Seth Mandel: The Closing of the British Mind
We’ve had Writers Against Books so it’s not unexpected to see the arrival of Artists Against Art.The rise of antisemitism in the arts
Jewish sponsorship of the arts in the UK has been deemed vulgar, as the British appear to have swapped culture for kultur. The message, even from artists, is that it would be better to have no art at all than to have a Jewish-sounding name attached to the room that houses it, for example Gertler. Candida and Zak Gertler are generous art patrons in the UK but after pro-Hamas activists occupied a campus exhibition space adorned with the Gertlers’ good name, that name was removed from the space and from the gallery’s board. The Gertlers’ crime? Donating to the Jewish National Fund.
Last year in London, Anita and Chaim Zabludowicz announced they would, over similar complaints, close the Zabludowicz Collection, an institution they founded in 2007 to increase the visibility of avant-garde work by young artists. The “pro-Palestine” left has volunteered for the young artists who depend on such patronage to learn to code, or something. You know, for The Cause.
Let them eat watermelon emojis. After all, Chaim Zabludowicz simply had to be punished for, as Art Forum notes, having cofounded a company that “aims to reject all characterizations of Israel as an apartheid state, as Amnesty International cast it in a 2022 report”—although Zabludowicz “relinquished his role as chairman of the organization in 2013 and departed as director in 2019.”
All of this was back in the news again this week at the presentation of the British art award the Turner Prize. The coveted award went to Jasleen Kaur, a Scottish artist who wowed audiences by draping a car in a large doily. But the art project itself is beside the point; the true art is protesting people with names like Chaim Zabludowicz and Zak Gertler. From the New York Times:
“As the award dinner began, about 100 activists gathered at Tate Britain’s steps and listened to speeches demanding that the Tate group of museums end any association with Israel, including the high-profile donors Anita and Poju Zabludowicz. In a protest letter published online, the activists said the Zabludowiczes have ‘well-documented economic and ideological links’ to Israel’s government through the Tamares Group, the family’s real estate investment business.
“The letter’s signatories included Kaur and two of the other artists nominated for this year’s Turner Prize, Claudette Johnson and Pio Abad.”
The Glasgow-born Sikh accepted the award wearing a Palestinian-themed scarf because, let’s be honest, we’re all Palestinian during award season.
Meanwhile headlining performances by Coldplay and Katy Perry at London’s upcoming major Christmas event have come under fire, as anti-Israel activists have set their pitchforks on the Jingle Bell Ball. (Is nothing sacred?)
On December 5 th Rob Rinder will be chairing a discussion about whether Jews are still welcome in the arts in Britain today. There are two striking things about this event. First, that it is taking place at all. As we shall see, it is happening because it is unfortunately very timely and relevant. Second, that the advertisement doesn’t give a location. It just says, “North West London venue.” Presumably, if you sign up you will be e-mailed a location. This may sound a little paranoid but it is unfortunately very realistic.Seth Mandel: Those To Whom Jewish Survival ‘Smells of the Devil’
Recently, there was a very unpleasant anti-Israel demonstration outside JW3, Britain’s largest Jewish cultural centre. Police officers were there to prevent violence, but unfortunately — as so often in London — the police did nothing to stop the aggressive chanting and waving of Palestinian flags to intimidate local Jewish residents. The Jewish Literary Foundation, which hosts Jewish Book Week every Spring, has just been presented with a substantial security bill, which it will struggle to pay. And, finally, the Barnet Literary Festival, which takes place in Barnet Library every year, has had to take place online this year because of the Council’s security concerns.
The larger issue, why Jews are increasingly excluded and discriminated against in British culture, is unfortunately even more pressing. Last year when I went to see Tracy-Ann Oberman starring in The Merchant of Venice 1936 my wife took a plastic bottle of water. The security people at the door asked her to drink from it to prove that it didn’t contain acid, in case she was planning to throw it at the actors.
Last week, the Royal Court Theatre was reported to the Charity Commission for allowing its staff to campaign for the Palestinian cause by wearing “Free Palestine” badges. This was not entirely surprising, since the Royal Court has a history of producing plays by playwrights who are known for being passionate critics of Israel: for example, Perdition by Jim Allen, which was intended to be directed by Ken Loach, and Seven Jewish Children – a Play for Gaza by Caryl Churchill.
Also last week, Nicole Lampert wrote online about the story of Candida Gertler OBE, an Anglo-German art philanthropist and writer, who has donated millions to help struggling young artists. Lampert wrote, “She’s also a Jew and, like most Jews, a Zionist. Of course that meant she was ripe for cancellation. Her name was taken off a donor board at Goldsmiths College and there was an attempt to also have her cancelled from the Tate. Well, they’ve got their way. Another major donor to the arts has decided to walk away rather than be hounded by the bullies who want to see Jews hounded by the bullies who want to see Jews hounded out of public life. Describing why she was quitting all her voluntary positions in the UK arts world, she asked why people were refusing to stand up to these bullies. She has left as a protest, writing: ‘As someone who has dedicated much of my life to supporting contemporary art, championing dialogue, and creating platforms for diverse voices, I can no longer stand silent when institutions, intimidated by violent and aggressive activism that dismisses dialogue or any kind of communication fail to uphold the foundational values f equality and respect. Recent revelations of vile antisemitic sentiments in these spaces have shocked and appalled me. These are not isolated incidents but part of a broader culture that seeks to marginalise and dehumanise Jews.’”
It’s not about how many Palestinians died but how many Jews lived.
And look at them all there, by the millions. That’s the atrocity. That’s the war crime.
And so in some respects, it’s actually true that the Nakba continues to this day. The attempt to destroy Israel hasn’t stopped and hasn’t succeeded. The Gaza war is indeed a continuation of this phenomenon, of the original intent and meaning of the Nakba.
In 1921, one of the era’s prominent as-a-Jews, Ralph Philip Boas, wrote an article in the Atlantic called “Jew-Baiting in America.” The conceit was one of Boas’s obsessions—that social discrimination is all that’s left of anti-Jewish bigotry in America and therefore not worth complaining about. (Carey McWilliams dismantled this idea in a 1947 essay for COMMENTARY, found here.)
Boas’s essay makes for some amusing reading a century later; he is wrong about everything.
Well, except one thing. He’s at least partially correct when he writes: “At the root of European anti-Semitism undoubtedly lies the shuddering hatred that men always feel for that which they cannot kill. The amazing vitality of the Jew is sufficient reason for believing any tale that is whispered of him; his survival smells of the devil.”
Those who claim a “genocide of the Palestinians” began on October 7, 2023, show that this mindset is found outside of Europe as well. This includes not just the poets who use their award speeches to reveal something foul about their own character, or the protest groups on campus who seek to appropriate October 7 as a day for them to wail publicly and don sackcloth and ashes.
The expounders of the genocide libel are all over the place, everywhere. Do they actually believe it? In many cases, no. What they believe is that the Jew’s survival smells of the devil. And we should freely remind the public that that is what’s actually bothering them.