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09/02/2026

An original enemies to lovers arc

Enemies of Women (1923) plays out an enemies to lovers arc, with a Wiener Werkstätte work by Susi Singer in the background.

Catch this film, and others, in “Modernity and Opulence: Women of the Wiener Werkstätte” now on view.

09/01/2026

See what's happening this month at the Jewish Museum!

Visit https://thejm.net/4jZmWNr.

08/31/2026

Opening September 18: "Sacred Splendor: Jewish Ritual Art and Christian Treasures from St. Vitus Cathedral in Prague."

Jewish and Christian sacred art from medieval to early modern Europe come into dialogue, tracing interconnected histories across six centuries. The exhibition presents Christian reliquaries on loan from St. Vitus Cathedral alongside Jewish treasures on view in the United States for the first time.

Monstrance: displays the consecrated Eucharistic host during prayer.
Mahzor: a Jewish prayer book used on the High Holy Days and pilgrimage festivals.
Sacrament House: an ornate tower that holds the reserved Eucharist.
Spice Container: holds aromatic spices for the Havdalah ceremony marking the end of Shabbat.

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Images: Ottavio Miseroni (1567-1624) or Dionysio Miseroni (1607-1661) and Workshop, "Monstrance," c.1620 or 1640, Prague (now Czechia), Gold, coral agate, herbal agate, rock crystal, partially replaced by glass, The Metropolitan Chapter of St. Vitus in Prague, K 190. Photo: Martin Polák; Scribe Qalonimos ben Judah, "Esslingen Mahzor," Mainz, Germany, January 12, 1290, Ink and gold on parchment, 18 5/16 x 13 15/16 (46.5 x 35.5 cm). The Library of The Jewish Theological Seminary, New York. MS 9344; Master Wenceslas, "Sacrament house (detail)," Prague, c. 1375. Gilded iron, 82 11/16 × 19 11/16 × 19 11/16 in. (210 × 50 × 50 cm). The Metropolitan Chapter of St. Vitus in Prague, V 325a. Photo: Martin Polák; "Spice Container," possibly Frankfurt am Main, Germany, c. 1550, repairs and additions 1650/51. Silver: traced, pierced, cast, and parcel-gilt, 9 5/16 × 2 7/8 × 2 7/8 in. (23.7 × 7.3 × 7.3 cm). The Jewish Museum, New York. Jewish Cultural Reconstruction, JM 23-52

08/26/2026

Artist Felice Rix was amongst the most prolific designers at the Wiener Werkstätte, working in many mediums including textiles, glassware, postcards, and window displays. These colorful textiles from MAK Vienna‘s collection reflect Rix’s exciting use of color and woodblocking technique that created fabrics for clothing and home decor. Her signature whimsical style was long influenced by Japanese artistic practices before the artist moved to Japan in the mid-1920s with her husband, architect Isaburo Ueno.

Rix’s produced over one hundred textile designs, over a dozen of which are featured in “Modernity and Opulence: Women of the Wiener Werkstätte” – now open until November 15, 2026.

🧵: Felice Rix-Ueno, “Purpurnelke (textile sample),” August 1924. Printed plainweave silk, 16 1/8 × 15 15/16 in. (41 × 40.5 cm). MAK – Museum of Applied Arts, Vienna. Donation, 1955, WWS 595. Photo: © MAK/Branislav Djordjevic

Felice Rix-Ueno, “Tarantella,” 1929. Printed plain-weave silk, 8 ¼ × 7 ¼ in. (21 × 18.5 cm). MAK – Museum of Applied Arts, Vienna. Donation, 1955, WWS 758. Photo © MAK/Branislav Djordjevic

Felice Rix-Ueno, “Mandarin,” 1924–25. Printed plain-weave silk, 18 7/8 × 12 5/8 in. (48 × 32 cm). MAK – Museum of Applied Arts, Vienna. Donation, 1955, WWS 458. Photo © MAK/Branislav Djordjevic

Felice Rix, Design for "Sheet Lightning" ("Wetterleuchten") fabric, c. 1923. Gouache on paper, 27 3/4 x 27 5/16 in. (70.5 x 69.4 cm). MAK – Museum of Applied Arts, Vienna. Donation, 1955, KI 12946-2. Photo: © MAK

📸: Installation view of "Modernity and Opulence: Women of the Wiener Werkstätte" at the Jewish Museum, NY, July 17– November 15, 2026. Photo by Kris Graves Projects / Julian Calero

08/24/2026

Marc Dennis (born 1974, Boston, MA) is known for hyperrealist paintings that mix art historical imagery with contemporary culture. Born to a reform Jewish mother and Cuban Orthodox father, and raised between the Northeast and Puerto Rico, he brings a diasporic sensibility to his artwork.

In his 2021 painting “Three Jews Walk into a Bar,” three Hasidic men stand in front of "A Bar at the Folies-Bergère" (1882) by Édouard Manet, a work long debated for the man in a black hat reflected in the mirror behind the barmaid, a stand-in for the viewer. Dennis’s painting asks what might happen to our understanding of the scene if the dapper gentleman were instead a “black hat Jew” (or three), leaving the punchline up to the audience to decide.

Dennis shares that the work is "at once personal and theatrical...[it] embraces contradiction as something profoundly human: our need to belong, our instinct to question, and our ability to laugh at ourselves along the way."

This is the first work by Dennis to enter the Jewish Museum's collection, augmenting our commitment to artists who engage imaginatively with Jewish experience, often with a touch of humor.

🎨 Marc Dennis, "Three Jews Walk into a Bar," 2021. Oil on linen. 48 x 60 in.

08/21/2026

In honor of wedding season.

ruby onyinyechi amanze, "Marriage Contract," 2017 retains elements of a traditional ketubah, or marriage contract, such as the decorative border and illustrations that refer to marriage, but expands on them. Her focus is on the diversity of peoples within Judaism, represented by an ambiguous central couple with not-quite-human skin color and pattern. Bird constellations and houseplants, recurring symbols in amanze's work, stand in for connectivity and domestic permanence, and the original text in Hebrew and English builds a story of freedom within union and magic in intimacy.

ruby onyinyechi amanze, "Marriage Contract," 2017. Graphite, photo transfer, ink, and metallic enamel on paper. 27 1/8 × 19 1/4 in. 2018-1

08/19/2026

The Jewish Museum’s home on Fifth Avenue was once the family home of Felix and Frieda Schiff Warburg. The family later donated the building for use as a museum, and Its doors opened to the public as the Jewish Museum in 1947.

08/17/2026

"The only art I'm interested in is the art I don't understand right away. If you understand it right away it really has no use except as nostalgia." — Lawrence Weiner

Lawrence Weiner used language to create his art, finding it an accessible and flexible medium that prompts viewers to think in new, challenging, and often unexpected ways. 'SHIPS AT SEA AS WE' (2019) was made in response to the global refugee crisis, but like all of Weiner's text-based work, it resists a single reading. The meaning shifts depending on who is standing in front of it.

Lawrence Weiner, 'SHIPS AT SEA AS WE,' 2019. "

08/14/2026

See "Modernity and Opulence: Women of the Wiener Werkstätte" for yourself 🪞

Admission is free on Saturdays at the Jewish Museum. Tag us in your mirror selfies.

📷 ; .karcher and ; ;

08/12/2026

stepped inside artist studio for a first look at work still in progress and a direct conversation with the artist. This is one of many ways our community connects with art and artists throughout the year. Link in bio to see how you can support the Museum’s mission.

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