Aharon Shaul Schur

Aharon Shaul Schur (1864–1945) was born in the city of Mogilev in Belarus. As a child, he was instructed in the Torah in a heder, as befitting the son of a rabbi and kosher butcher, and it was there that his artistic talent became apparent. At the age of eighteen, he traveled to Vilnius, and began his artistic education, which he continued in Vienna and Berlin, where he joined the circles of Jewish artists. In 1913, the Berlin committee of the Bezalel School of Arts and Crafts in Jerusalem

Jan Rauchwerger

Of all of the works of Jan Rauchwerger (b. 1942), this exhibition, for the first time, focuses on the portraits of Galit Rauchwerger – his life partner, artist, and mother of his children (Daniel and Nadav), whom he has been painting for thirty-five years. Rauchwerger, who immigrated to Israel from Russia in 1973, won acclaim before the end of that decade, and has since exhibited numerous exhibitions in major galleries and museums in Israel and around the world. The daily painting routine that

Elie Shamir

Elie Shamir’s solo exhibition focuses on his portrait paintings and ongoing explorations in his work that offer a biographical insight into his birthplace, both ideologically and symbolically. At the heart of the exhibition is the notion of the Father, who is repeatedly portrayed, both expressly and metaphorically – ranging from a portrait of the artist’s biological father, the late Hillel Shamir, and various contemporaries of his; and of the artist’s grandfather, the late Mordechai Shamir,

Iddo Markus

While browsing Facebook in 2016, Iddo Markus came across a marginal image – a digital image called 1679.jpg, which was a picture of a female acquaintance of his, in an Israeli setting. It was an unremarkable image, with no striking color range or iconic features. Choosing it almost at random, Markus created his own screenshot of it, thereby severing it from its online origins, and printed it on a variety of fast and domestic printers, and continued to subject it to a process downgrading and

Portrait Time I

The focus of the museum’s current group of exhibitions, and of the following one, is on portraits and their significance. Portraiture, which is one of the classic genres in art, throws into sharp relief questions of identity and modes of representation, as well as the tensions between personal and private expression and social and periodic articulation, and between the desire for material immortalization and the ephemerality of our human nature. The exhibitions highlight two intersecting issues

Iris Nesher

At the center of Iris Nesher’s exhibition is a projection on a loop of snapshots of her son, Ari Nesher, taken at various museums and other art-related destinations around the world. The images begin with a photograph of Ari as a child of six, during a family visit to the Israel Museum, Jerusalem. He is stretched out, asleep or possibly dozing, on the stuffed cloth cushions at the center of the exhibition hall, stoically accepting the need to wait for his family to finish their visit to the

Maria Saleh Mahameed

The new work by Maria Saleh Mahameed, Ana Hoon (in Arabic, “I Am Here”), tells her story in the past year. It has been a particularly dramatic year, in which she found herself hovering between life and death, no less. The story unfolds on a scroll of white canvas, in an array of images and symbols and in various drawing styles – starting with her acceding to a request by Hadassah Medical Center in Jerusalem to donate some of her bone marrow to save an unnamed boy; through her serious road

Natalia Zourabova

Text: Lena Russovsky In her exhibition, Devochki (in Russian, “Girls”) Natalia Zorbova opens her home to the scrutiny of other people. “This is the fortress, this is where everything happened,” she says. She allows us to look into her private space, thereby providing a glimpse into the experiences of a Russian-speaking immigrant woman living in Israel.

Allison Zuckerman

Allison Zuckerman, a New York artist (b. 1990), has been dubbed the “DJ of the Art World.” In her paintings, she samples elements from past masterpieces of Western culture – always by male artists – and creates a new remix that combines layers of history with a hyperactive, up-to-date, contemporary presence. Like a brazen robber in broad daylight, she grafts modern and contemporary artists with Old Masters – Lucien Freud with Bronzino, George Condo with Rossetti, Rogier van der Weyden

Vered Aharonovitch

Vered Aharonovitch’s solo exhibition centers on a family and their fine house, which we are invited to inspect in a spot of voyeuristic indulgence. Despite its conventional, respectable appearance, in this house there are no compunctions about washing the dirty laundry in full view. We must not allow the exquisitely rendered details of this dollhouse – with its appealing solidity, bright expression, and gingerbread-like colors – to deceive us, for it possesses the seductive complexity of