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October 16, 1987 - Image 18

Resource type:
Text
Publication:
The Detroit Jewish News, 1987-10-16

Disclaimer: Computer generated plain text may have errors. Read more about this.

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Not Listening

Continued from preceding page

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American Jewry is in Israel's
pocket. That is sheer non-
sense. "These people don't
give a damn about what
Diaspora Jews think—and
they never have," says Sheffer.
In part, he says, the fault
lies with the American Jews
themselves. Israeli leaders of
all stripes regularly cross the
Atlantic to deliver of them-
selves to respectful American
audiences, blindly insensitive
to the growing frustration
and dissent; ignorant of the
need to listen as well as to
talk. "You'll hear Israelis say,
`Oh, the AJC leadership is
not elected. They only repre-
sent themselves.' "But there
is no question that they do
represent a certain consti-
tuency and a new trend in
American Jewish life that is
going to continue and inten-
sify, particularly if the peace
process remains stalemated."
The "professional Zionists,"
he adds, think they can still
manipulate the American or-

ganizations as they have done
for the past 40 years and
more.
They refuse to understand
that a new generation of
American Jewish layleaders
is coming on stream: hands-
on people who want to have a
say in Israeli affairs—and not
only on those issues that
directly affect them.
Sheffer makes a clear dis-
tinction between issues which
touch on the political-security
field (regarded by many
Israelis as being taboo) and
communal-social issues, like
those involving the Jewish
Agency, where American lay-
leaders are finally making a
real impact.
But if the American Jewish
leaders also want to make
themselves heard in the cor-
ridors of Israeli political
power, they will have to play
by the Israeli rules of the
game. Politeness, conciliation
and reticence will get them
nowhere.

"'''''""'"11 RANDOM SAMPLE

The New Jerusalem:
A Living Art Museum

Win a vveekend
for 2 in the
Big Apple,
New York City!

Courtesy of
Northwest Airlines.
Travel arrangements
by Bede Epstein,
Travel Max

18

FRIDAY, OCT. 16, 1987

All Jerusalem children love
the black, white and red
monster in the city's western
suburb of Kiryat Hayovel.
The two-story concrete
mifletzet has a cave space and
sand pit at ground level, with
stairs inside leading to a
mouth, down whose three
long tongues children can
slide again and again. Its real
name is "the Golem," and it
is conspiciously both a
plaything and a sculpture, the
work of French sculptress
Niki de Saint Phalle.
A nearby garden in the
same suburb contains a stark
white arch called "A Prayer to
the Mountain," by Israeli ar-
tist Michael Gross. The arch
rises from the garden and
guides the eye to the land-
scape, the blue horizon and
the sky. The two dissimilar
works exemplify the range of
modern art and architecture
in Israel's capital, where a
fascinating assemblage of
modern creations stand
against a backdrop of
historical landmarks.
Israel is a natural home for
abstract art forms because of
the Jewish and Islamic pro-
scription against creating im-
ages of the human figure.
While this has not been
adhered to religiously, the
Jerusalem Mayor's art ad-
visor and the municipal art
committee seem to have
shown a distinct preference
for non-representational
forms and provided a home

for a disproportionately large
number of abstract, even
minimalist, works.
The Jerusalem Theater and
its entrance plaza are emi-
nent examples of modern
smooth line architecture,
with sculpture both inside
and outside the building. The
raw concrete style helps to
unite them architecturally
and to establish their uni-
queness in comparison with
the surrounding stone
residential buildings.
In another part of
Jerusalem, the Yad Vashem
Holocaust Authority's Hall of

Israel is a natural
home for abstract
art forms.

Remembrance has itself a
sculptural quality. The heavy,
low-slung concrete roof
resting on basalt-boulder
walls inspire an oppressive
feeling even before entering
the museum. Opposite the
structure stands the tall,
slender, vertical metal shaft
of the Pillar of Heroism by
sculptor Buki Schwartz, a
soaring work symbolizing an
idea and a memory.
Like Yad Vashem, the
Knesset building, a gift of the
Rothschild family, is a low-
slung broad structure, which
nevertheless changes its ap-
parent habit when viewed
from different hills around it
or through its gate.

World Zionist Press Service

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