after the war, their urge was to sustain identity but break from history – a history that had failed them. Architecturally, this meant finding a style of synagogue that was practical, but also managed to translate traditional forms into a new and modern idiom.

The need to appreciate the aspirations and achievement of these survivors is enough in itself to force us to give this small building great consideration. Loewy's story is as remarkable as any that one is likely to hear from the Holocaust period. He saved hundreds of people in France through his courage and wits, and when he came to Phoenix he continued to aid the needy through the founding of the Jewish Free Loan Society, a critical lifeline for the displaced and forgotten. This Society helped recent immigrants enter the American mainstream quickly and with dignity.

That these same survivors appear to have passed the story of their own survival, and of their optimism about America to a young and creative Phoenix Jewish boy named Steven Spielberg, elevates our consideration of this building to celebration. For I believe, after 20 years working with Jewish and non-Jewish communities in the European countries most affected by the Holocaust, that no single individual has done more to change broad popular perceptions of the events of the Holocaust and their significance than Steven Spielberg. While others have done more to document Holocaust horrors or to identify the names of victims, Spielberg has managed through his talents as a story teller to make the Holocaust part of the mainstream narrative of European history in a way that everyday people can understand and to which they can relate. First through the adaptation of the book Schindler's List – which in many ways has parallels to Loewy's own story – and then through the creation of the Shoah Foundation which has sponsored the video recording of personal testimonies of thousands of Holocaust victims and survivors, Spielberg has given faces and voices to the Holocaust victims, and he has salvaged a considerable degree of humanity out horror. I have never met Steven Spielberg, but I have met hundreds of people in this country, and especially in the countries of Central and Eastern Europe, whose lives have been great affected by the stories he has told, and those he has and his foundation have collected. And for the victims themselves, the opportunity to record their stories for posterity has often been a kind of vindication of their own survival, and a valuation of their human dignity. From all that I have heard, it seems that the seeds for this terrific work were planted by the refugee congregation of Beth Hebrew – where 13-year old Steven celebrated his Bar Mitzvah in 1960.

The destruction of this small architectural and historic gem - either by planned demolition or prolonged neglect – will be a loss not only to Phoenix, but to the world. There are many alternative uses for this building. There seem no real gain to the public good in destroying the former Beth Hebrew Synagogue, and a great opportunity to enhance the public good by saving it.

For more on the synagogue and illustrations see:
http://azpreservation.blogspot.com/search?q=synagogue


Take an animated tour of threatened Phoenix synagogue

Ukraine: Kremenets cemetery restoration project identifies hundreds of gravestones as parking lot pavements

Ukraine: Kremenets cemetery restoration project identifies hundreds of gravestones as parking lot pavements

Researchers for the Kremenets (Ukraine) Jewish Cemetery Restoration Project have identified several areas in the town where Jewish gravestones from the large cemetery are being used as parking lot paving, first installed during the Second World War by the occupying Germans, and in place ever since. Two areas adjacent to the former Gestapo headquarters have been identified. In addition, it is thought that a large area around the Lyceum – used by the Germans as a military hospital – also has buried matzevot. A project has been developed to move these stones, which probably date from the 18th and 19th century and number in the hundreds, back to the cemetery and to photograph and transcribe their inscriptions as part of a larger project to document, protect and preserve the historic site. The group seeks funds for retrieving the stones and creating a memorial (still to be decided).

The Kremenets Cemetery project was begun in 2004. The project began with photos of the 3,200 individual matzevot that were visible, and continued with removal of excess vegetation from the 25,000 square meter site. Detailed maps identifying site constitutions, types of vegetation and the location and condition of all gravestones and other notable features were then prepared by a team led by L'viv-based Professor V.P. Kucheryavyi developed the plan. Their report and other results of Phase I of the Project are online at http://www.shtetlinks.jewishgen.org/Kremenets/web-pages/kjcp.html. The plan provides an exemplary effort of site documentation which should be required before similar cemeteries before any repair or conservation work is undertaken. The examination of the site in phase I more than doubled the number of known gravestones at Kremenets. It also documented the effects of wartime vandalism of the cemetery and the subsequent half century of neglect.

Reports detailing the full results of Phase I and other aspects of the projects are on the website of the KJCPC:
(http://www.shtetlinks.jewishgen.org/Kremenets/web-pages/kjcp.html).

Phase II of the Kremenets Jewish Cemetery Project is designed to begin with some stone conservation and gravestone re-erection on the site. This will be done within the confines of a stone conservation training program which will involve local workers and create a ongoing and economically useful conservation program. The hope of local officials is that these skills can then be transported to other needy sites in Western Ukraine. The training course in Kremenets will be followed by a pilot project in the old part of the cemetery. If done properly, this work will set a new, and much needed standard for Jewish and non-Jewish cemetery restoration work in Ukraine. The primary partners in this effort are the Kremenets-Pochayiv State Historical-Architectural Preserve, the municipality of Kremenets, and the nascent Jewish community in Kremenets. Some grants have been received, but additional funds are needed before Phase II can begin.

Questions can be directed to Dr. Ron Doctor, director of the project
at rondoctor@earthlink.net