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The Jewish Museum is open today from 11 am - 5:45 pm.

Hours: Galleries

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  • Sunday 11 am – 5:45 pm
  • Monday 11 am – 5:45 pm
  • Tuesday 11 am – 5:45 pm
  • Wednesday Closed
  • Thursday 11 am – 8 pm
  • Friday 11 am – 5:45 pm
  • Saturday 11 am – 5:45 pm

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  • Adults $15
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The Jewish Museum
1109 5th Ave at 92nd St
New York, NY 10128

The Jewish Museum
1109 5th Ave at 92nd St
New York, NY 10128
212.423.3200

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Jewish Museum Members and visitors can park at Impark and Champion Parking. Read More

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Upcoming Events

Tue, Apr 24

Tuesday, April 24, 2018

|

2 PM

Curator Talk
This Is How We Do It: Masterpieces and Curiosities

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Wed, Apr 25

Wednesday, April 25, 2018

|

10:30 AM

JM Journeys
For Visitors with Early-Stage Dementia

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Wed, Apr 25

Wednesday, April 25, 2018

|

2 PM

JM Journeys
Visitors with Memory Loss

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Thu, Apr 26

Thursday, April 26, 2018

|

7:30 PM

Concert
Tomeka Reid Quartet Presented with Bang on a Can

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Fri, Apr 27

Friday, April 27, 2018

|

2 PM

Gallery Talk
Impressionist Landscape to Domestic Interior

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Sat, Apr 28

Saturday, April 28, 2018

|

11 AM

Free Saturdays

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Sun, Apr 29

Sunday, April 29, 2018

|

1 PM

Studio Art Sessions
Imaginative Furniture

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Sun, Apr 29

Sunday, April 29, 2018

|

6:30 PM

In Response: Scenes

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Thu, May 3

Thursday, May 3, 2018

|

11 AM

Members-Only Preview
Chaim Soutine: Flesh

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Who We Are

Welcome to the Jewish Museum, a museum in New York City at the intersection of art and Jewish culture for people of all backgrounds. Whether you visit our home in the elegant Warburg mansion on Museum Mile, or engage with us online, there is something for everyone. Through our exhibitions, programs, and collection of nearly 30,000 works of art, ceremonial objects, and media, visitors can journey through 4,000 years of art and Jewish culture from around the world.


As an art museum representing the diversity of Jewish culture and identity, the Jewish Museum believes in free expression and an open society. We embrace multiple viewpoints regardless of race, gender, national origin, or religion, and we oppose discrimination in all its forms.


Our exhibitions and public programs provide platforms for cross-cultural dialogue, fostering empathy, mutual understanding, and respect. We champion the powerful roles art and artists can play in our communities, both inside and outside the Museum’s walls.

Our Mission

The Jewish Museum is dedicated to the enjoyment, understanding, and preservation of the artistic and cultural heritage of the Jewish people through its unparalleled collections and distinguished exhibitions. Learn More

History

The Jewish Museum was founded in 1904 in the library of the Jewish Theological Seminary of America, where it was housed for more than four decades. Located along New York's Museum Mile, this elegant former residence has been the home of the Museum since 1947. Learn More

Stories

Your Place or Mine: Channeling the Domestic Art... Read More

Your Place or Mine: Channeling the Domestic Art of Marc Camille Chaimowicz on a Public Street in Brooklyn

The Jewish Museum’s current exhibition Marc Camille Chaimowicz: Your Place or Mine…, on view through August 5, is the first solo museum exhibition in the United States of the London-based artist’s cross-disciplinary work. For Your Place or Mine . . ., Chaimowicz transformed the Jewish Museum’s galleries into a series of metaphorical places — a home, library, and park. He accomplished this through installation of his own wallpaper and textiles, sculpture and design objects, artist’s books, and other works made across an array of media. The Museum, housed in an ornate Manhattan mansion that was once a private residence, is an ideal place to experience this interplay between public and domestic space.

To help convey an invitation to enter the artist’s world, the Jewish Museum’s marketing department determined an outdoor mural would be an interesting way for potential visitors to experience the exhibition beyond museum walls. The artist’s coy exhibition title Your Place or Mine . . . was amplified as a cheeky call to action, suggesting the wall as a meeting spot, or a place where a moment might take a more interesting turn.

Colossal Media, a national company specializing in large-scale, hand-painted murals, offered an inventory of wall locations throughout the city. A street-level, 15’ x 20’ wall at the corner of Norman and Dobbin Street in Greenpoint, Brooklyn was selected to introduce a younger audience to Chaimowicz’s work, which has been influential to artists and designers alike over his nearly 50-year career.

These photographs show the behind-the-scenes process for how the mural came together:

Using a distinctive color palette is an important part of Chaimowicz’s practice. These photos show a painter from Colossal as he pinpoints all of the colors in the advertising proof, and mixes paint for the wall accordingly.

Using our proof as a guide, another Colossal painter reproduces the image onto the wall. Each inch on the proof scales up to a foot on the wall.

Up close, the effect is disorienting. But from a distance, the painting appears almost photo-realistic.

Despite a late March snowstorm, the wall was completed ahead of schedule, taking about 6 days from the start of painting to the work’s completion on March 29.

Marc Camille Chaimowicz: Your Place or Mine… is on view at the Jewish Museum on 5th Avenue at 92nd Street through August 5, 2018. In Brooklyn, visit the Colossal Wall at Norman and Dobbin Streets through May 13, 2018.


Your Place or Mine: Channeling the Domestic Art of Marc Camille Chaimowicz on a Public Street in… was originally published in The Jewish Museum on Medium, where people are continuing the conversation by highlighting and responding to this story.

Objects Tell Stories: Remembering the Holocaust through Greta... Read More

Bracelet, Theresienstadt (Terezín), Czechoslovakia (Czech Republic), 1941–43. Brass: cut-out; porcelain; cord, 7 × 4 5/8 in. (17.8 × 11.7 cm). Gift of the Estate of Greta Perlman

Every year in Israel at 10 am on Yom HaShoah, an air raid siren announces two minutes of silence. Drivers on busy highways will even stop their vehicles and stand alongside them as a sign of respect. With Yom HaShoah, or International Holocaust Remembrance Day observed on April 11–12 this year, the Jewish Museum invites similar opportunities for solemn reflection. Today at the Museum, a gallery talk and workshop for teachers invites visitors to pause in front of objects like Holocaust survivor Greta Perlman’s charm bracelet. Created during her internment in the camp-ghetto of Theresienstadt from 1941 to 1944, the bracelet is a remarkable artifact. It is the centerpiece of the “Masterpieces and Curiosities” section of the Jewish Museum’s ongoing collection exhibition Scenes from the Collection.

Like an inmate subjected to Nazi camp-ghettoes, the bracelet is near miraculous for its survival. Prisoners were sometimes able to make and keep artworks in camp workshops, often clandestinely and under special circumstances. Perlman was assigned to work in the camp kitchens, where she could have received the charms in exchange for food. Most aesthetic objects from the Holocaust only exist today because they were stored in walls or buried underground for later retrieval. Perlman may have assembled the complete set of charms much later, after her emigration to the United States.

Bracelet (detail), Theresienstadt (Terezín), Czechoslovakia (Czech Republic), 1941–43. Brass: cut-out; porcelain; cord, 7 × 4 5/8 in. (17.8 × 11.7 cm). Gift of the Estate of Greta Perlman

Each piece held meaning for Perlman, like a traditional charm bracelet. The items range from mournful to grimly humorous, from reminders of camp life to memories of home. The horrific conditions in Theresienstadt magnify their significance. When death through starvation, disease, or murder was ever-present, personal trinkets like these charms were all the more precious. They also help us to understand some of what Perlman experienced in the camp. Numerous pieces allude to her work as a cook, including tiny pots and a ladle, and a silhouette of a woman stirring a pot. A bullet, a lice comb, and a latrine indicate the routine indignities and constant peril of the camp.

Others reveal a potential romance between Perlman and a man named Theo, of whom we have no record. A pair of companion charms are made of ceramic shards in brass settings. They are inscribed with “Greta” and “Theo”, a date, and Terezín, or the Czech spelling of Theresienstadt. The pottery pieces must have been discarded by a camp workshop, yet as part of the bracelet they could represent the symbolic part of a Jewish wedding in which the couple breaks a plate.

Bracelet (detail), Theresienstadt (Terezín), Czechoslovakia (Czech Republic), 1941–43. Brass: cut-out; porcelain; cord, 7 × 4 5/8 in. (17.8 × 11.7 cm). Gift of the Estate of Greta Perlman

Several charms bear Perlman’s name, that of the camp, and how she came to be interned there. A monogram piece contains her full initials, and others include the letter M and the number 433. This letter and number combination seem meaningless, though they encode Perlman’s transport designation when she was deported from Prague on December 14, 1941. For the Nazis, Theresienstadt served as a way station to death camps such as Auschwitz. The camp also existed to convince the outside world that Jews from Germany and Austria were being deported to the East for productive labor, propagated through false accounts and staged visits from the Red Cross. The reality was that the camp was designed to annihilate inmates through work, or transfer to extermination camps.

Judy Glickman Lauder, Bohusovice Train Station, 1991. Infrared gelatin silver print. Matted dimensions: 24 × 30 in. Loan from the artist

For Jews and others deemed undesirable by the Nazi party, imprisonment in camps meant erasure of their identity and agency. Each of Greta Perlman’s keepsakes tell a story, presenting aspects of her life and her struggle for survival. They track her movements from Prague to Theresienstadt, and detail her role as a cook. They tell us about her personal life and those she encountered in the camp. They represent the hopes and fears of a real person, rather than an anonymous victim. Taken together, the charms constitute a small yet profound means of resistance.

As of 2018, there are an estimated 500,000 Holocaust survivors remaining. With more deaths each year, unrecorded stories are inevitably lost. In the future, we may rely on objects like the Theresienstadt bracelet to not only document historic events, but also lend living color to those who experienced the Holocaust. Greta Perlman’s charm bracelet is just one story among many, yet we can mark Yom HaShoah by considering these objects anew, and remain grateful that we have them at all.

— Elisabeth Rivard, Temporary Digital Marketing Associate

Greta Pearlman’s bracelet is on view now in the first iteration of “Masterpieces and Curiosities” in Scenes from the Collection through August 5, 2018.


Objects Tell Stories: Remembering the Holocaust through Greta Perlman’s Charm Bracelet was originally published in The Jewish Museum on Medium, where people are continuing the conversation by highlighting and responding to this story.

Chantal Akerman: When is Now? Read More

For our Women’s History Month series, Associate Curator Aviva Weintraub discusses a video installation by artist and filmmaker Chantal Akerman in the Jewish Museum collection.

Installation view of Chantal Akerman, NOW, 2015. The Jewish Museum, New York.

On view for the first time at the Jewish Museum in Scenes from the Collection, and in the United States, NOW (2015) is a multi-channel video installation by renowned artist and filmmaker Chantal Akerman. The immersive environment, Akerman’s final installation, features five video projections of desert landscape apparently shot from a moving vehicle, with occasional momentary stops. The sound component, which complements but does not illustrate the images, is meticulously composed from many different elements including nature, war, prayer, water, traffic, footsteps, and music.

Installation view of the exhibition Bordering on Fiction: Chantal Akerman’s “D’Est,” February 23-May 27, 1997. The Jewish Museum, NY. Photo by John Parnell.

NOW is one of the most abstract of Akerman’s works. The long takes that we see in NOW are one of the Akerman’s hallmarks, employed in her installations and her films. In 1997, the Jewish Museum presented a large-scale piece by Akerman titled D’est (To the East). Akerman filmed that material throughout Eastern Europe and the former Soviet Union, observing street life as well as domestic life, in a combination of long takes (outside) and fixed-camera shots (inside). For the viewer, these long takes can engender an acute awareness of the passage of time. To me, the title of the newest work, NOW, seemed, at first, paradoxical. Time is rushing by so quickly — when is NOW? As I spent more time with the piece, I became aware of the constancy of “now.” It is always “now.”

Chantal Akerman. Photo: Elizabeth Lennard/Opale/Leemage

The films and video works in Akerman’s oeuvre are remarkably wide-ranging in subject matter and form, while consistently exploring certain themes and using certain forms that act as touchstones. Many of her films — documentary and narrative — delve deeply into her characters (very often herself and her mother Nelly, a Holocaust survivor), or characters closely modeled on them. The films showed a profound bond between them, culminating in Akerman’s final film, No Home Movie (2015), a chronicle of daily life in Nelly’s home as her life winds down. As J. Hoberman wrote, “Nelly’s apartment is Akerman’s true motherland — one she left and returned to for much of her life.”

Thematically, feminist concerns were present throughout Akerman’s career, from her first film Saute ma ville (“Blow Up My Town,” 1968), through her best-known and most celebrated film Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975). The combination of the long take and feminism is realized in Jeanne Dielman as we watch the titular character performing the same household chores over and over again for most of the three-hour film.

Still from I Don’t Belong Anywhere: The Cinema of Chantal Akerman, Marianne Lambert, Belgium, 2015

NOW uses the long take, but there is no person in the frame. However, one becomes extremely conscious of the person behind the camera. As straightforward as the visual element might seem to be, the soundtrack is as complex. It changes over the 42-minute running time, and as one walks around, different elements emerge. There are moments of sweetness and repose (music and bird calls), yet much of the sound is strong and insistent. The combination of all of the tracks can feel cacophonous and chaotic.

It is difficult not to read meaning into the fact that NOW is Akerman’s last artwork. Like life, it can elicit a large range of emotions. It is messy, intriguing, and it goes by extremely quickly.

— Aviva Weintraub, Associate Curator, Director, New York Jewish Film Festival

Throughout the month of March, follow #5WomenArtists to discover more work by women artists or explore women artists in in Jewish Museum collection online.


Chantal Akerman: When is Now? was originally published in The Jewish Museum on Medium, where people are continuing the conversation by highlighting and responding to this story.

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