Tel Aviv Museum acquires 35 new works by Israeli artists

The Tel Aviv Museum of Art has welcomed 35 new works into its permanent collection, deepening its commitment to Israeli creativity with pieces that span generations, mediums, and artistic visions. These additions were made possible through the museum’s unique “Voting for Art” initiative a collective patronage group that empowers its members to select new acquisitions annually.

Launched in 2013 and led by Yael Braun, “Voting for Art” aims to ensure the museum’s holdings remain dynamic and reflective of the ever-evolving Israeli art scene. With a total investment of NIS 500,000 this year, the group selected works from 11 contemporary Israeli artists, ranging from sculpture and painting to photography, textiles, and drawing. Since its inception, the program has secured over 200 works, ensuring a rich diversity of voices and perspectives.

This year’s selections include standout sculptural pieces like Chava Roucher’s "Line" (2010) a row of aluminum nude figures and Michal Shamir’s "Untitled" (2024), which fuses gold-painted bird spikes and cable ties in a striking blend of beauty and threat. Also acquired is Moran Lee Yakir’s "The Brothers" (2024), an auditory sculpture of clay cylinders murmuring oceanic sounds.

Works on paper bring intimate, deeply personal languages to the forefront. Anisa Ashkar’s "You" (2022) blends Islamic calligraphy with abstract brushwork to depict the cycle of day into night. Karen Dolev’s "Chameleon" (2023) plays with emotion and color in pastel, while Merav Kamel’s "Artist Notebooks" (2019–2024) presents raw, layered sketches that shift between eroticism, humor, and violence.

Paintings and mixed-media pieces bring further dimension. Orly Maiberg’s "Late Autumn" (2024) repurposes fragments from older works into textile landscapes, and Gabriella Klein’s "Twisted Sister" (2025) depicts a moment of quiet contemplation. Meanwhile, Ran Tenenbaum’s "Self-Portrait with a Hoodie" (2024) captures haunting self-awareness in an unfinished canvas.

Photography continues to serve as a lens into Israeli society. Ron Amir’s seven documentary-style photographs portray communities such as Jisr az Zarqa, focusing on life beyond the mainstream. Gustavo Sagorsky’s subtle, human-inflected landscapes around Moshav Aminadav reflect transformation and memory in nature.

Altogether, these acquisitions reflect the richness and complexity of Israeli life in 2025 from introspective moments to societal narratives, from abstraction to hyper-realism. More than just a collection of objects, this year’s additions stand as testimony to Israel’s ongoing cultural vitality and the power of art to mirror, question, and inspire.

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