The Cleveland Museum of Art presents~ American Synagogues"Jewish Ceremonial Art From the Jewish Museum of New York~ All details Below

 The exhibition of Jewish Ceremonial Art on loan from of  curated ritual objects of art is interesting and open to all. 

The Cleveland Museum of Art Presents Furnishing American Synagogues: Jewish Ceremonial Art from the Jewish Museum, New York New philanthropic support advances research and curatorial expertise in Jewish visual culture Torah Ark from Adath Yeshurun Synagogue, Sioux City, Iowa, 1899. Abraham Shulkin (American, b. Russia, 1852–1918). Pinewood, paint; 364.2 x 243.8 x 76.2 cm. The Jewish Museum, New York, Gift of the Jewish Federation of Sioux City, JM 48- 56a-s © Courtesy of the Jewish Museum, New York

CLEVELAND (October 29, 2026) — The Cleveland Museum of Art (CMA), in partnership with the Jewish Museum, New York, presents Furnishing American Synagogues: Jewish Ceremonial Art, a new installation of Jewish ritual objects on view in two of the museum’s permanent collection galleries from November 1, 2026, through October 24, 2027. In observance of the 250th anniversary of the signing of the Declaration of Independence, these loans feature Jewish ritual objects used in synagogues and daily life in the United States since its founding. The works range from an early 1900s silver Torah crown, or an adornment for a closed Torah scroll, to contemporary mixed-media works such as an alms (donation) container. A monumental Torah ark from a synagogue in Sioux City, Iowa, carved in 1899 by a Jewish immigrant, offers a striking example of the history of Jewish life and artistic expression in the United States. The third installation of Jewish ceremonial art from the Jewish Museum at the CMA, Furnishing American Synagogues builds on the long-standing relationship between the CMA Director, William Griswold, and James Snyder, director of the Jewish Museum, New York. This relationship paved the way for the Jewish Museum, New York, and the CMA to form a shared interest in expanding the representation of Jewish art and Jewish cultural history in the broader artistic, geographic, and faith tradition contexts in which it developed. Following work from earlier in the decade, the CMA launched its Jewish Arts Initiative in 2024 to advance this commitment through exhibitions, acquisitions, research, and public engagement. In 2024, a striking Etrog Box by Ilya Schor (American, b. Galicia [now Ukraine], 1904–1961) became the museum’s first intentional acquisition of Jewish ceremonial art. Prior to this, several newly identified artworks by the CMA curators as Jewish ceremonial art or made by Jewish artists––as well as key loans from international museums and Congregation Mishkan Or, a local synagogue––were featured in the exhibitions Stories from Storage (2021); Africa & Byzantium (2024); Arts of the Maghreb: North African Textiles and Jewelry (2024–25); In Vino Veritas (In Wine, Truth) (2025–26); and in a permanent collection gallery as a long-term loan. Support for the Jewish Arts Initiative The program’s growth is supported by significant philanthropic investment. The Jack, Joseph and Morton Mandel Supporting Foundation has provided three years of comprehensive funding, including support for two new grant-supported curatorial positions. In addition, Lilly Endowment Inc. awarded the CMA a $2.5 million endowment grant through its Religion and Cultural Institutions Initiative. This gift moves the museum halfway toward its goal for funding a Jewish Arts Endowment. Together, these investments establish a powerful foundation to increase and sustain this important work. “The support of the Mandel Foundation and Lilly Endowment is empowering us to build the expertise and resources to deepen the CMA’s work in Jewish ceremonial art,” said William M. Griswold, Sarah S. and Alexander M. Cutler Director. “Our collaboration with the Jewish Museum has opened new possibilities for bringing Jewish art into conversation with the CMA’s encyclopedic collection.” Support from the Mandel Foundation strengthens the CMA’s curatorial capacity through the addition of two new roles. Rachel Richman joined the CMA as assistant curator for the Jewish Arts Initiative in September 2026, and Itamar Sitbon joined as curatorial fellow for the Jewish Arts Initiative in August 2026. Coleaders of the current projects around Jewish visual culture at the CMA, curators Ada de Wit and Kristen Windmuller-Luna, supervise the new hires. Richman is responsible for assisting in the care, research, gallery display, digital presentation, and development of the museum’s holdings of Jewish ceremonial art and objects related to Jewish faith and culture. Sitbon supports research and future exhibitions, as well as the expansion of the museum’s holdings of art from Jewish communities, with a particular emphasis on the diversity of Jewish artistic expression. Together, these four members of the curatorial team collaborate across institutional departments in support of the Jewish Arts Initiative Furnishing American Synagogues: Jewish Ceremonial Art is on view November 1, 2026, through October 24, 2027, at the Cleveland Museum of Art, in the Cleveland Foundation Gallery and the Betty and Max Ratner Gallery (galleries 208 and 224A). Staff Biographies: Rachel Richman, Assistant Curator, Jewish Arts Initiative Rachel Richman earned a doctorate from Princeton University. Her dissertation, “Women’s Labor and Property in the Cairo Geniza,” utilized documentary sources and material culture to uncover the history of Jewish women’s work and property holdings in medieval Egypt. She received her MA from the Ohio State University and her BA from the University of Chicago. Having been interested in incorporating Jewish stories into broader narratives for more than a decade, Richman has pursued museum internships at Spertus Institute, the Minneapolis Institute of Art (Mia), the Museum of Moroccan Judaism, and the Princeton University Art Museum. Her English language labels have made the Museum of Moroccan Judaism more accessible for visitors since 2015. At the Princeton University Art Museum, she assisted in the acquisition of Judaica for the first time in the museum’s history. She hopes that supporting the acquisition and display of art from across time and space sparks curiosity and conversation about the diversity of Jewish life. Itamar Sitbon, Curatorial Fellow, Jewish Arts Initiative Itamar Sitbon is the curatorial fellow for the Jewish Arts Initiative at the CMA. A recent graduate from the Bard Graduate Center’s MA program in decorative arts, design history, and material culture, he has worked in museum collections specializing in Jewish culture of both Europe and North Africa. Most recently, he was part of the 2025 Summer Institute cohort at the Jewish Museum in New York, where he provided curatorial support for the exhibition Modernity and Opulence: Women of the Wiener Werkstätte, highlighting the role of Jewish women designers in early 20th-century Vienna.   Sitbon’s research interests include Jewish culture at the intersection of modernism, as well as the relationship between Jewish ceremonial objects and the fine arts. During his fellowship at the museum, he supports curators who are preparing future exhibitions and the expansion of the museum’s holdings of art from Jewish communities, with a special emphasis on the diversity of artistic expression of Jewish craftspeople. ###   About the Cleveland Museum of Art The Cleveland Museum of Art (CMA) is renowned for the quality and breadth of its collection, which includes more than 68,000 artworks and spans 6,000 years of achievement in the arts. The museum is a significant international forum for exhibitions, scholarship, and performing arts and is a leader in digital innovation. One of the leading encyclopedic art museums in the United States, the CMA is recognized for its award-winning open access program—which provides free digital access to images and information about works in the museum’s collection—and free of charge to all. The museum is located in the University Circle neighborhood with two satellite locations on Cleveland’s west side: the Community Arts Center and Transformer Station.  The museum is supported in part by residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture and made possible in part by the Ohio Arts Council (OAC), which receives support from the State of Ohio and the National Endowment for the Arts. The OAC is a state agency that funds and supports quality arts experiences to strengthen Ohio communities culturally, educationally, and economically. For more information about the museum and its holdings, programs, and events, call 888-CMA-0033 or visit cma.org.  \n\n\n\n\n

The Art Deco Society of New York ~One Wall Street Renovation of FiDi~ Tuesday Nov. 5, 2026, 4:00-8:00 PM. All details below.

This is great fun see if you want to reserve a spot to the renovation of the of One Wall Street. also catch the Great Deco Dress Up . To submit see details below. 

NEXT THURSDAY One Wall Street and the New Downtown: The Reinvention of FiDi (MEMBERS ONLY) In-person Event - 5 SPOTS REMAINING Thursday, November 05, 2026, 6:30 PM - 8:00 PM ET Remember when the Financial District hummed by day but became a ghost town at night? Those days are gone. Wall Street has taken on a new identity, and it now comes alive after dark. Skyscrapers that once powered the wheels of commerce have become luxury residences, and some of the most striking conversions are Art Deco landmarks that families now call home. Join us at One Wall Street, a standout among these repurposed Art Deco gems, as architectural historian Anthony W. Robins explains why the neighborhood has become a major destination for dining, shopping, entertainment—and living. CLAIM YOUR SPOT TWO WEEKS AWAY: DRESSING DECO Inside FIT's Special Collections: Women's Fashion of the Art Deco Era (MEMBERS ONLY) In-person Event Thursday, November 12, 2026, 6:00 PM - 8:00 PM ET We’ve all seen flapper costumes or glitzy Fitzgerald adaptations that give us a filtered idea of how the “modern woman” adorned herself. But what was really in the wardrobes, on the runways, and in the stores during the Art Deco era? What made the Art Deco woman so singular wasn’t only her ethos and bustling lifestyle, but also the designers, artists, and craftspeople behind her iconic fashions. Join fashion historian and author Raissa Bretaña on this members-only visit to the FIT archives for a firsthand look at the designs, and the records behind them, that decades of media have since mimicked. There’s nothing quite like the real deal! LEARN MORE AND REGISTER HERE THE GREAT DECO HALLOWEEN DRESS UP Calling all Deco devotees! Send us your best Art Deco-inspired Halloween look for a chance to win a year of ADSNY membership, which unlocks priority access, discounted rates, and more! Flapper glamour, your favorite Deco building, Erté-worthy drama, or your own geometric masterpiece all count. How to enter: Email your photo to info@artdeco.org or DM us on Instagram or Facebook by Monday, November 2. Vote for your favorites: November 3 to 8 on our Instagram and Facebook. Winner announced the week of November 9. The prize: A FREE 1-year ADSNY individual membership + 3 Deco on Demand videos ($130 value). Already a member? The winner can upgrade to a Household membership, extend their membership, or gift a 1-year membership to a fellow Art Deco advocate. By submitting, you agree to let ADSNY feature your photo. SEND US YOUR LOOK Know someone who'd love this? Forward this email or send them to artdeco.org to join our list. Help us spread the love of Art Deco! Follow us on Instagram @artdecosocietyny or Facebook @ArtDecoSocietyOfNewYork   Questions? Email us at Info@ArtDeco.org and we’ll be happy to help!

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Documentary film maker Ken Burns named the Inaugural Recipient of the David M. Rubenstein Prize for American History. See details below

 The prize is in honor of the 25th Anniversary of the United States. 

Ken Burns Named the Inaugural Recipient of the David M. Rubenstein Prize for the Advancement of American History

Annual Prize, established by The New York Historical and endowed by David M. Rubenstein, Honors Excellence in Promoting American History

—The New York Historical is pleased to announce that documentary filmmaker Ken Burns is the inaugural recipient of the David M. Rubenstein Prize for the Advancement of American History, created in honor of the 250th anniversary of the United States. The award, founded by financier and philanthropist David M. Rubenstein, pays tribute to an individual who has made significant contributions to promoting knowledge and understanding of American history. 

 

Following a call for nominations earlier this summer, which resulted in hundreds of entries, a jury made up of experts including historian Beverly Gage, scholar Annette Gordon-Reed, biographer Jon Meacham, journalist Fareed Zakaria, and Made by Us Executive Director Caroline Klibanoff selected this year’s recipient. Ken Burns receives $250,000 and a citation certificate to be presented at a gala dinner on February 20, 2027, in Palm Beach, Florida, where he will be interviewed by Mr. Rubenstein. The news will also be shared in a full-page advertisement in the New York Times and Washington Post. 

 

 

“Ken Burns’s work reflects our highest aspirations with the David M. Rubenstein Prize,” said the jury. “Always asking the question, ‘Who are we as Americans?’ Ken’s films have brought the history of the nation to more people in our time than perhaps any other body of work by one person, shedding light on our virtues and our vices. His commitment to storytelling and his rigor as a historian is a model for the field.”

 

“I am hugely appreciative and humbled by this extraordinary recognition,” said Ken Burns. “David Rubenstein and The New York Historical jointly represent the very best of what it means to be civically minded, working to preserve our history and educate our public, understanding that an informed and questioning citizenry is what the founders meant by a virtuous republic. Our films rely on the work of generations of historians and archivists and what amounts to a collective conversation about who we are as a people. I am very fortunate to be part of this conversation about a country I love. And equally, it’s an honor to join David and The New York Historical to ask all Americans to be part of a conversation that I am confident will go on for another 250 years, hopefully allowing us to even better achieve the ideals of our founding documents.”

“Ken Burns’s films, whether exploring major historical conflicts, iconic American institutions, or the biographies of consequential Americans, invariably succeed in finding their way to the center of our national conversation,” said Louise Mirrer, president & CEO of The New York Historical. “This is because of the profound insight Ken's work offers into the nation’s past and his gift for presenting history to the broadest possible public. These qualities, among others, make him the quintessential inaugural recipient of an award that celebrates the advancement of American history. We are thrilled to honor Ken with the 2026 David M. Rubenstein Prize and are deeply indebted to David Rubenstein for establishing this prize.”

Ken Burns has been making documentary films for 50 years. Since the Academy Award-nominated Brooklyn Bridge in 1981, Ken has gone on to direct and produce some of the most acclaimed historical documentaries ever made, including The Civil War; Baseball; Jazz; The War; The National Parks: America’s Best Idea; Prohibition; The Roosevelts: An Intimate History; The Vietnam War; Country Music; The US and the Holocaust; The American Buffalo; Leonardo da Vinci; and, most recently, The American Revolution. Future film projects include Martin Luther King Jr., LBJ & the Great Society, Emancipation to Exodus, and CIA, among others. Ken’s films have been honored with dozens of major awards, including 17 Emmys, two Grammys, and two Oscar nominations. In September of 2008, at the News & Documentary Emmy Awards, Ken was honored by the Academy of Television Arts & Sciences with a Lifetime Achievement Award. In November of 2022, Ken was inducted into the Television Academy Hall of Fame.

 

The David M. Rubenstein Prize for the Advancement of American History seeks to honor a living historian, writer, teacher, filmmaker, podcaster, social media producer, or leader of a professional, philanthropic, or cultural organization who consistently and significantly helps the public to better understand the nation’s past. Nominations for next year’s prize will open in 2027. 

   

The television series History with David M. Rubenstein, filmed in The Historical’s Robert H. Smith Auditorium, airs on local PBS stations across the nation. A rich library of Mr. Rubenstein’s interviews are also available via The Historical’s podcast For the Ages, which launched in June 2021.

 

About The New York Historical 
New York’s first museum, The New York Historical is a leading cultural institution covering over 400 years of American history. Our offerings span groundbreaking exhibitions; peerless collections of art, documents, and artifacts; acclaimed educational programs for teachers and students nationwide; and thought-provoking conversations among leading scholars, journalists, and thinkers about the past, present, and future of the American experiment. The New York Historical is a museum of museums and a collection of collections. We are home to the Patricia D. Klingenstein Library, the Center for Women’s History, the DiMenna Children’s History Museum, and the future American LGBTQ+ Museum. We elevate the perspectives and scholarship that define the United States’ democratic heritage and challenge us all to shape our ongoing history for the better. Connect with us at nyhistory.org or at @nyhistory on Facebook, Twitter, Instagram, TikTok, YouTube, and Tumblr.

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Casey Chalem Anderson's two images will be seen in a new NetFlix film. See Details belwo.

This is positive news from Casey. Congratulations! The N’oreaster That Walked Me onto a Netflix Set In the 10/28/2026 edition:  By casey on Oct 23, 2026 03:02 pm Jumbo Advancing Wave 48 x 72 oil/canvas by Casey Chalem Anderson View From The Bridge, Oil on wood, 24in x 24in When Shannon Wiley of Sea Green Designs phoned and asked, “Would you want to have your paintings in a film?” my first response was, “Well, what kind of film?” My mind raced through the possibilities: student film, porn film. I needed a little more information before picturing my paintings on the big screen. The connection began with a six-by-four-foot ocean wave. Shannon had selected it for above the fireplace at the Hamptons Design House, and images of that installation were on her website. That’s where the set designers found it. Which is how they found me. I’ve been focusing on larger canvases. At that scale, a painting can shift the atmosphere of a whole room. The project turned out to be “Women Like Us,” the upcoming Netflix film starring Whoopi Goldberg, Vivica A. Fox, Vanessa Williams, and Jennifer Lewis, with Michelle Obama as an executive producer. When I spoke with the set designer, she asked if I had other paintings. I sent images, and she said, “I think we want to take all of them.” Ultimately, they rented nine of my paintings for the production at the Pridwin Hotel on Shelter Island. Renting work for a film was entirely new to me. A few days later I was invited to come check out the set. A man with an earpiece directed me to park at the bottom of the hill, parallel to the raging steel-grey water churned up with whitecaps.  A nor’easter was brewing and the evidence was here. I held on to my hat as I made my way to the hotel entrance. The first thing I saw was one of my large wave paintings against a forest green wall. Inside, a hubbub of activity filled the air. People were opening boxes, unpacking, taping things. Everyone seemed to know their job, working together in a coordinated and focused way. I was surprised by how many people it took to bring the set together. None of the stars were there during my visit. I met the set designer and an art director, both welcoming and genuinely enthusiastic about the paintings. Hearing that felt wonderful. My contact told me to wander, so I spent about forty-five minutes soaking it in. Some of my paintings were already hanging, but at one point I looked up and saw that “View from the Bridge”, had been moved to a wall while I was there. That Towd Point view, salt marshes, and water took its place in a new setting. It became part of someone else’s story. What struck me was the care; nothing felt casual. Everything within the camera’s view seemed chosen to help tell the story. It was a thrill to see my work shape the feeling of being by the sea.  I can’t wait to see the finished film and discover how the paintings appear on screen. These paintings carry the sea indoors, its shifting light and quiet force. They hold a sense of presence that draws us back to the shoreline again and again. Warmly, Casey     Read in browser »

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