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

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Upcoming Events

Sun, Mar 25

Sunday, March 25, 2018


12 PM

Freedom Art Jam
Passover Family Day

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Wed, Mar 28

Wednesday, March 28, 2018


10:30 AM

JM Journeys
For Visitors with Early-Stage Dementia

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Wed, Mar 28

Wednesday, March 28, 2018


2 PM

JM Journeys
For Visitors with Memory Loss

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Sat, Mar 31

Saturday, March 31, 2018


11 AM

Free Saturdays

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Mon, Apr 2

Monday, April 2, 2018


1 PM

Fantastical Storybook Collages
Vacation Week Art Workshop

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Mon, Apr 2

Monday, April 2, 2018


3 PM

Archaeology Mondays

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Tue, Apr 3

Tuesday, April 3, 2018


1 PM

Fantastical Storybook Collages
Vacation Week Art Workshop

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Thu, Apr 5

Thursday, April 5, 2018


1 PM

Fantastical Storybook Collages
Vacation Week Art Workshop

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Sat, Apr 7

Saturday, April 7, 2018


11 AM

Free Saturdays

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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


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


The Jewish Museum Staff Select Their Shop Favorites... Read More

Passover begins at sundown on March 30. To help you prepare for the holiday, the Jewish Museum staff picked out some of their favorite Passover gifts from The Jewish Museum Shop.

Photo: Tory Williams Photography

Nicole Eisenman Seder Plate

My essential Passover item from the Shop is the Seder plate designed by Nicole Eisenman. I love the emphatic, semi-accurate, Roz Chast-like reminders of what belongs on a traditional Seder plate: “not-so bitter herbs,” “cementy stuff,” “egg!” As a “good enough” mother in the age of helicopter parents, I appreciate that this irreverent Seder plate does not judge me for also being a “good enough” Jew. Lastly, I’m proud to have a plate designed by a radical feminist lesbian artist at my Seder. I find that reminding my more conservative relatives of this helps make the evening more memorable — if not so different — from all other nights.

— Rebecca Shaykin, Leon Levy Assistant Curator

Alessi Super Star Seder Plate

At Passover, my parents use a white linen tablecloth embroidered with flowers that I always assumed was a family heirloom, and a pastel porcelain Seder plate that I always assumed was a gift, because it clashes with their otherwise modern aesthetic. When I saw this piece in the Shop, I knew I would like it for Seders I might host myself. I was drawn to it because of the streamlined design, the fact that it does not instruct you on where to place the symbolic foods, and the way the negative space in the center creates a star shape, beautifully balancing form and function.

To explore depictions of the Passover holiday and related ceremonial objects in the collection, please join me in the galleries on Friday, April 13 at 2 pm for a gallery talk titled Why Is This Tour Different From All Others?

— Jenna Weiss, Manager of Public Programs

Marbled Seder Plate by Eliana Bernard

As a swimmer, I love anything that reminds me of water, as this alluring Seder plate does. We might be reminded of the parting of the Red Sea, as the Jews fled Egypt and Pharaoh’s rule. Otherwise, one can certainly meditate on the simple beauty while awaiting their matzo ball soup.

— Natalia Miller, Special Events Manager

New York Times Passover Cookbook

Yes, I know your grandmother’s recipe for matzoh balls couldn’t possibly be improved. Neither can my grandmother’s recipe. But that doesn’t mean you should have to eat the same meal at every Seder, year after year. And as wonderful as all our grandmothers are, chefs like Paul Prudhomme, Alice Waters, and Jean-Georges Vongerichten do know a thing or two about cooking. The New York Times Passover Cookbook is a great way to ensure that your Seder is both joyful and delicious.

— David Goldberg, Chief of Staff

Black Matte Glass Kiddush Cup by Droog

These beautiful glasses seem at first glance very contemporary with their matte black finish and stylish look. However, a closer examination reveals a hidden story underneath the black coat: these glasses are actually recreations of classic designs from the Rijksmuseum in Amsterdam. By taking an age-old design and reproducing it in a contemporary, minimalist, and sleek way, the designer Droog bridges generations of Dutch artisans; making an old tradition relevant to us today. What could be more Passover than this? Multi-generational culture and tradition passed thorough an object.

— Roy Rub, Consulting Creative Director

Magnetic Matzah Plate by Laura Cowan

My kids eat matzoh all year round. They are too young to have developed the kind of associations that I have with the stuff — the sense of deprivation and missing out on all kinds of cakes and cookies. To them, it is just as good, and eaten with equal gusto. So I love this elegant matzoh plate that elevates this very modest food for the Seder table and the duration of Passover. It makes matzoh feel central, important, and beautiful, and reminds us that the eating of matzoh during this time is different and more meaningful than the rest of the year.

— Sarah Supcoff, Deputy Director, Marketing & Communications

Welcome to the Seder: A Passover Haggadah for Everyone

This “Haggadah for Everyone” is beautifully illustrated and has just the right level of information for a child-centric Seder. I also love how it relates rituals from the Seder to similar rituals from other religions, and includes unobtrusive “tips” for topics to consider and discuss throughout the Seder. This year, we were invited to celebrate Passover with another family from mixed religions and backgrounds, and I think this Haggadah will be a perfect choice.

— Cindy Caplan, Chief Counsel & Talent Officer

Shop our complete selection of Passover Haggadahs, Seder plates, and more at the Jewish Museum Shop or online at

The Jewish Museum Staff Select Their Shop Favorites for Passover was originally published in The Jewish Museum on Medium, where people are continuing the conversation by highlighting and responding to this story.

Conceptual Marbling with Artist Sheryl Oppenheim Read More

This spring, the Jewish Museum welcomes Sheryl Oppenheim to lead the latest in its ongoing series of contemporary artist-led studio workshops inspired by current exhibitions.

Sheryl Oppenheim in her studio, photo by Joe Major

In conjunction with the exhibition Marc Camille Chaimowicz: Your Place or Mine…, on view through August 5, the Jewish Museum invited artist Sheryl Oppenheim to lead the two-session workshop Marbling and Conceptual Paper on Thursday, April 10 and Thursday, April 17. Participants will learn how to create original marbled paper designs and collaged sculptures inspired by Chaimowicz’s innovations with decorative aesthetics and forms.

We sat down with Oppenheim to discuss how Chaimowicz’s work is ahead of its time, the complexities of paper marbling and collage, and what participants can look forward to in her upcoming class at the Jewish Museum.

— Chris Gartrell, Assistant Manager of Adult Programs and Rachael Abrams, Associate Manager of Studio Programs

Marbling Wall in Sheryl Oppenheim’s studio

In our studio workshop, participants will learn how to make sheets of marbled paper. How did marbling become central to your work? How has your relationship to the technique evolved over time?

My first job in New York was at Talas, a bookbinding supplier where I worked for four years. I was super attracted to the marbled paper they sold and would sometimes buy sheets of it to cut up and use in my paintings and drawings, which was never satisfying because the paper was already so beautiful that doing anything to or with it didn’t quite make sense. I had long been interested in beautiful and intricate patterns, but had been frustrated by trying to bring that beauty into my paintings through other methods like screen printing and stenciling, and especially my hand.

After a couple of years at Talas, I bought a short manual on paper marbling and started to experiment in my studio. I stopped painting for almost three years while I made my first marbled papers and books from it. I was also becoming very interested in books through my friendships with some of Talas’ clients, and definitely the day to day interactions with marbling and books led, after a few years, to me bringing these ideas into my own work. Auspiciously, I met Corina Reynolds and Kimberly McClure around the time I started marbling, and right when they founded Small Editions. I have been making books with Small Editions ever since. My friendships with other marblers and my research contribute to the feeling that I have only barely scratched the surface of marbling, books, and paper… there is still so much more to learn.

Sheryl Oppenheim, Ugly Children, 2017. Acrylic and suminagashi marbling on paper, concertina binding with removable spine and marbled cloth hardcover, 10.5x12'’ (closed dimensions), 96 pages, unique, bound by Small Editions

When we visited your studio we saw artist books, collages, and paintings that have emerged from your marbling practice. Can you tell us about the various forms that your work has taken? What are you working on now?

Sheryl Oppenheim, White Hole, 2017. Oil on linen, 16x12'’

I just finished three paintings last year that are among the first observational paintings I have made in years. They are sort of like a still life, but I am looking at my marbling when I paint. I often feel as though I am painting a figure when I paint the marbling, rendering a curve just right here, or a tense narrow line a certain way there. The paintings feel surprising and strange. And although they are small, when they are finished they seem to contain so much space that hanging them on the wall I have a sense they are almost like portals one could walk through into another dimension… but it’s enough that they project that world out.

I spend a lot of time now working with suminagashi, which is Japanese marbling, a technique I have become very passionate about. I made two new books with Small Editions in 2017, and am excited to make more this year. Finally, in early 2017, I collaborated with poet Janelle Poe and Small Editions on a fundraising edition, and we are just about to donate the proceeds to Black Lives Matter. We are hoping to continue our collaboration with a new edition this year.

Sheryl Oppenheim, Sea of Plates, 2017. Acrylic and suminagashi marbling on paper, book block in marbled box, 9x12'’, 64 pages, unique, bound by Small Editions

Marc Camille Chaimowicz also works extensively with decorated paper and collage. What caught your eye in his exhibition ?

I have been teaching collage for two years, and I was excited to see his straightforward cut and paste collage, at the scale my students usually work, which is around the size of a sheet of paper or a little larger. I also like that he puts his hand into his collages with the drawing and painting. Teaching collage has given me a lot of respect for its potential. It seems accessible because the barrier to entry is so low, a magazine, scissors, and a glue stick. But that is also what makes it so difficult, I think that the immediacy of the process can be terrifying. With collage you are immediately confronted by these big questions of art making — scale, color, perspective, composition, not to mention the content, and jumping straight into that can be difficult!

I also feel like Chaimowicz’ sensibilities seem way ahead of his time. His palette and sense of touch reminds me so much of the palettes and style of many really good painters working today. It was totally shocking to see that the big diptych painting was from 1992… I thought for sure it had been made in the last few years. And I love the three-dimensional painted piece with the wood inlaid back. That is wild.

Tell us about what participants will be doing in your upcoming Marbling and Conceptual Paper workshop at the Museum.

The first session will be an acrylic marbling workshop and students will have most of the class to make their own papers. Participants will have their own individual marbling tray and tools, and I will demonstrate how to make a few different patterns. I like teaching a group because even though we all learn the same process it’s rare that at the end of class we can’t tell who made which paper, because everyone still has their own unique style of working and no two students end up making their paper in exactly the same way.

In the second class we will use the marbled papers we made to decoupage (cover in paper) an object such as a small box or lampshade. The idea is to create something that pays homage to Chaimowicz and his ability to permeate functional objects with emotion. We will also make a small, simple miniature book by cutting and folding a single sheet of paper.

Installation view of Marc Camille Chaimowicz: Your Place or Mine… The Jewish Museum, New York. Photo by: Jason Mandella

Sheryl Oppenheim’s two-session Marbling and Conceptual Paper Workshop will take place the Jewish Museum on Thursday, April 10 and Thursday, April 17. Register for the class online. All materials included; All skill levels welcome.

Conceptual Marbling with Artist Sheryl Oppenheim was originally published in The Jewish Museum on Medium, where people are continuing the conversation by highlighting and responding to this story.

A Portrait of Strength and Dignity: Michal Chelbin... Read More

For our Women’s History Month series, Curatorial Assistant Hannah Braun discusses a portrait by Israeli photographer Michal Chelbin in the Jewish Museum collection.

Michal Chelbin, Alicia, 2005. Chromogenic color print mounted on board. 36 7/16 × 36 7/16 in. Purchase: Gift of Nathan and Jacqueline Goldman, by exchange and Photography Acquisitions Committee Fund. 2009–8

The brilliant bold blue-green of the car in which Alicia sits immediately attracts the eye. She sits in the backseat of a vintage car, wearing — from what we can glimpse — a highly embellished and ruffled tulle costume. Her dark eyes and stoic facial expression captures us, and we become intent to uncover and understand the story being told by her stare. Alicia’s gaze appears to be filled with adult maturity: she is poised and emotionless. And yet her delicate facial features remind us that she is a young girl. Alicia’s father sits in the driver’s seat of the car. Seen in profile looking out the front window, the father’s sideways glance presumes he is looking outward, yet keeping a close watch on his daughter.

Alicia (2005) is a photograph of a young Ukrainian gymnast by one of my favorite contemporary Israeli women photographers, Michal Chelbin, on view now in the Jewish Museum exhibition Scenes from the Collection.

The photograph is part of the series “Strangely Familiar,” portraits of young performers that capture the fleeting innocence of childhood at odds with burgeoning adulthood, as well as the rigidity and discipline required by athletics, gymnastics, or ballet. Chelbin has stated that she has used the works in this series to probe the “space between the odd and the ordinary.”

What makes Chelbin’s work so hauntingly beautiful to me is the way she transfixes her viewers through the piercing stares of her subjects. Her photographs invite a curiosity that cannot help but be tainted with voyeuristic tendencies. Although Chelbin admits to staging her subjects and the situations in which they are placed, the artist reveals little else of her artistic or creative process. Despite the multiplicity of ways we may view Chelbin’s photographs, the artist always evokes the inner strength of her subjects, and imbues each, particularly her female protagonists, with tremendous dignity.

My love of Chelbin’s work was catalyzed by an internship at a gallery dedicated to Israeli photography. However, it is because of my Russian-born-Israeli-raised father that my connection to Chelbin’s photographs and subjects grew. Painting vivid pictures to me of his childhood in Israel, my father described a mischievous boyhood filled with playing in the garden of the Kibbutz with his cousins, seeing Yiddish films with his mother at the local movie theater, and growing up under the warmth of the Middle Eastern sun. Despite the joys of his childhood, I cannot help but to see a lot of my father in Chelbin’s photographs. Born not long after the close of World War II, he grew up in a household filled with worry and fear, a residual and seemingly never ending state of existence bestowed upon European Jews living in the post-war era.

As an immigrant to the United States, my father maintained many of his European-Middle Eastern ways; however, he was stalwart in his goals to have his own children break the cycle of the fearful hiding of one’s true self. It is my father who fostered within me my love of art. He always encouraged me to choose my own path, to find my own inner strength, and to derive a boundless sense of pride in both my womanhood and my Judeo-European identity. It is this sense of longing, uncertainty, and hopefulness for the future that I see in Chelbin’s photography, and which continues to drive my interest in her art.

I am filled with a great sense of pride, having the opportunity to participate in the Jewish Museum’s Women’s History Month series. Following the opening of Scenes from the Collection, the work of women artists, working across media, are prominently displayed in our galleries. Working at the Jewish Museum has given me an invaluable platform to write about, research, and teach others about the work of Jewish women artists, both within and outside of the Jewish Museum collection.

— Hannah Braun, Curatorial Assistant

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

A Portrait of Strength and Dignity: Michal Chelbin in the Jewish Museum Collection was originally published in The Jewish Museum on Medium, where people are continuing the conversation by highlighting and responding to this story.


Passover Shopping Days

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Hagenauer Menorah

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Sol LeWitt Kippah

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