About the Israel Museum, Jerusalem
The Israel Museum is the largest cultural institution in the State of Israel and is ranked among the world’s leading art and archaeology museums. Founded in 1965, the Museum houses encyclopedic collections, including works dating from prehistory to the present day, in its Archaeology, Fine Arts, and Jewish Art and Life Wings, and features the most extensive holdings of biblical and Holy Land archaeology in the world....More
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Renowned Gabriel Revelation Stone in First-Time Exhibition in Israel
Landmark display sheds light on the spiritual side of Herod's regime, as well as the role of the Angel Gabriel in the three monotheistic faiths
The Gabriel Revelation, Eastern Dead Sea region, 1st century BCE – 1st century CE, Ink on limestone, Collection of Dr. David and Jemima Jeselsohn, Zurich, Photo @ Bruce Zuckerman
Jerusalem, April 30, 2013 – Considered the most important archaeological artifact to come to light in the region since the discovery of the Dead Sea Scrolls, the Gabriel Revelation Stone will be on public view for the first time in Israel as the centerpiece of a new focused exhibition at the Israel Museum, opening May 1, 2013. The inscribed first-century BCE tablet, discovered in 2007 on the eastern shore of the Dead Sea, sheds light on the spiritual life of the Second Temple Period. The exhibition I Am Gabriel will contextualize and further illuminate the stone’s inscriptions with a number of ancient, rare manuscripts – including a fragment of the Dead Sea Scrolls and the 13th-century Damascus Codex – tracing the development of the figure of the Angel Gabriel across the early years of rabbinic Judaism, Christianity, and Islam. On view through February 11, 2014, I Am Gabriel complements the ongoing large-scale exhibition Herod the Great, which explores other aspects of the period.
The Gabriel Revelation inscription reflects the messianic atmosphere, anxiety over the fate of Jerusalem, and the new role of angels as intermediaries that characterized the spiritual orientation of Jews in the Second Temple Period. Inscribed in ink on stone, a rare find in itself, the Hebrew text is written in the first person, the narrator identifying himself as the angel Gabriel. The inscription comprises a series of dialogues; in the main dialogue the speaker identifies himself three times in the first-person: "I am Gabriel." Gabriel converses with a human figure – a visionary or prophet – to whom he, Gabriel, is apparently communicating a vision. Scholars are deeply divided regarding the reading of the inscription's 87 lines, since large sections have been effaced. However, all agree that the main topic of the inscription is an attack on Jerusalem and the hope that God will see to the city's deliverance for the sake of his servant David, perhaps referring to the Messiah of Davidic descent. The style of the inscription echoes the late prophetic and apocalyptic literary genres that are unique to the Second Temple period, similar to that of the Dead Sea Scrolls and the later books of the Prophets, such as Daniel, Haggai, and Zechariah.
Complementing this exceptional inscription are works showing the evolution of the figure of the angel Gabriel in the three monotheistic religions, including the War Scroll, one of the first Dead Sea Scrolls discovered at Qumran in 1947; the Book of Daniel from the 13th-century Damascus Codex of the Hebrew Bible, rarely on display to the public; the Gospel of Luke from a rare 10th-century Latin manuscript of the Four Gospels from France, and a 15th-16th-century Quran from Iran. Also on view are prayer books from the three traditions with illustrations of the angel Gabriel.
I am Gabriel is curated by Michal Dayagi-Mendels, Tamar and Teddy Kollek Chief Curator of Archaeology, and Adolfo D. Roitman, Lizbeth and George Krupp Curator of the Dead Sea Scrolls.
Rare 15th-Century Illuminated Manuscript of Maimonides’ Mishneh Torah
Jointly Acquired by The Israel Museum, Jerusalem and The Metropolitan Museum of Art
Mishneh Torah by Maimonides, Northern Italy, ca. 1457-65
Jerusalem and New York (April 29, 2013) – The Israel Museum, Jerusalem, and The Metropolitan Museum of Art announced today the joint acquisition of one of the finest illuminated Hebrew manuscripts ever created, a rare handwritten copy of the Mishneh Torah by Maimonides, one of the most important rabbinical figures of the Middle Ages. The manuscript was previously in the collection of Judy and Michael Steinhardt, New York, and will be shared by the two museums on a rotating basis.
The Mishneh Torah is being acquired by the Israel Museum with support from: an anonymous donor; René and Susanne Braginsky, Zurich; Renee and Lester Crown, Chicago; Lynn Schusterman, Tulsa; and Judy and Michael Steinhardt, New York. Funding for the acquisition at the Metropolitan Museum will be announced at a later date.
Created in Northern Italy in ca. 1457, this beautifully illustrated Hebrew text includes the eight final books of the Mishneh Torah, the first systematic codification of Jewish law. The manuscript is richly illuminated, with six large painted panels decorated in precious pigments and gold leaf, as well as 41 smaller illustrations with gold lettering adorning the opening words of each chapter. These detailed illustrations, executed in the style of Northern Italian Renaissance miniature painting, along with the manuscript’s elegant script, make it one of the finest extant illuminated copies of the Mishneh Torah ever to be created. The manuscript underwent a complete restoration in the Paper Conservation Laboratory at the Israel Museum, where it has been on long-term loan since 2007 and on view to the public since 2010.
“The Mishneh Torah is a rare treasure that unites Jewish literary heritage with some of the finest illuminations from the Italian Renaissance,” said James S. Snyder, Anne and Jerome Fisher Director of the Israel Museum. “On loan for display in our galleries in recent years, the manuscript now becomes a seminal addition to our extensive holdings in illuminated Hebrew manuscripts. We are very pleased to be acquiring this work jointly with The Metropolitan Museum of Art for the shared enjoyment of our publics in Jerusalem and in New York and are grateful to the international group of supporters that enabled this important acquisition.”
Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art, stated, “We are pleased and proud to collaborate with the Israel Museum on acquiring such a rare and important manuscript for both of our institutions. The Mishneh Torah is a justly celebrated work that attests to the refined aesthetic sensibility of members of Italy’s Jewish community as well as to the opulence of North Italian book decoration in the 15th century. In recent years, through stellar loans provided by a number of institutions, the Metropolitan Museum has exhibited several major illustrated Hebrew manuscripts in rotation. The Mishneh Torah, a document of great historical and literary importance, and a masterpiece of illumination, will be a major addition to the Museum’s permanent and encyclopedic collection, and will provide audiences in New York and Jerusalem with a vastly rewarding viewing experience for generations to come.”
Michael Steinhardt added, “We could not be happier that this rare and remarkable manuscript will be in the care of the Israel Museum and The Metropolitan Museum of Art in perpetuity. One of the world’s most significant Hebrew manuscripts, the Mishneh Torah will add important new dimensions to both collections—and its shared homes in New York and Jerusalem will ensure the broadest public engagement with the work. Judy and I are also delighted for our role within the group of donors who are making this key acquisition possible.”
The manuscript was originally conceived in two volumes. The first volume, which contains books I-V, was purchased between 1838 and 1854 by the renowned Italian collector Giovanni Francesco De’ Rossi, whose manuscript holdings were later acquired by the Vatican Library. The second volume, which includes books VII-XIV and is often referred to today as the "Frankfurt Mishneh Torah,” reached Germany as part of the collection of Avraham Merzbacher of Munich until the end of the 19th century and was later presented to the Frankfurt Municipal Library. In 1950, a Frankfurt Jewish family acquired the manuscript, along with seven others, in exchange for property that the city wished to acquire for municipal development. It remained in the family until its 2007 purchase by Judy and Michael Steinhardt, New York
Herod Exhibition Extended until January 2014
Benni Maor, In the Herod the Great exhibition
Herod the Great exhibition trailer >>>
Jerusalem, April 9, 2013 – In response to unprecedented public interest, the Israel Museum announced today that Herod the Great: The King's Final Journey will remain on view for an additional three months through January 4, 2014. The extension allows the Museum to better accommodate the significant numbers of visitors and school groups from throughout Israel, as well as international tourists who are coming to experience the exhibition. In the eight weeks since the February 13 opening, Herod the Great received over 75,000 visitors, and during the recent Passover and Easter holidays, over 3,000 visitors per day attended the exhibition. Timed tickets are issued during peak hours in order to minimize waiting time, and visitors are encouraged to come on Sundays and other weekday mornings. Tickets may also be purchased online in advance at ticketing.imj.org.il.
About the exhibition
The life and legacy of Herod the Great, ruler of Judea from 37-4 BCE and considered among the most important imperial figures in history, is the focus of this groundbreaking archaeology exhibition. Centered on the findings from Herod’s tomb at Herodium – uncovered in 2007 after a forty-year search – Herod the Great presents over 250 unique archaeological artifacts, exploring for the first time the life of this controversial king, whose historical and physical imprint is virtually unchallenged in this region. Many artifacts are on display for the first time and are illustrated by reconstructions of Herodian sites using original material. The exhibition also features a monumental, full-size reconstruction of the burial chamber of the king’s mausoleum, including the intricately carved sarcophagus believed to have held his body, together with fragments from the Second Temple of Jerusalem and reconstructed palace chambers decorated with meticulously restored wall paintings and stucco and mosaic work. Herod the Great is curated by David Mevorah, Curator of Hellenistic, Roman, and Byzantine Periods, and Dr. Silvia Rozenberg, Rodney E. Soher Senior Curator of Classical Archaeology.
New Exhibition Explores Recurring Motif of Joan Miró's Spanish Dancer
Joan Miro, The Hunter (Catalan Landscape), Montroig, July 1923-Winter 1924
Jerusalem, February 20, 2013 – The Israel Museum presents the second exhibition in its "Focus" series, which takes as its starting point two works from the Museum’s own holdings: Joan Miró's Painting (Spanish Dancer), 1927, and his drawing Untitled (Spanish Dancer), 1924. Miró’s fascination with Spanish dancers unfolds through a series of paintings, drawings, and sketches produced over a period of sixty years. The fifteen works on display, from the Museum’s collection and on loan from international institutions and private collections, draw on symbols and imagery recurrent in Miró’s oeuvre and are rendered through a profusion of artistic styles. Joan Miró's Spanish Dancer explores this theme within the artist's oeuvre, analyzing its iconographic sources, connection with the artist's worldview, and its place within the development of Miró's artistic language. The exhibition is on view from February 26 through June 29, 2013.
The two works from the Museum's collection, Painting (Spanish Dancer), 1927, and Untitled (Spanish Dancer), 1924, stand at the core of this analysis of an important ensemble of works that both draw on imagery recurrent in the oeuvre of Joan Miró and establish a vocabulary of visual signs connected with the image of the Spanish dancer. Flamenco's sensuous display of the upper torso, articulate hand gestures and percussive footwork inspired Miró to produce more than thirty sketches, drawings, paintings, and collages of Spanish dancers over a period of sixty years, between 1921 and 1981. These witty and playful works are rendered in a variety of styles—from realism and cubism, to surrealism and abstract collage—and exhibit Miró’s constant experimentation with form, medium, and technique. Miró’s dancers draw upon childhood memories, Catalan art and folkloric objects that he collected. They are also linked with the popularity of Spanish themes within Parisian avant-garde painting, sculpture, and music during the second half of the 19th century and the first decades of the 20th century. As an artist who divided his time between Paris, Barcelona, and his family farm in Montroig (Tarragona), Miró’s choice to pursue the Spanish dancer (titled in French by the artist in most cases as danseuse espagnole) reflects a desire to use an icon of "Spanishness" in France to express his origins in an evolving personal, yet at the same time universal, avant-garde language.
The exhibition is curated by Dr. Adina Kamien-Kazhdan, David Rockefeller Curator, The Stella Fischbach Department of Modern A
Israel Museum Presents First Exhibition on King Herod, Featuring Newly Discovered Tomb
Monumental burial chamber, discovered after 40-year search, reconstructed and on display alongside new archaeological findings from first century BCE for the first time
Handle of a footed marble basin decorated with Seilenoi heads, the 1st century BCE.
On loan from SAOJS
Jerusalem, February 12, 2013 – The Israel Museum, Jerusalem, premieres the world’s first exhibition on the life and legacy of Herod the Great, one of the most influential – and controversial – figures in ancient Roman and Jewish history. On view from February 13, 2013, through October 5, 2013, the landmark exhibition Herod the Great: The King's Final Journey will present approximately 250 archaeological finds from the king’s recently discovered tomb at Herodium, as well as from Jericho and other related sites, to shed new light on the political, architectural, and aesthetic impact of Herod’s reign from 37 to 4 BCE. Among the objects on view—all of which have undergone extensive restoration at the Israel Museum for exhibition display purposes—will be three sarcophagi from Herod’s tomb and restored frescoes from Herodium, his private bath from the palace at Cypros; never-before-seen carved stone elements from the Temple Mount; and an imperial marble basin thought to be a gift from Augustus.
Lionized as the “the greatest builder of human history,” King Herod was also demonized for his uncertain ethnic and religious pedigree, controversial political alliances, the execution of his wife and three of his children, and erroneous association with the New Testament narrative of the “Massacre of the Innocents” in Bethlehem. Herod the Great: The King's Final Journey seeks to provide a better understanding of this ancient figure through the monumental architecture he created and the art and objects with which he surrounded himself. The exhibition will examine Herod’s remarkable building projects, complex diplomatic relations with the Roman emperors and nobility, and dramatic funeral procession from Jericho to the mausoleum he constructed for himself in Herodium. A striking reconstruction of the burial chamber of the mausoleum is a centerpiece of the exhibition.
In 2007, after a 40-year search, renowned archaeologist Professor Ehud Netzer of the Hebrew University of Jerusalem discovered the ruler’s tomb at Herodium on the edge of the Judean Desert. The site included a fortress palace and a leisure complex with gardens, large pools, decorated bathhouses, and a theatre with a royal box. In his final years, Herod reconfigured the architecture of the complex to prepare the setting for his burial procession and site, and constructed a magnificent mausoleum facing Jerusalem. The Museum’s exhibition is dedicated to the memory of Professor Netzer, who died in 2010 at the site of his seminal discovery.
“Professor Ehud Netzer capped his decades-long excavation of Herodium with his discovery of King Herod’s tomb in 2007, and over the past five years, archaeologists excavating the site have made remarkable discoveries that have deepened our appreciation of Professor Netzer’s remarkable achievement and enriched our understanding of Herod, his reign, and his role in the history of the region,” said James S. Snyder, Anne and Jerome Fisher Director. “We are proud of the extensive restoration work that our conservation staff has been able to complete and thrilled to present these important finds to the public for the first time in an exhibition that will illuminate a pivotal period in the history of the Land of Israel.”
Herod the Great: The King's Final Journey will be organized around the route of Herod's carefully planned funeral procession, from the throne room at his winter palace in Jericho, through Jerusalem, to his monumental tomb at Herodium. Central themes of the exhibition include Herod’s impact on the architectural landscape of the Land of Israel; his complex relationships within the Roman Empire; and his death and burial:
• Herod the Great Builder
King Herod is known for his large-scale building projects, which required enormous resources and transformed the landscape of the Land of Israel. In addition to his most renowned achievement—the renovation and re-construction of the Temple in Jerusalem—Herod also built elaborate palaces, fortresses, public buildings, pagan temples, and cities which reflect the integration of local building traditions and materials with Roman technology and style. Herod’s extensive building activities will be illustrated in the exhibition through architectural elements and archaeological fragments from several Herodian sites, including Jerusalem, Jericho, Cypros, and Herodium.
• International Relations
Herod’s rise to power was tightly bound with the rise of the Roman Empire, whose culture he greatly admired. Initially a friend and supporter of Marcus Antonius, Herod famously switched allegiances, following the former's defeat, and courted the favor of the first Roman emperor Augustus. Herod expressed his devotion by dedicating temples and cities in honor of Augustus and also paid tribute to other notable Roman personages, like Agrippa, in the form of monetary, military, and political support. Herod’s special affiliation with Rome will be presented through portraits of Augustus, Livia and Marcus Agrippa, and through Augustan luxury objects, brought to the region from Rome, as well as Herodian finds imported or crafted by Roman artists.
• The Final Journey from Jericho to Herodium
The funeral of King Herod in 4 BCE began at his lavish winter palace in Jericho and ended at his fortress and palace at Herodium, where he was buried in a mausoleum especially constructed for him facing Jerusalem. The King’s final journey will be presented through reconstructions of special architectural elements from Jericho and Herodium, including the decorated throne room of the Jericho palace where Herod’s body lay in state and the burial chamber from his mausoleum.
Herod the Great: The King's Final Journey is organized by the Israel Museum and curated by David Mevorah, Curator of Hellenistic, Roman, and Byzantine Periods, and Dr. Silvia Rozenberg, Rodney E. Soher Senior Curator of Classical Archeology. The exhibition will be accompanied by a comprehensive 250-page catalogue, published by the Israel Museum, featuring the first publication of the tomb complex and other discoveries from Herodium. The catalogue will also include scholarly articles on Herod’s life and the legacy of Herodian architecture, written by Professor Netzer before his death in 2010, and by other leading experts in the field.
Herod the Great exhibition trailer >>>
Israeli Art Season Opens at the Israel Museum
Four new exhibitions showcase wide range of styles and media;
Symposium on Israel’s arts in the 21st century accompanies exhibition openings
Jerusalem, December 17, 2012 – On December 18, 2012, The Israel Museum, Jerusalem, inaugurates its Israeli Art Season, featuring four new exhibitions showcasing the work of emerging and established artists in a variety of disciplines. From realist painter Israel Hershberg to video artist Nelly Agassi and painter Joshua Borkovsky, these exhibitions highlight the Israel Museum's rich holdings in Israeli art, complemented by important loans and works from the Museum's international contemporary art collection. In conjunction with the Season's opening, the Museum will also host Review-Preview, a two-day symposium exploring Israel’s creative arts in the 21st century.
"The Museum is committed to gathering and presenting the rich texture of Israel’s creative output in the visual arts, featuring the work of recognized artists of the past and present, alongside that of promising younger talents," said James Snyder, Anne and Jerome Fisher Director. "In the spirit of this commitment, we are proud to inaugurate this Israeli Art Season."
Fields of Vision: Landscapes by Israel Hershberg
Through February 4, 2013
One of Israel's preeminent realist painters, Israel Hershberg's multifaceted career as an artist, teacher, and founding director of the Jerusalem Studio School has added a new dimension to the canon of Israeli art over the past four decades. Known for his close, direct, and unrelenting powers of observation, Hershberg has, over the past ten years, broadened the scope of his own artistic production, moving from still lifes and interiors to expansive landscapes, each panorama the result of extended and painstaking work. Fields of Vision presents three large-scale landscapes and a preparatory study, produced in Italy and Israel, representing a pivotal chapter in Hershberg's oeuvre. The exhibition is curated by Amitai Mendelsohn, Curator, David Orgler Department of Israeli Art.
Nelly Agassi: Video Work
Through April 2, 2013
Nelly Agassi, Red Flame, 2004, Video 1:58 minutes
This exhibition explores the video work of Israeli artist Nelly Agassi from the beginning of her artistic career in the mid-1990s to today. In the ten works on view, Agassi uses her body as a platform for presenting repetitive actions dealing with womanhood, emotional experience, and physical pain. While her work documents these actions with an immediacy that resonates with the art of the 1970s, which often placed the body at the forefront, the intimacy of her creativity distinguishes Agassi from those artists who used the body for ideological purposes. Agassi is a wide-ranging artist who works in video, on paper, and in embroidery, creating installations and engaging in performance art. However, her videos are at the core of her work, creating a powerful and enduring link between the private and the public, the intimate and the exposed, and inviting the spectator to enter the artist's world and undergo an intense emotional experience. Nelly Agassi is curated by Amitai Mendelsohn, Curator, David Orgler Department of Israeli Art.
Great Wide Open: New and Old in the Collection
Through April 2, 2013
Arie Aroch, Boat, 1968
Since the Romantic era, artists have been fascinated by seascapes and desert landscapes -- their infinitude, the dangers inherent in them, and the catharsis they offer. Challenged by their predominantly abstract forms and textures, painters and photographers alike have struggled to capture the vast, ungraspable plain devoid of a distinct beginning and end. Approximately sixty works by Israeli and international artists are on view, including recently acquired works alongside others from the Museum's collections. Juxtaposing older and more recent examples, the exhibition re-contextualizes the periods, movements, and mindsets that underscore the multilayered quality of the Museum’s holdings. Among the artists whose works are on display are: Mordecai Ardon, Arie Aroch, Gustav Courbet, Joseph Dadoune, Ori Gersht, Dani Karavan, Liat Livni, Uri Nir, Ezra Orion, and Gilad Ratman. Great Wide Open is curated by Amitai Mendelsohn, Curator, David Orgler Department of Israeli Art.
Joshua Borkovsky: Paintings, 1987-2012
Through April 2, 2013
Joshua Borkovsky, From the Vera Icon cycle, 2008
This comprehensive exhibition features 58 works by the prominent Jerusalem-based artist Joshua Borkovsky, selected from ten cycles of paintings spanning 25 years. Many of Borkovsky's works are inspired by myth and involve elements of repetition, shadow, and reflection. Three of the cycles from the past decade – Echo and Narcissus, Vera-Icon, and Apelles' Line – stand at the exhibition’s core, complemented by artworks from this same period and from the 1980s. Together they offer an integral body of work, in which each unit resonates with the others. Veronese Green is curated by guest curator Moshe Ninio, with Associate Curator of Israeli Art Aya Miron.
Review-Preview: The Arts in Israel in the 21st Century
Inaugurating the first public discussion examining Israel’s creative arts in the first years of the 21st century, the Adi Foundation, the Israel Museum, and the Hebrew University of Jerusalem present a two-day symposium led by many of Israel’s preeminent artists, scholars, and intellectuals. Comprising ten sessions of lectures, artistic presentations, and performances, the symposium seeks to address a wide range of creative domains – the visual arts, architecture, design, cinema, television, theater, dance, literature, music, and Jewish creativity, including presentations by, among others, artists Adi Ness and Micha Ullman, singer Efrat Gosh, poet Agi Mishol, Rabbi Dr. Benny Lau, Professor Avishai Margalit, and "father of Israeli art" Yigal Zalmona. Review-Preview is open free of charge to the public at the Israel Museum.
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About the Israel Museum
The Israel Museum is the largest cultural institution in the State of Israel and is ranked among the world’s leading art and archaeology museums. Founded in 1965, the Museum houses encyclopedic collections, including works dating from prehistory to the present day, in its Archaeology, Fine Arts, and Jewish Art and Life Wings, and features the most extensive holdings of biblical and Holy Land archaeology in the world. In just 45 years, thanks to a legacy of gifts and generous support from its circle of patrons worldwide, the Museum has built a far-ranging collection of nearly 500,000 objects, representing the full scope of world material culture.
In the summer of 2010, the Israel Museum completed the most comprehensive upgrade of its 20-acre campus in its history, featuring new galleries, entrance facilities, and public spaces. The three-year expansion and renewal project was designed to enhance visitor experience of the Museum’s collections, architecture, and surrounding landscape, complementing its original design by Alfred Mansfeld and Dora Gad. Led by James Carpenter Design Associates of New York and Efrat-Kowalsky Architects of Tel Aviv, the project also included the complete renewal and reconfiguration of the Museum’s Samuel and Saidye Bronfman Archaeology Wing, Edmond and Lily Safra Fine Arts Wing, and Jack, Joseph, and Morton Mandel Wing for Jewish Art and Life.
Among the highlights of the Museum’s original campus is the Shrine of the Book, designed by Armand Bartos and Frederick Kiesler, which houses the Dead Sea Scrolls, the oldest biblical manuscripts in the world, as well as rare early medieval biblical manuscripts. Adjacent to the Shrine is the Model of Jerusalem in the Second Temple Period, which reconstructs the topography and architectural character of the city as it was prior to its destruction by the Romans in 66 CE, and provides historical context to the Shrine’s presentation of the Dead Sea Scrolls.
The Museum’s celebrated Billy Rose Art Garden, designed for the original campus by Japanese-American sculptor Isamu Noguchi, is counted among the finest outdoor sculpture settings of the 20th century. An Oriental landscape combined with an ancient Jerusalem hillside, the garden serves as the backdrop for the Israel Museum’s display of the evolution of the modern western sculptural tradition. On view are works by modern masters including Jacques Lipchitz, Henry Moore, Claes Oldenburg, Pablo Picasso, Auguste Rodin, and David Smith, together with more recent site-specific commissions by such artists as Magdalena Abakanowicz, Mark Dion, James Turrell, and Micha Ullman.
The Ruth Youth Wing for Art Education, unique in its size and scope of activities, presents a wide range of programming to more than 100,000 schoolchildren each year, and features exhibition galleries, art studios, classrooms, a library of illustrated children’s books, and a recycling room. Special programs foster intercultural understanding between Arab and Jewish students and reach out to the wide spectrum of Israel’s communities.
In addition to the extensive programming offered on its main campus, the Israel Museum also operates two off-site locations: the Rockefeller Archaeological Museum, an architectural gem built in 1938 for the display of archaeology from ancient Israel; and Ticho House, which offers an ongoing program of exhibitions by younger Israeli artists in a historic house and garden setting.
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