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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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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.

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 Holiday Gift Guide Read More

Hanukkah, the Jewish Festival of Lights, begins at sundown on December 22. To help you find the perfect holiday gift for everyone on your list, our staff selected some of their favorite products from The Jewish Museum Shop.

Boxed Hanukkah Cards with Artwork by Elaine Lustig Cohen

When was the last time you saw a well-designed holiday card meant expressly for Hanukkah? This playful note card is based on a vibrant 1964 block letter pattern by Elaine Lustig Cohen. The celebrated artist and graphic designer was known for her witty and sophisticated poster art and catalogue covers for such iconic Jewish Museum exhibitions as 1966’s Primary Structures. Let this colorful card light up your holiday season.

— Rebecca Shaykin, Associate Curator

Geo Dreidel and Stand by Nambe

I love the sleek design, weight, and timeless feel of this dreidel. The well-crafted wooden stand elevates this object from a more traditional children’s toy to a statement piece accentuating my home. It also comes at an affordable price point, making it a perfect gift for friends and loved ones who invite us to their Hanukkah parties!

— Cindy Caplan,
Chief Counsel & Talent Officer

Rainbow Enamel Menorah

My thoughtful team gifted this menorah to me to celebrate my 40th birthday. This gift meant a lot to me, as my grandmother’s menorah — one that has been handed down in my family for generations — was lost in a recent move. But now, I too have one to pass down.

This menorah stands out to me for its rainbow design––an important symbol of pride and inclusion, reminding us the power of art to enrich our understanding of the world.

— Jonah Nigh, Acting Deputy Director, Development

Dreidel Salt and Pepper Shakers

Perfect for any latke party host who loves holiday décor, these Dreidel Salt and Pepper Shakers make outstanding gifts. This year, I gave a set to my mother­ — I can imagine her bringing these out year after year as Hanukkah approaches and enjoying their festive charm.

— Jenna Bastian,
Director of Membership

Nosh Menorah by Modern Mensch in Rose Gold

Although I don’t technically celebrate Hanukkah, I always celebrate beautiful objects. This metallic, bagel-shaped menorah caught my eye over a year ago as a gorgeous tabletop piece, but also because it came in all the iPhone colors: silver, gold, and rose gold. As a millennial tech nerd, it has since become my go-to holiday gift to friends who also celebrate beautiful objects, Hanukkah, or both.

— JiaJia Fei,
Director of Digital

Echo Park Pottery designed by Peter Shire: Short Splatter Mug

This mug by Los Angeles-based artist Peter Shire makes an outstanding gift for any creatives in your life. I like the balance between the purposeful, exaggerated forms of the object and the playful, kind of thoughtfully haphazard splatter of the glaze. The production process means that no two mugs are alike. Functional, unique, and sculptural — what more could you ask for?

— Jamie Auriemma,
Manager of Teen Programs

One-of-a-kind Folk Art Bracelets by Joan Shaver

This collection of wooden bracelets, selected to complement the Museum’s current exhibition Edith Halpert and the Rise of American Art, is a wonderful reflection of American folk art. I love statement pieces, especially when they are graphic in nature. My bracelet features a beautiful red bird with a very long neck and is surrounded by flowers. Each of these items are one-of-a-kind and hand-painted by artist Joan Shaver.
— Yeliz Secerli,
Director of Design

Way Too Many Latkes

My kids love this silly story and read it all year round, along with other fabulous books like The Missing Letters and All-of-a-Kind Hanukkah. I love having a selection of books for every holiday and make the celebrations last longer.

— Sarah Supcoff,
Deputy Director,
Marketing & Communications

Shop our complete selection of Hanukkah gifts at the Jewish Museum Shop or online at

The Jewish Museum Staff Holiday Gift Guide was originally published in The Jewish Museum on Medium, where people are continuing the conversation by highlighting and responding to this story.

How Two Holocaust Refugees Reached Safety in New York Read More

Have you ever attended a performance, symposium, or lecture inside the Jewish Museum’s Scheuer Auditorium? Discover the extraordinary…

In Line for Polish: An Illustrator’s Response to Leonard Cohen Read More

In the final days of Leonard Cohen: A Crack in Everything, the Jewish Museum invited illustrator Samuel Ferri to reflect on his visit to the exhibition by way of sketches and prose.

Samuel Ferri, “Bird on a Wire,” 2019

During my visit to the Jewish Museum’s presentation of Leonard Cohen: A Crack in Everything, I waited in line to enter the artist Ari Folman’s Depression Chamber. I don’t know what the average waiting time for a depression chamber should be, but it seemed just short enough to be a steal.

Once inside the room, I lay on a table that resembled something between an altar and a therapist’s couch as the song “Famous Blue Raincoat played in full. Written in the form of a letter attempting to catch up with an elusive, long lost figure, it alludes to a love triangle at the center of a parting of ways and perfectly epitomizes Leonard Cohen’s status as the patron saint of odes to doomed romance.

Ari Folman, “Depression Chamber,” 2017. Interactive computer-animated video installation, live camera, Kinect sensor, black-and-white and colour with sound, 5 min., 10 sec., including resting platform. Installation view of the exhibition Leonard Cohen: A Crack in Everything, organized by the Musée d’art contemporain de Montréal, and presented at the Jewish Museum, New York, from April 12-September 8, 2019. Courtesy of the artist. Photo: Frederick Charles.

To accompany Cohen’s soft lamentations and reminiscences, animations projected onto all of the walls carefully formulated each line of lyrics before the letters dissolved into a rich tapestry of iconography that floated to the ceiling like a snowfall in reverse. On the ceiling was my reflected projection, lying in repose, and the symbols collected over my body until they seemed to act as a blanket, tucking me in. There was something oddly comforting in this experience that perhaps speaks to the overall contradiction of Leonard Cohen — a poet who makes melancholy comforting.

It’s easy for me to say that I’ve loved Leonard Cohen long before coming to this exhibition. But why? What is it that’s attractive about his sound paintings that are so focused on despair? Cohen was never the voice of my generation. I was born in 1985. But I found my way to him in high school on the basis of what he represented. He was a revered figure among the misfit outsiders I admired and wanted to emulate. He was an intellectual oddity who seemed too cool for the mainstream and yet also too powerful to be ignored, with his songs becoming personal and cultural touchstones. While love songs make up the vast majority of popular music, Cohen sang of sexual acts and the interiors of complex, imperfect relationships, which was rarely attempted in the pop landscape. He revealed adult realities of love that no one else would tell me. He was a secret that most of the kids my age didn’t know about or care to know about, but if they did, it meant they were someone worth knowing.

Lying in the Depression Chamber, I thought about how, over the years, Cohen has been a source of bonding in some relationships — and a salve when they didn’t work out. I was married to someone once. We both loved Cohen. But our record collections sat next to one another, never fully integrating — a fitting metaphor for our time together. I remember her copy of New Skin for the Old Ceremony, its arrestingly sexual tarot figures are burned in my brain. Though I already knew most of the songs on the album, the cover art was new to me (I came of age listening to digitized music). The one song I hadn’t known contains the shouted line:

“Is this what you wanted … to live in a house that is haunted … by the ghost … of you and me!?”

After she was gone, taking the record with her, the song and its ghosts lingered. But Cohen’s voice provided comfort in its immortalization of private tragedy. It was a necessary meditation on humility, with echoes of a raw anger that was all too familiar. Perhaps Leonard Cohen’s music creates a bubble in which to feel and exorcise those emotions, like a safe space, but maybe more like Folman envisions, a depression chamber.

George Fok, “Passing Through,” 2017. Multichannel video installation, black-and-white and colour with sound, 56 min., 15 sec. Installation view of the exhibition Leonard Cohen: A Crack in Everything, organized by the Musée d’art contemporain de Montréal, and presented at the Jewish Museum, New York, from April 12- September 8, 2019. Courtesy of the artist and archival images © CBC/Radio-Canada. Photo: Frederick Charles.

Artist George Fok’s multichannel video installation, Passing Through, pieces together interviews from the Canadian Broadcasting Corporation. In one of these clips, Cohen says his words are no more or less functional than instructions found on a canister of shoe polish. When the interviewer then asks why a writer would choose to compose one over the other, with all humility, Cohen responds:

“It depends… If you want people to have shiny shoes, you want to write those kind of very good instructions, and if you want to polish other parts of yourself, you do it with poetry.”

In creating my own artwork in response to this show, I thought about the varieties of polish Cohen has provided audiences over the course of his career, the subtle varieties of shades and, best of all, their contradictions, which layer humor over heartache, explore beauty beside evil, and in doing so, aim to clean out some very hard to reach parts of our being.

Samuel Ferri, “Anthem,” 2019.
Samuel Ferri, “Famous Blue Raincoat,” 2019.
Samuel Ferri, “I’m Your Man,” 2019.
Samuel Ferri, “Chelsea Hotel #2,” 2019.
Samuel Ferri, “First We Take Manhattan,” 2019.
Samuel Ferri, “Suzanne,” 2019.
Samuel Ferri, “There is a War,” 2019.
Samuel Ferri, “Tower of Song,” 2019.
Samuel Ferri, “Going Home,” 2019.

— Samuel Ferri

Visit the exhibition Leonard Cohen: A Crack in Everything at the Jewish Museum in New York through September 8, 2019. Buy advance tickets online.

In Line for Polish: An Illustrator’s Response to Leonard Cohen was originally published in The Jewish Museum on Medium, where people are continuing the conversation by highlighting and responding to this story.


Rachel Feinstein

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Edith Halpert Exhibition Catalogue

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Hagenauer Menorah

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