Hasidic Art Wo rks Draw Wide Interest at Exhibition at WSU
Hasidic principles and the move-
ment's followers' means of con-
tacting the larger community and
to arouse interest in the religious
zeal of the adherents to the cause,
all assumed new aspects at an un-
usual undertaking — the sponsor-
ship of the exhibition of Hasidic
art which opened at the Wayne
State University Community Arts
Exhibit Hall on Tuesday evening.
It was an unusual combination
that marked the appearance of dis-
tinguished artists, eminent Hasidic
spokesmen, community personali-
ties from many areas of activity—
in addition to the display of the
works of two Hasidim whose paint-
ings certainly merit the widest in-
terest.
'Jacques Lipchitz, considered
the greatest living Jewish sculp-
tor, came to the opening session
of the art exhibition and spoke
at thel dinner that featured the
initial function. He was here
with Mrs. Lipchitz and he spoke
also at a reception in their hon-
or on Monday at the home of
Mrs. Emma Schaver in South-
field. He did not bring any of
his great works with him, but
his message, portraying himself
as a baal melokha--as a laborer
in the art of sculpturing which
gives him greater strength "in
moving stones rather than
words," added to the inspiration
of an interesting evening.
One of the artists—Rabbi Che-
noch Libermann—was present and
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S
he led in the benshen together
with a camper from Camp Gan
Israel, sponsored by the local Cha-
bad movement of the Detroit Hasi-
dim and the beneficiary from the
project that includes the exhibit.
The other artist whose works were
on exhibitio n. Rabbi Zalman
Kleinman, was not present.
Robert Ruch, chairman of the
dinner committee, presided. Rabbi
Yudel Krimsky, public relations
director of the Merkos L'Inyonei
Chinuch of the Lubavitch Hasidic
movement, read a message from
the head of the movement, the
Lubavitch Rabbi Menachem M.
Schneerson. The audience stood
while the message was being read.
in accordance with the movement's
policies to have people stand
whenever the Rebbe's views are
uttered. The HaMotzi was recited
by Julius Rottenberg. Messages of
greetings were delivered by Irwin
I. Cohn, chairman of the art com-
mittee; Charles E. Feinberg, who
reported on the progress made by
Camp Gan; Emma Schaver, who
introduced Lipchitz, and the prin-
cipal address was by Prof. Velvl
Green of the University of Minne-
sota, noted microbiologist who is
associated in research in the U.S.
space program.
Dr. Green's speech was studded
with many stories and emphasized
the concern of Hasidut over dis-
interestedness of Jewish youth in
the needs and affairs of the Jewish
people. He indicated how the Cha-
bad movement reaches and in-
spires the young and placed em-
phasis on the importance of ex-
tending the educational efforts to
reach them.
"Wake the sleepers," he urged,
"tune in with YiddishIceit again."
He called for "return to God" in
seeking the proper approach to a
good and responsive Jewish life.
The exhibition of the two
rabbis' paintings, which will
continue at the WSU Arts Hall
through Sunday, is most unu-
sual There are 43 of the paint-
ings of Rabbi Liberman and
an additional 14 by his pupil
Rabbi Kleinman. The entire col-
lection is fascinating and the sub-
jects of the art respresent a vast
variety of interestes.
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gious zeal and wear the tallit and
tephilin while working. Rabbi Lib
ermann witnessed what he had de-
picted while in Birobidzhan in 1929
when he was a student in the
Moscow Art Academy. He return-
ed to Birobidzhan near the Chinese
border in 1932. He left Russia in
1947 and went to Paris, then on
to London and came to this coun-
try 16 years ago.
How do the Hasidim explain
their art works in view of the
biblical admonition "not to make
graven images?" By not producing
totally completed art works and
having some sort of impediment in
the work produced.
Feinberg pointed out that the
dinner marked the first occa-
sion of a kosher meal catered by
an outside firm being served on
the Wayne State University cam-
pus.
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A great deal of discussion is
aroused by the display of Rabbi
Libermann's "On a Commune in
Birobidzhan." It is subtitled
"Memories New York 1963" to in-
dicate that it was not painted in
Birobidzhan but from recollections.
The theme excites great interest.
It shows a Hasid wearing tallit and
tephilin feeding pigs. Next to him
is his wife who is showing anger
—apparently chastising him for
letting prayer interfere with his
work of feeding the hogs.
The background of Hasidic prac-
tices explains it in part. Hasidim
might be engaged in their daily
endeavors but will retain the reli-
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