Ahavas Achim- Empire Shteibel- 489 Empire Blvd

Maariv- 6:15 pm
Megilla- 6:30 pm
Shacharis- 6 am Megilla reading 6:30 am
7 am Megilla reading 7:30 am
8:15 am Megilla reading 8:45 pm

Chevra Shas-398 Kingston Ave.

Megilla reading evening 6:45 pm
Megilla reading morning 8:15 am

Frankel Shul- B’nei Solomon Zalman- 1699 President St.

Mincha, Machatzis HaShekel 5:30 pm
Maariv 6:30 pm, followed by Megilla
Shacharis 6:30 am, followed by Megilla
8:00 am, followed by Megilla

• no toy guns or smoke-producing paraphanelia

FREE- 1383 President St.

Megilla reading evening 6:30 pm
Shacharis 7 am Megilla 7:30 am
9 am Megilla 9:30 am

Hadar HaTorah-

Maariv
Shacharis 10:00 am, Megilla 10:30 am 

Khal Chassidim- (Baumgarten’s Shul) 1612 Carroll St.(corner Schenectady)

Maariv 6:15 pm followed by megilla
9 pm - Special reading for women
Shacharis 7 am/ Megilla 7:30 am
9 am/ Megilla 9:30
11:30 am for women

Minyan HaKolel- 421 Brooklyn

Evening Megilla reading 7:15 pm
Shacharis 8:00 am 8:45 am Megilla reading

Shain’s Shul -Torah u’Tefila-

Evening Megilla reading 6:30 pm
Shacharis 7:00 am 7:30 am Megilla reading

770 Eastern Parkway-

HON: Who's Who in American Art; Who's Who in the East; Dictionary of International Biographies; Art Digest; Art Review; American Artist of Renown and History of International Art; Diploma of Merit of Universita del Arti Salsomaggiore, Terme, Italy; April 8, 1982. Art's Interaction Board of Directors Award 1989. Men of Achievement International Biographical Center, Cambridge, England. Represented in many Collections throughout the United States, Canada, Israel, Australia and Europe.

Itshak Holtz draws and paints what he loves, the fascinating Old World types in Jerusalem or New York; the few small old houses and narrow streets still left in modern countries such as the United States and the new Israel; and the landscape of the Holy Land (to which he came from Poland as a boy in 1935 and where he spent fifteen years). This familiar world of experience he conjures up with the technique that he acquired at the Bezalel Art School of Jerusalem, and subsequently at New York's Art Students' League and National Academy, and that he has been refining through unrelenting application. With disarming honesty, he draws and paints the subject matter he cherishes.

He tries to create convincing illusions of existing form and texture, of the faces of real people, of the moods of the city, of places we tend to overl ' ook. But his swift pencil, his brisk, easy brush are not confined to simple narration. Close examination of his offerings reveals that his works are based on a thoughtful organization of all pictorial elements. One finds a subtle planometric composition, a careful orchestration of pigments, demonstrating that, far from being a counterfeit of reality, Holtz always endeavors to work out, beforehand, the genuine aesthetic problems that intrigue him.

At his best, Holtz is also trying to bring into focus important details, while omitting others that might detract from the solidity of compostion. What he is after, in short, is a poetic intensification of reality, by availing himself fully of the spirit lacking even in the most complicated machine - the mind and the soul of man. He seeks to give us authentic people, and, if there are many of them, he groups them with an artful plausibility, with careful consideration for space, depth, and the play of light, in order to satisfy his own creative yearnings no less than the customer's taste for the unpretentiously charming and quaint.

What pleases me most are his physically small renderings of old buildings in Brooklyn or the Lower Eastside. Simple, unpretentious edifices, with a haunting quality, like these are still to be found in certain sections of American cities. Yet few men have the eyes he has to perceive the strange beauty in those combinations of horizontals and verticals, in those red, brown and black rectangles enlivened, now and then, by tiny figures of humans or by patches of snow. Intrigued as he is with unglamorous everyday sights, rather than exceptional splendor, he presents the moody world he knows with the means at his disposal, especially an unmatched directness of observation. Hence, these small oils have both vitality and weight. They suggest a sensitive man of intelligence, capable of viewing our world with tender love - and that is no mean achievement today.