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Press Releases
Israel Museum to Enable Free Entrance to Israeli Children
Israel Museum Presents Exhibition of Israeli Artist Michael Sgan-Cohen
Born in Jerusalem in 1944, Sgan-Cohen started painting for his personal enjoyment at an early age. His early self-portraits, created long before his education in art history in the mid-1960’s, reflect a sincerity and a creative power striving to capture the perceived image. This can be seen clearly in two early works, from the mid and late 1960’s, where the roots of the artist’s future intensive dealings with his own features and image are apparent. In 1969 Sgan-Cohen moved to the United States in order to continue his studies of Art History, settling in New York four years later to pursue his doctoral studies. It was in the new setting that his artistic ideas took root, and many of the central themes that Sgan-Cohen drew on his entire artistic life, such as the wandering Jew, the figure of Moses, and the prophets, evolved and matured. Similar to other conceptual artists, Sgan-Cohen asked questions about the essence of art, attempting to define visual concepts in words, manipulating meaning and playing deconstructive games with the Hebrew language and its components. In 1987 Sgan-Cohen returned to Israel, where he continued creating and exhibiting, until his untimely death in 1999. Sgan-Cohen’s work stands at the crossroads of three major axes. The first is his identity as a native Israeli born in the 1940’s, a scion of the first generation to reach maturity in the fledgling state. Notable in this context, is his special affinity for the Bible and the Israeli landscape, as seen in works depicting the Map of Israel in different variations. The second axis concerns Sgan-Cohen’s sojourn in the United States, where he spent 20 years of his adult life and absorbed diverse artistic and cultural influences. This can be seen in large-scale works, influenced by the large-scale paintings of American artists from the late 70’s and 80’s, and in his affinity for conceptual art. The third axis is the Israeli art scene: Sgan-Cohen observed its developments, as critic, scholar, and artist, while living in the United States, and nurtured close ties with Israeli artists staying in New York. Although he chose the path of a creative artist relatively late in life, Sgan-Cohen left a deep mark on the Israeli cultural consciousness specifically as an artist. His work as a painter drew on his academic inquiries, his reflections about the works of other artists, and his studies in the fields of Jewish thought and sacred Jewish texts. “The Israel Museum sees among its prime tasks the exploration, research, and display of Israeli art and the preservation, study, and display of Judaica and sacred texts,” states James Snyder, Director of the Israel Museum. “ Accordingly, we are proud to present this retrospective exhibition of the work of Michael Sgan-Cohen, an artist who gave the elusive term “Jewish Art” a fresh and personal tone through his synthesis of these fields.” The exhibition and catalogue were made possible by The Sam Weisbord Trust, Beverly Hills; The Gottesman Family Foundation, Tel Aviv; The Martin Weyl Fund for Israeli Art, established by BFAMI. Israel Museum Presents Treasures of Meiji Period Decorative Arts
Professor Khalili is a scholar, collector, and benefactor of international standing. Since 1970 he has assembled, under the auspices of the Khalili Family Trust, a number of art collections in a broad range of fields. In addition to his comprehensive collections of the arts of the Islamic world and of Japanese art of the Meiji period (1868-1912), he has impressive holdings of Indian and Swedish textiles, and of Spanish damascened metalwork. Splendors of Imperial Japan provides an overview of Japanese art during the second half of the 19 th century when more than 250 years of self-imposed isolation came to an end and Japan transformed itself virtually overnight into a modern, commercially developed society. Japanese culture turned toward the West, changing almost every aspect of its traditional society in order to become part of the modern Western world, and this shift is reflected dramatically in the art of the time. "Although the Meiji Period spans only forty-four years, it was during this period that Japanese craftsmanship reached a level of perfection never equaled before or since," states Rebecca Bitterman, Senior Curator of the Marcel Lorber Department of Asian Art, and curator of the exhibition. "Even so, with the turn of the 20 th century, such works of decorative art lost favor in the West due to the declining appreciation for the Victorian style and the rise of less decorated tastes, so that the exquisite fruits of Meiji era artistic production stand as testament to the creativity of this short-lived moment." Using their original skills as makers of decorative sword-fittings, Meiji period craftsmen put their experience to new use, creating novel masterpieces using age-old techniques. In an attempt to take their crafts out of the realm of industrial arts, craftsmen made elaborately decorated metal works, adjusting them to European tastes of the period. In addition, enameled vases and porcelains on display incorporate designs and motifs inspired by Japanese and Chinese historical events, legends and myths, while others demonstrate the influence of Art Nouveau, which can be seen in the application of peacock feathers, waves, and floral designs. Alongside 19 th century Westernized art, the exhibition also presents lacquer works of elegance, beauty, and simplicity, which were closer nonetheless to the historical Japanese aesthetic, thereby stimulating a fascinating creative contrast. Included are works by the lacquer master Zeshin and his followers, who depicted floral motifs in gold lacquer on boxes, writing tables, and desks. The exhibition is made possible by the Estate of the late Dorothea Gould, Zurich, and the donors to the Israel Museum's 2004 Exhibition Fund: Melva Bucksbaum and Raymond J. Learsy, Aspen, Colorado; Hanno D. Mott, New York; and The Nash Family Foundation, New York.
Israel Museum Prolongs Exhibition Due to Public Interest Jerusalem, September 6, 2004 - The Israel Museum is pleased to announce the extension of the exhibition Turkish Delights: Treasures from the Land of Sultans and Kings , which opened May 18 and will now remain on view through October 9, 2004. Comprising a selection of objects from museums in Turkey, including Topkapi Palace and the Museum of Turkish and Islamic Arts, the exhibition features jewelry, clothing, decorative objects, and weapons, all lavishly decorated with gold and precious gems reflecting the luxury of daily life in the Sultans' palaces. "With Turkish Delights, the Israel Museum has been proud to continue its tradition of celebrating world culture for the benefit of its audiences in Israel. The high level of interest in the exhibition - resulting now in its extension through October 9, 2004 - demonstrates our public's keen enthusiasm for exposure to the history and cultural traditions of our Turkish neighbors," states James Snyder, Anne and Jerome Fisher Director of the Israel Museum. H.E. Mr. Feridun H. Sinirlioglu, Ambassador of the Republic of Turkey in Israel, states: " Turkish Delights has been an achievement of cultural diplomacy of the highest order, and we are pleased to have been part of such a successful adventure in intercultural understanding."
Israel Museum Presents Exhibition of 18 th Century Japanese Woodblock Prints and Scroll Paintings Jerusalem, August 2004 - The Israel Museum will present an exhibition of 18 th century woodblock prints and scroll paintings illuminating the world of Kabuki actors and courtesans in from the Jacob Pins Collection , opening August 20 and on view through December 19, 2004. The exhibition features a selection of fifty works, many displayed to the public for the first time, by great masters of these mediums, including Utamaro and Harunobu. All works are part of the Pins Collection of Asian Art, comprising over 500 prints, paintings, and sculptures, donated by Jacob Pins in 2000 to the Israel Museum . Mr. Pins is a prominent Israeli collector of Japanese art and a renowned woodblock artist. "The prints and scroll paintings from the Pins collection depict an idealized world in which courtesans lead a glamorous life, in contrast to the realities of the day," says Etty Glass-Gissis, Assistant Curator of Asian Art, and curator of the exhibition. "Among the works on view are 'pillar prints' in which the viewer is provided with a glimpse into the world of Japanese courtesans through a narrow aperture, stimulating the viewer's imagination to see beyond what is revealed." Japanese Pleasures is one of several exhibitions on view at the Israel Museum during this season that explore contemporary and historical currents in Japanese art and culture. " This exceptional display of woodblock prints, together with the other exhibitions that comprise our season of Japanese art, offer a window onto significant moments in the cultural development of modern Japan," states James S. Snyder, the Anne and Jerome Fisher Director of the Israel Museum, Jerusalem. "We are grateful to Jacob Pins for enabling us to share these works with our public and for assisting us in our ongoing initiative to present art from all world cultures for our audiences in Israel." The Kabuki Theater and the Pleasure Quarter, the most popular means of entertainment in 18 th century Japan, are closely related to the art of woodblock print artists of the time. Prints were used to advertise plays and to feature popular actors and were hung on theater buildings and in various locations throughout the city, or as fashion catalogues, featuring courtesans in their finery. The woodblock printing technique enabled the economical production of large quantities of prints, allowing for their widespread circulation. They were purchased mostly by the lower classes as souvenirs. Many of the woodblock prints on display portray the vivid atmosphere of the Pleasure Quarter, which served as a form of escapism from the troubles of everyday life. Artists drew inspiration from the illusionary images of glamour, pleasure, and joy represented by courtesans. In one woodblock, created by Kikugawa Eizan in the late 18 th century, a high-ranking courtesan dressed in a richly patterned kimono, with her smooth and elegantly shaped hairdo adorned with expensive tortoise shell combs and hairpins, parades leisurely toward a teahouse, accompanied by her attendants and a servant. <SPAN lang=en-us> Her delicate features, elegant bearing, and fashionable kimono emphasize the aesthetic ideals of feminine beauty represented by courtesans. The exhibition is made possible by the donors to the Israel Museum's 2004 Exhibition Fund: Melva Bucksbaum and Raymond J. Learsy, Aspen, Colorado; Hanno D. Mott, New York; and The Nash Family Foundation, New York.
Israel Museum Presents First Major Exhibition in Israel of Contemporary Japanese Architecture and Design
The exhibition features young designers who blur the boundaries among graphic design, photography, stage design, and music. The legitimacy to borrow, mix, create, and recreate can be seen in works by such artists as graphic designer VJ (Video Jockey) and writer Ukawa Naohiro, and such photographers as Hiroyuki Matsukage, creator of the rock group " Gorgerous," whose photographs capture the cross-cultural influences emerging in Japanese advertising, bringing Western and Japanese icons together in unusual ways. Fashion designer Issey Miyake and textile designer Reiko Sudo fuse traditional crafts with futuristic technologies to produce revolutionary fabrics and fashion garments. Miyake's innovative collection, A-POC (A Piece of Cloth), 2001, takes an interactive approach to design. Ingeniously, a thread is inserted into an industrial weaving machine programmed by a computer, producing a continuous tube of fabric which incorporates the shape and pattern of individual garments and enables customers to participate in the final steps of the design process by cutting sleeves and skirts exactly as they desire. Renowned architect Toyo Ito stretches the boundaries between the real and virtual worlds, in such projects as "Sendai Mediatheque" (2001) - a facility combining an art gallery, a library, a service center for people with visual or auditory impairments, and a visual imaging media center. The exhibition also includes Ito's "Ripples" (2003), a bench made of 5 mm layers of various types of wood, from which random shell-shaped portions have been removed. The exhibition also includes works by Shigeru Ban, an architect known for his social conscience, who has received acclaim for his buildings made of recyclable materials such as bamboo and cardboard tubing. Two leading emerging architectural practices that also address environmental concerns - Atelier Bow-Wow and MIKAN - champion the recycling of the urban environment as distinct from the glossy buildings and sleek skyscrapers of Tokyo's business districts and financial centers. Alongside architectural schemes, the exhibition features two installations: Atelier Bow-Wow's "MangaPod," (2002) a library-like facility housing 1,200 Japanese manga comic books, which serves as a relaxation area for visitors; and MIKAN's "EleFan(t)" (2003) a portable, inflatable house made of cloth. Fusion also includes a range of consumer product designs, from highly styled electronic goods produced by large-scale manufacturers such as Sharp and Sony, to the domestic products of retail outlets such as Muji (No Brand) and the Zen-like products of Naoto Fukasawa. Young international star Tokujin Yoshioka presents his "Honey Pop" (2001) chair alongside other futuristic furniture and interior designs. The exhibition is made possible by the donors to the Israel Museum's 2004 Exhibition Fund: Melva Bucksbaum and Raymond J. Learsy, Aspen, Colorado; Hanno D. Mott, New York; and The Nash Family Foundation, New York.
Israel Museum Receives Important Bequest of Twenty 20 th Century European Paintings and Drawings
The portrait depicts Zborowski with folded arms, showing great self-assurance. The large capital letters of Zborowski's name, inscribed above his head, further underscore his confidence in his identity. The delicate brushwork reflects the great care invested by Modigliani in this initial depiction of the man who would so faithfully and energetically champion his work. The Guggenheim bequest also includes two drawings by Modigliani. The Israel Museum's collection is now exceptionally rich in examples of Modigliani's portraiture, including also his "Portrait of Jeanne Hébuterne," 1918; and "Portrait of Celso Lagar," 1915. "Dr. Georg Guggenheim and his wife Josi were instrumental to the growth and success of the Israel Museum from the earliest years of its founding in 1965," said James Snyder, Anne and Jerome Fisher Director of the Israel Museum, Jerusalem. "This final gift, including works by leading 20 th century European artists and so important an addition to our holdings of Modigliani, is a fitting conclusion to the Guggenheims' long history of commitment to our Modern Art department. The Guggenheim bequest was designated at the time of Dr. Guggenheim's death in 1987 and honored upon Mrs. Guggenheim's death at 99 in October, 2003."
Israel Museum Presents First Exhibition of the World's Most Valuable Coin
Referred to as the "Mona Lisa" of the numismatic world, the Aitna Tetradrachm formerly belonged to Baron Lucien de Hirsch, a nineteenth-century European nobleman who descended from a distinguished family of Jewish court bankers. The coin has been in the collection of the Cabinet des Médailles, Bibliothèque royale de Belgique, Brussels, since 1899 and has never before been placed on view to the public. "Since its first appearance in numismatic literature in 1867, this exceptional coin has acquired a remarkable reputation and is considered among the most splendid achievements of Greek classical art," says Haim Gitler, Curator of Numismatics at the Israel Museum, Jerusalem. "The Aitna Tetradrachm, a coin of particular beauty, is rich in historical and iconographic significance, shedding light on the short-lived colony of Aitna and the symbols its inhabitants held dear." The Aitna Tetradrachm was struck in the ancient city of Aitna, a center of Greek culture located at the foot of Mt. Etna in Sicily. The coin matches remarkably the historical descriptions of the period and serves to illustrate the high level of artistic development in Sicily between 476 and 461 B.C.E. The motifs on the coin represent a combination of images, some of which are drawn from the mythology of the Sicilian Greeks, while others are directly related to the rich, natural environment along the slopes of Mt. Etna. The Aitna coin is a tetradrachm, a large denomination equivalent to four drachms, the basic unit of currency in the Greek world. Made of silver, the coin weighs 17.23 grams and has a diameter of 26 millimeters. The obverse of the coin portrays the head of Silenos, a popular mythological creature of the forests and mountains, combining human and animal features. His figure appears in profile, facing right, in the Early Classical style. In contrast to the image of Silenos, the reverse of the coin depicts Zeus seated, facing right, on a richly ornamented throne covered with panther skin. The frontal eye and upward curving lips reflect a more archaic style of portraiture. The Aitna Tetradrachm will be displayed together with other coins attributed to The Master of Aitna from the Bibliothèque royale de Belgique collection, and with historic maps of Sicily from the National Library, Jerusalem, and coins, statues, wine vessels, and a mask of Dionysos from the Israel Museum collections. The display will also include another coin from the same period as the Aitna Tetradrachm, depicting the head of Silenos, which was recently acquired by the Israel Museum. "The Israel Museum's collection of coins of the ancient Near East is notable for its breadth and richness. We are honored to be the first institution anywhere to present the Aitna Tetradrachm in public display, since it sheds so much light on the history and artistry of its time. It is indeed among the wonders of the ancient world," states James Snyder, Director of the Israel Museum, Jerusalem.
Turkish Delights Treasures from the Land of Sultans and Kings
"For 400 years, from the 15th to the 19th centuries, Topkapi Palace in Istanbul was the center of one of the world's greatest empires and the official residence of its rulers," said Na'ama Brosh, Senior Curator of Islamic Art and Archaeology at The Israel Museum, Jerusalem. "The Ottoman Sultans lived in the Palace surrounded by luxury and amassed countless treasures which now offer a rich reflection of their lifestyle." Topkapi Palace remained the royal residence until the nineteenth century and became thereafter a museum, displaying the finest examples of Ottoman artists and craftsmen. Among the loans for the exhibition are richly decorated and bejeweled objects of daily life and ritual, ceremonial, and military use, a Koran binding and rare costumes belonging to Sultan Osman II (1618-1622) and Sultan Mehmed II . The luxurious royal tent, which is a central highlight of the exhibition, illustrates a practice of tent-dwelling -during military campaigns, ceremonies, festivals, funerals, and coronations - which is preserved from the roots of Turkish culture in the nomadic tradition. Tents were lined up in hierarchical order in the same way as the buildings which comprised the Ottoman palaces, with each tent serving a different purpose, such as hospitality, treasury, or services. The display includes a single-poled tent that has been documented in photographs of Sultan Mehmed Resad's (1909-1918) welcoming ceremony for the King of Bulgaria in Istanbul. The interior of the tent is made of red satin and divided into panels decorated with flowers and flowering branches, with lattices woven in silk and fitted with curtains on its eight windows. James Snyder, Director of the Israel Museum, states: "The Israel Museum has a proud history of exchanges with museums in Turkey, and this exhibition is a resplendent continuation of this history. In this year, in which a major theme of our exhibition program is the celebration of world cultures, we are pleased to have this opportunity to celebrate the rich cultural heritage of one of the great Islamic cultures of our region."The exhibition is made possible by the Weisbord Foundation and the donors to the Israel Museum's 2004 Exhibition Fund: Melva Bucksbaum and Raymond J. Learsy, Aspen, Colorado; Hanno D. Mott, New York; and The Nash Family Foundation, New York
Sports and Art
“As best exemplified by the Olympic Games, sports represent a common denominator, setting aside national and ethnic differences as athletes come together in a spirit of companionship,” states James Snyder, Anne and Jerome Fisher Director of the Israel Museum. “This same spirit is reflected in the exhibition Sports and Art, underscoring the unique potential of the Museum’s Youth Wing as a venue for all of Israel’s youth to engage together in a spirit of interactive creative learning.” Sports reflect the full range of human feelings and emotions: happiness and despair, pride and shame, hope and disappointment, satisfaction and distress. Artists participating in the exhibition have created works based on subjects and materials taken from the world of sports, but placing them on different fields and evaluating them with different criteria. Sports and Art features a number of interactive environments, connected together by an athletic track which serves also as a route among the different sections of the exhibition. Alongside displays relating to the modern Olympics, the Greek Discus Thrower and the Charioteer of Delphi, in replica, reflect the glory of Ancient Greece, the birthplace of the Olympics Games, whose artists excelled at representing sports and celebrating the human body in art. Trophies and medals recalling high moments in Israeli sports are displayed in a “Hall of Fame,” where visitors can have the opportunity to earn their own champions medals. Finally, shopping fans are invited to browse in a “Sports Shop,” a model store, for viewing only, which displays the merchandising of the world of sports. A Sea-Shore Environment highlights popular Israeli summer sports, including maritime activities such as surfing; and an interactive installation by artist Ariel Almos enables visitors to participate in a virtual game of paddle ball. In the exhibition’s Field and Stands area, a two-meter high spinning soccer ball, created by Nadav Shavit, simulates the earth’s movement. Artist Ido Shemi provides a vivid depiction of “battles” among spectators, evoking the colorful atmosphere created by fans in the soccer stadium. The dynamics that characterize sports are expressed through contemporary works by artists that “play sports” and “play art” simultaneously. Artist Shibatz Cohen produced a vast drawing while skateboarding; and Rotem Belva created prints during a tennis match in which she participated. And visitors are invited to take part in a ping pong game, played on unusual and challenging tables created by designer Ido Bruno. Among numerous digital art works on view is “Gate,” a creation comprising a two meter high arc featuring a video installation with twelve plasma screens, on which an athlete jumps, passing from one screen to another, over viewers’ heads. Finally, visitors ready to take an active athletic role will be able to practice their kickboxing skills, wearing gloves and helmets, or ride bicycles “for sale” in the “Sports Shop.” Other products in the “shop” include footwear, professional sports clothes, balls, weights, and surfboards. The mix of “products” in the “Sports Shop” provides an opportunity to draw connections among sports, design, fashion, and consumerism. Exhibition Curator: Efrat Natan, Guest Curator, Ruth Youth Wing. The exhibition is made possible by The Marianna Griessmann Youth Wing Fund, London; Morris Rodman Fund, Washington DC; J. Weinstein Foundation in memory of Joe and Celia Weinstein; and by the donors to the Israel Museum's 2004 Exhibition Fund: Melva Bucksbaum and Raymond J. Learsy, Aspen, Colorado; Hanno D. Mott, New York; and The Nash Family Foundation, New York .
ISRAEL MUSEUM TO reopen the Shrine of the Book following MAJOR restoration Permanent exhibition presents full history of the Hebrew Bible and underscores expanded role of the Shrine as a premier center for its study JERUSALEM, April 13, 2004 - On June 7, The Israel Museum, Jerusalem will reopen the Shrine of the Book, the architectural monument which houses the Dead Sea Scrolls, considered to be among the most important archaeological treasures uncovered in the last century and perhaps the most important patrimonial treasures of the State of Israel and the Jewish people. The Shrine has undergone a complete architectural restoration and installation redesign, to provide for the optimal preservation and display of the Scrolls and other treasures. Built in 1965, the Shrine of the Book was commissioned for the display and preservation of the Dead Sea Scrolls. Its holdings include eight of the most complete Scrolls discovered, as well as one of the most famous handwritten Bibles - the Aleppo Codex from the 10 th Century C.E. Designed by Austrian-born American architect Frederick Kiesler and American architect Armand Bartos, the Shrine is considered a master work of modern architecture and is considered an international landmark. "The Dead Sea Scrolls are among the Israel Museum's greatest treasures, and the Shrine where they are preserved and displayed is also one of the truly distinctive architectural jewels of the last century," states James Snyder, Anne and Jerome Fisher Director of the Israel Museum. "The restoration of the Shrine ensures the preservation of the Scrolls for the benefit of generations to come and reaffirms our commitment to the ongoing renewal and development of our campus, home to some of the most important artifacts of ancient and modern civilization." Dating from the third century B.C.E. to the first century C.E., the Dead Sea Scrolls provide invaluable insight into ancient Jewish history and the historical context from which Christianity emerged. The contents of the Scrolls fall into three major categories: biblical, apocryphal, and sectarian, with the biblical manuscripts comprising some two hundred copies of biblical books, representing the world's earliest evidence of biblical texts; sectarian manuscripts covering a wide variety of literary genres, including biblical commentary, religious-legal writings, and liturgical texts; and apocryphal manuscripts comprising works that had previously been known only in translation or that had not been known at all. Details on Restoration The design of the Shrine incorporates a variety of forms, colors, and materials that seek to evoke the experience of the discovery of the Scrolls and the spiritual messages conveyed in the writings of the Scrolls themselves. The stark contrast between its signature white-tiled dome, bathed in a continuous fountain-spray of water, and its free-standing black basalt wall, originally topped with a crown of fire, recalls the tension between the worlds of the "Sons of Light" and the "Sons of Darkness," a popular theme in the literature of t he Qumran sect considered by scholars to be the authors of some of the Scrolls. "The greatest challenge in this restoration has been maintaining the spirit of the original design of the Shrine of the Book, while ensuring an optimal environment for the preservation and display of the Scrolls," said Adolfo Roitman, Head of the Shrine of the Book and Curator of the Dead Sea Scrolls at the Israel Museum. The project has fully restored the original architecture of the Shrine, including the replacement of the surface tiles of the Shrine's distinctive dome, likened to the lid of the jars in which the Scrolls were first discovered in 1947, and the black basalt of the wall, which forms a sculptural whole with the dome and its surrounding plaza. New exterior illumination has been installed to highlight more dramatically the spray of water continuously bathing the dome. Inside the Shrine, the original architectural design of the main exhibition spaces has been preserved, alluding to the route traveled by the discoverers of the Scrolls and the cave-like sanctuary where they were found. New showcases to house the Scrolls, employing the latest lighting and environmental technology, maximize the viewer's experience. The permanent display featuring original Scroll documents has been reorganized also to highlight the Aleppo Codex, the oldest and most complete extant Hebrew Biblical codex until the discovery of the Scrolls , thus expanding the Shrine's presentation of the full history of the Hebrew Bible - and underscoring the Shrine's expanded role as a center for the study of canonical Hebrew texts. A complementary display on the theme of "A Day at Qumran" - devoted to the daily life of the sect who lived in Qumran during the time that the Scrolls were written - will include newly excavated material from Qumran, displayed for the first time. The $3 million renovation project has been made possible through the generosity of Herta and Paul Amir, Los Angeles, and the D.S. and R.H. Gottesman Foundation, New York. Project Team A rchitectural Advisor: Armand Bartos; Project Architect: Nahum Meltzer; Project Manager: Unger Contractors Ltd; Interior Design: Rachel Lev; Showcases: Laboratorio Museo Tecnico Goppion, Milan, Italy; Curator of the Shrine of the Book: Adolfo Roitman. The Dead Sea ScrollsExcavated in the Qumran caves in the Judean Desert in 1947, the Dead Sea Scrolls are among the most ancient biblical manuscripts in the world and are perhaps the most important cultural patrimony of the State of Israel. The discovery of the Scrolls represented a turning point in the study of the history of the Jewish people in ancient times, bringing to light an unprecedented trove of biblical literature. Scholars have concluded that some of the Scrolls were written or copied by an ascetic Jewish sect, identified by most scholars as the Essenes, who existed alongside the Pharisees, Sadducees, early Christians, Samaritans, and Zealots. Together, these groups comprised Jewish society in the Land of Israel during the Late Hellenistic-Roman period - from the rise of the Maccabees through the destruction of the Second Temple (167 BCE-70 CE). Other Scrolls were written or copied elsewhere and formed part of the library of the Qumran community. Most of the scrolls were written in Hebrew, with a small number in Aramaic and Greek. The majority of the scrolls were written on parchment, with rare examples on papyrus - and, although a few scrolls were discovered intact, the majority survive as fragments. The Israel Museum, Jerusalem The Israel Museum is the largest cultural institution in the State of Israel and is ranked among the leading art and archaeology museums in the world. Founded in 1965, the Museum houses encyclopedic collections ranging from pre-history through contemporary art, including the most extensive holdings of Biblical and Holy Land archaeology in the world, among them the Dead Sea Scrolls. In over thirty-five years, the Museum has built a far-ranging collection of nearly 500,000 objects through an unparalleled legacy of gifts and support from its circle of patrons worldwide. It has established itself both as an internationally valued institution and as a singularly rich cultural resource for Israel, the Middle East, and the world. The Israel Museum is open Mondays, Wednesdays, Saturdays, and holidays from 10 a.m. to 4 p.m.; Tuesdays from 4 to 9 p.m.; Thursdays from 10 am - 9 pm; and Friday and holiday evening 10 a.m. - 2 p.m. The Museum is closed on Sundays. For further information, please call 972-2-670-8811 or visit the museum's web site at www.imj.org.il.
Spiceboxes from Southern Germany: A Jewish-Christian Encounter
"Only eight of these special spice boxes are known to exist today in collections throughout the world, and we have gathered all of them for this exhibition," said exhibition curator Sharon Weiser-Ferguson of the Museum's Judaica and Jewish Ethnography Wing. Spice boxes on display are on loan from collections in New York, London, Paris, Copenhagen, Frankfurt, Würzburg, Jerusalem and Tel Aviv. The ritual of the Havdalah ceremony, conducted immediately following the Jewish Sabbath and other festival days, marks the transition from the holy day of rest to the ordinary weekday. Blessings are recited over wine, herbal spices, and a special candle. In Europe, fragrant herbs were rare and not readily available. Thus, during the 12 th century a special container was devised to keep spices, which usually consisted of cloves, basil, or myrtle. Tower-shaped vessels similar to those on display, often referred to as "spice towers," were among the earliest and most widespread motif for spice boxes -- with each tower shaped according to local architectural trends. Spice boxes created in Schwäbisch Gmünd were quite distinct from those produced in other parts of the region, and yet very similar to the spice boxes characteristic of distant Galicia. This similarity most probably derived from a model spice box brought by Jewish merchants traveling between southern Germany and Galicia, or by Jews fleeing Galicia who settled in the area of Schwäbisch Gmünd. The resemblance among the surviving examples is seen in the basic structure of each box: a flag on top, surmounting a ball, and most notably, the use of filigree, a technique uncommon in Germany at that time. Despite unfriendly relations between Christians and Jews in the Schwäbisch Gmünd region during the 18 th century, the task of producing Jewish ritual objects was undertaken by Christian craftsmen. Adopting the same techniques they used for fashioning domestic objects and Christian ceremonial objects, local silversmiths employed traditional filigree techniques and enamel panels to create Havdalah spice boxes for their Jewish customers. The shape of the spice towers was most probably adapted from Church silver vessels such as the monstrance and reliquary, which were also fashioned according to architectural tower forms. Surprisingly, the source of the biblical scenes depicted on the spice towers is a Christian edition of the Holy Bible, including the New Testament, which was illustrated by the Swiss artist Matthäus Merian (1593-1650) and printed in 1630. Originating in Schwäbisch Gmünd in October 2001, the exhibition has also been on view at the Jewish Museum in Vienna prior to its current display at the Israel Museum. The exhibition is accompanied by an English and German language catalogue. Curator in Charge: Daisy Raccah-Djivre, Chief Curator of Judaica and Jewish Ethnography; Exhibition Curator: Sharon Weiser-Ferguson, Judaica and Jewish Ethnography Wing; and Guest Curator: Dr. Gabriele Holthuis, Director of the Schwäbisch Gmünd Museum, Germany . The exhibition has been made possible by the Foreign Office of the Federal Republic of Germany; Landesstiftung Baden-Württemberg; The Eduard-Dietenberger Foundation, Schwäbisch Gmünd; Rolf Becker, Baierbrunn; and the Association of Friends of the Israel Museum in Germany.
Israel Museum Presents First Major Exhibition of Israeli Artist Jan Rauchwerger
"Jan Rauchwerger's art is a powerful blend of sensuous color, light, and painterly qualities, combining autobiographical events, a range of associations, ironic modulations, and lingering childhood memories," said Ruth Apter-Gabriel, curator for special art projects at the Israel Museum, Jerusalem. "His visually appealing works of everyday life seem at a first glance simple and accessible, yet their simplicity proves deceptive, as underneath lie enigmatic, deeper, and often unsettling layers expressed either through painterly means or psychological insights, reflecting tensions and conflicts in life."
Longing for artistic freedom, Jan Rauchwerger immigrated to Israel in 1973 where he was deeply affected by the special light and exotic landscapes of open sea, cypresses and palm trees. Rauchwerger's landscapes powerfully convey his sensitivity to light and space, as perceived in the painting In the Orchard (1985), where flickering lights lead the viewer into the dark, through a stormy landscape. Fruit and simple household utensils such as cups and saucers, vases and tables, are common objects in the artist's works. Like his Russian teacher, Vladimir Weisberg, Rauchwerger paints still lifes as highly exact compositions, using a limited repertoire of everyday items and emphasizing their common nature and use. This can be observed in Still Life with Orange (1988), which also demonstrates the essential role that light and its properties play in Rauchwerger's work, as do contrasting textures. The use of metaphoric autobiographical elements, in particular his immediate family and close friends, is another driving force for Rauchwerger. Portraits of the artist's daughter, Miri (1979) and a family friend, Jeanette (1979), invite a fascinating comparison between innocent childhood and feminine assertiveness, focusing on the figure's size, proportions, and pose. Rauchwerger's portraits of the sheltered world of his home and family enable viewers to chart the evolution of his family life: the maturation of his two eldest children, the dissolution of his marriage, his marriage to his current wife, and the family they created. "Working as an artist in Israel for over three decades and teaching hundreds of art students, Jan Rauchwerger occupies a special place in the Israeli art community," states James Snyder, Director of the Israel Museum, Jerusalem. "The Israel Museum is dedicated to presenting the best of Israeli art to international audiences, and we are proud to be the first museum to organize a major retrospective of Rauchwerger's artistic achievement." The exhibition and catalogue are made possible by The Gottesman Family Foundation and by the donors to the Israel Museum's 2004 Exhibition Fund: Melva Bucksbaum and Raymond J. Learsy, Aspen, Colorado; Hanno D. Mott, New York; and The Nash Family Foundation, New York.
Liquid Spaces: Digital Works by Five Israelis
Interactive and mediated art, embracing such fields as digital video art, did not arrive in a sudden flurry of electronic pixel dust. Interactive art incorporates in it's artistic gesture the passive language of television, the dynamic language of computer and video games, and the typographic and verbal encoding established by such avant garde artistic movements as Dada, Fluxus, and the Situationists. Beginning in the 1960's with the proliferation of computers and the development of new digital interfaces, new media have collapsed the boundaries between art and design, science and technology. Liquid Spaces artists come from diverse backgrounds including industrial design, literature, film, classical jazz, architecture, and photography. Industrial designer Daniel Rozin's works, Wooden Trash and Shiny Balls Mirror, entice the visitor to reflect on and be reflected by their transformative surfaces. Video artist and documentary film maker Tirtza Even invites the visitor to navigate her liquid landscapes through digital intervention, a transforming agency granted by the artist to the user to produce new variations across non-linear pathways. Amit Pitaru, an artist, Jazz musician and software engineer, plays with animated drawings and painted images through computer coding, while architect Ruth Ron and interaction designer Inbar Barak collaborate on an installation that allows gallery visitors to see through walls with Superman-like X-ray vision, into the Museum's hidden spaces. The exhibition is curated by Alex Ward, curator of Design and Architecture at the Israel Museum. Exhibition made possible by the donors to the Museum's 2003 exhibition Fund: Melva Bucksbaum and Raymond J. Learsy, Aspen Colerado; Ruth and Leon Davidoff, Paris and Mexico City; Hanno D. Mott, New York; The Nash Family Foundation, New York; Intel Israel; Bezalel Academy of Art and Design, Jerusalem
Victor Brauner Centenary
Born in the Carpathian Mountains of Romania, Brauner was exposed to a range of folkloric traditions, attending the School of Fine Arts in Bucharest in 1921. A decade later Brauner settled in Paris, where he was introduced to the Surrealists by Yves Tanguy, joining the group by 1933. Following the artist's first Parisian solo show at the Galerie Pierre in 1934, which was not well received, Brauner left Paris, returning only in 1938. Several months later he lost his left eye while trying to break up a fight between Oscar Dominguez and Estaban Frances in Dominguez's studio. Prophetically, several years earlier, Brauner began painting works featuring human figures with mutilated eyes, including a self-portrait with a bleeding eye. At the outbreak of World War II, unable to obtain suitable painting materials, Brauner improvised with candle wax and developed the encaustic technique, incising and coloring the wax, favoring organic coloring materials such as coffee or walnut. This technique proved particularly apt for articulating his esoteric visions, as seen in Woman, Mountain, and The Object Gives Life, displayed in this special exhibit. Brauner focused on developing his personal style, incorporating elements from Near Eastern art, such as the flattening and heraldic figures in Oppression of the Object, Kabbala, Biblical magic and alchemy, and other mystical texts, such as Novalis in The Object Gives Life. Special exhibit curated by Adina Kamien-Kazhdan, Associate Curator, The Stella Fischbach Department of Modern Art. The Israel Museum, Jerusalem |
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