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Summer Marathon
For children who love art
Looking In, Looking Out: The Window in Art
In the Youth Wing
Women`s Tales: Four Leading Israeli Jewelers
in the Ticho House
Winners of the Israel Museum Ben-Yitzhak Award for the Illustration of a Children`s Book, 2010
In the Youth Wing Auditorium
Piecing Together the Past - Ancient Fragments of the Song of the Sea
In the Shrine of the Book
West Meets East: The Story of the Rockefeller Museum
at the Rockefeller Museum
Watch the museum grow!
Live webcam from the Israel Museum, Jerusalem
The Art Garden and the galleries in the main building are closed
due to the comprehensive campus renewal at the Israel Museum.


Current Exhibitions  

Dear Visitors,

Excitement is in the air at the Israel Museum, as we near completion of our major campus renewal project and look forward to our public opening in July 2010.  As the project enters into its final phase and our permanent galleries remain closed, we invite you to participate in our continuing programs in the Shrine of the Book, Model of Second Temple Period Jerusalem, and Ruth Youth Wing, and to enjoy the beauty of the Billy Rose Art Garden.

We wish you a pleasurable visit, and we urge you to return this summer to experience the new and renewed beauty of our completed campus and our full program of exhibitions and activities.

For Museum information call: 02-6708811
[email protected] 

Looking In, Looking Out: The Window in Art

Tsibi Geva, Bird Window (Gaza), 2000, Mixed media on wood and glass window, Courtesy of the artist

From May 7

The window has featured as a motif in art for thousands of years, both in eastern and in western culture. It continues to be present in contemporary art, where it has become imbued with new meanings. The window serves as a lookout for the artist; sometimes it is a metaphor for an entire world, sometimes for a partial, fragmentary view of it. Through it, we get a glimpse of the artist's soul, or of the lives of other people, invading their space, and in so doing perhaps escaping real life for a while. The window functions as a barrier between inside and out – a transition point between the artist and reality, between the viewer and the artwork. Running as a leitmotif in the exhibition, the window leads the visitor on a journey through the artists' gaze onto the world, their surroundings, and their own inner reality. The exhibition opens a window onto the Museum's extensive collections, as well as presenting works on loan created by artists in Israel and abroad.

In the Youth Wing

Winners of the Israel Museum Ben-Yitzhak Award for the Illustration of a Children's Book, 2010

Natalie Pudalov for Gaya and Banjo Save the World, 2008

From May 14

Original illustrations by the prize winners are on display in this exhibition. Ofra Amit is the gold medal recipient for her illustration of the book Wings by Maya Hanoch. The recipients of honorary mentions are Orit Bergman for The Locomotive, Lena Guberman for Yirmiyahu Street, Natalie Pudalov for Gaya and Banjo Save the World, and Yirmi Pinkus for The Fisherman and the Goldfish.

In the Youth Wing Auditorium

To the exhibition website> >>

Women's Tales: Four Leading Israeli Jewelers


Esther Knobel, Snails brooches, 1981, Recycled tin can

From April 23 - November 12, 2010

The jewelry artists featured in this exhibition - Bianca Eshel-Gershuni, Vered Kaminski, Esther Knobel, and Deganit Stern Schocken - have chosen jewelry as an appropriate medium for personal comment. Although all sought inspiration in their local surroundings as well as in their personal life, these four artists have developed very distinctive styles. While Eshel-Gershuni and Knobel use figurative imagery to relay their personal experiences and memories, the works of Kaminski and Stern Schocken are more abstract in form and focus on the process. Following singular journeys of self-discovery, these four women artists have made major contributions to the field of avant-garde jewelry making in Israel. This exhibition - presented in Israel after traveling to several venues across the Jerusalem, and the Racine Art Museum (RAM) in Wisconsin. 

In the Ticho House

To the exhibition website> >>

Rupture and Repair

Orit Raf, Sweating Sweet, 2008, Video

An exhibition in conjunction with the Adi Prize for Jewish Expression in Art and Design. The exhibition is a collaboration of The Adi Foundation and The Israel Museum, Jerusalem.

May 8 - July 10, 2010 in the Artists' House, Jerusalem

The exhibition brings together the eighteen works selected as finalists for “The Adi Prize for Jewish Expression in Art and Design,” a biennial international competition in the visual arts on a theme related to Jewish thought and tradition, organized by The Adi Foundation.  The Foundation, established in 2000 in memory of Adi Dermer, née Blumberg, fosters the connection between art and the spiritual values that are at the heart of Judaism. The current competition theme of “Rupture and Repair” was addressed by artists in a variety of media, including painting, textile, installation, video, jewelry, sculpture, photography, drawing, and performance. These works explore “Rupture and Repair” in Jewish history, homiletics, mysticism, and prayer, as well as in individual biographies, embracing the personal experiences of immigration, family relationships, exile, alienation, loss, and suffering. A number of artists created new objects with which to perform existing Jewish rituals of repentance, mourning, and renewal; others reinvented traditional objects and techniques. Ranging from particularistic Jewish narratives of the Shoah and kibbutz life to universal experiences of coping with crises of faith, dislocation, illness, grief, and death, these eighteen works represent creative investigations of form and content as artists confront rupture and seek repair.

Participating Artists: Dov Abramson, Raida Adon, Shai Azoulay, Ofri Cnaani, Benny Elbaz, Ofir Galili, Hadassa Goldvicht, Or Halbrecht, Amram Jacoby, Tobi Kahn, Ruth Kestenbaum Ben-Dov, Sharone Lifschitz, Peter Jacob Maltz, Katya Oicherman, Orit Raff, Zelig Segal, Arik Weiss, Yitzchak Woolf, Inbal Yomtovian, and Maya Zack.  The winner of the Adi Prize for Jewish Expression in Art and Design will be announced on May 16, 2010.Rupture and Repair was organized by Emily Bilski and Aviva Kat-Manor and is accompanied by a publication.

Piecing Together the Past: - Ancient Fragments of the Song of the Sea

From February 26

Detail from a Torah Scroll, 10th or 11th century, Collection of Stephan Loewentheil, New York

The Bible, the cornerstone of the People of the Book, was copied by scribes, interpreted by sages, and studied by generations of Jews from all walks of life. The nation’s respect for the Book of Books was also demonstrated by its desire to keep the manuscripts physically intact. This was not always possible, however,due to the hardships they experienced. Very few Hebrew manuscripts of the Bible have come down to us from the "Silent Period" – between the 2nd century, when the last of the Dead Sea Scrolls were written, and the 10th century, when the Aleppo Codex was produced. The discovery of a biblical manuscript, particularly one that served in synagogue services during the "Silent Period," is therefore a rare occasion. Two such fragments of the book of Exodus, originating in the same Torah scroll written during the 7th or 8th century – the Ashkar-Gilson Manuscript and the London Manuscript – found their way, many years later, into different collections. Here they are displayed together for the first time, alongside a fragment of the book of Exodus from the late 1st century BCE, discovered in Qumran, and another fragment of Exodus dating to the 10th or 11th century CE. Featuring excerpts of Exodus 15:1–19, these scrolls are among the earliest testimony to the Song of the Sea. The London Manuscript and the medieval fragment are on loan from Stephan Loewentheil, New York; the Ashkar-Gilson Manuscript is on permanent loan from Duke University, Durham, North Carolina.

Model of Jerusalem

Model of Jerusalem

Model of Jerusalem in the Late Second Temple PeriodIn the year 66 CE, the Great Revolt against the Romans erupted, resulting in the destruction of the city and the Temple. The ancient city was then at its largest, covering an area of approximately 445 acres. The model thus reflects ancient Jerusalem at its peak. Built at the initiative of Hans Kroch, owner of the Holyland Hotel, in memory of his son Jacob, who fell in Israel's War of Independence, the model opened to the public in the early 1960s on the premises of the hotel, and has now been relocated to the Israel Museum.

Three main sources were used to reconstruct the appearance of the city: writings from the Roman period, ancient cities similar to Jerusalem, and archaeological discoveries from Jerusalem itself. Extensive excavations in Jerusalem have greatly enhanced our understanding of the ancient city and enabled us to update the model, and it is expected that such work will continue in the future. 
More about the Model  > > >

Place: Shrine of the Book Complex
CuratorDavid Mevorah, Curator of Hellenistic, Roman and Byzantine Periods


A Wandering Bible: The Aleppo Codex

The amazing story of the Aleppo Codex, the most authoritative manuscript of the Masoretic text of the Bible, which was written in Tiberias in the 10th century, preserved by the Jewish community of Aleppo from the 14th century on, and brought to Israel in the 1950s. The Codex is accompanied by rare biblical manuscripts from the Late Second Temple Period and the Middle Ages and by related Jewish and Muslim objects.

Place: Shrine of the Book, Lower Level
Curator: Adolfo Roitman, Head of the Shrine of the Book and Curator of the Dead Sea Scrolls

West Meets East: The Story of the Rockefeller Museum

From November 16

To the exhibition website> >>

Rockefeller Museum garden

The special story of the Rockefeller Museum, designed in the 1930s by British architect Austen St. Barbe Harrison, whose works constitute a fascinating encounter between East and West. The exhibition features a rare collection of photographs from the early days of the Museum until the present, as well as a model of the Museum produced by Harrison himself.

At the Rockefeller Museum
























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