Examining the various tattoo cultures throughout history across the globe gives us the ability to examine the human soul.

It is possible that the practice of body adornment dates back approximately 100,000 years, or even earlier. Shells and bone tools discovered in Blombos Cave were found containing remnants of pigment made from red ochre. Archaeologists believe that the cave may have served as a workshop for the preparation of pigments.

The experience of the work is highly aesthetic, like painterly aesthetics returning to material form. We feel both the sense of subjugation and the sense of joy and revelation, and we journey with the artist with the long hair through the female odyssey—a slow and precise return, leaving no detail forgotten, as the knowledge she has processed through her long practice is etched into us, like the tattoos on Yasmin Bergner’s body.

Yasmin Bergner’s works converge into the unconscious space and into archetypal symbols through physical presence.

The works describe a personal process in which archetypes take on personal meaning. Spontaneous sculptural works that expand to additional layers by a performance act that relates to them

Hermaine and Vandil Jones are not the only ones who speculate that the Ark of the Covenant was brought to the Essenes at Qumran.

Humanity must embrace the physics of unified fields and learn to control gravitational fields in order to free itself from the necessity of living on the surface of a planet and become part of a galactic community.

Six young artists use images and materials from contemporary popular culture

Amid a brave surge of women coming forward with accounts of sexual harassment across industries, many of us, both women and men, are beginning to grasp the full extent of this reality of rampant misogyny. As a culture, the question is: Why do so many men have the urge to belittle, hate, and harm women? Where does this reality come from? And what can we do to stop it?

In the spring of 415 AD, a pagan noblewoman emerged from the lecture hall attached to the Great Library of Alexandria and called for her carriage to be brought so that she could drive herself home. Many educated pagan women enjoyed high social and academic status at the time, but Hypatia was one of the few who traveled independently in a carriage that belonged to her.

Currently, a fascinating exhibition is being displayed at Ben-Gurion University of the Negev, curated by Haim Maor (curator of the university galleries) in collaboration with students in the curatorial course, entitled “Portraits of Cain – Representations of Others in Contemporary Art in Israel.”

The myth relating to the powers of creation has always been an inseparable part of our lives. The trinity of myth-ritual-sacred, which recurs frequently in the cultures of the world (as the fascinating research of Mircea Eliade shows), today finds ancient and new ways of expression in a developing global movement of transformative festivals.

The deep wounds left by the Holocaust and World War II have cemented the swastika in our consciousness as an image that symbolizes satanic evil, racism, and fascism, despite the symbol’s innocence. Seven decades after the Holocaust, the swastika is still one of the most despised and vilified symbols.

Until not long ago, the art world ignored the field of tattooing, excluding it and labeling it as primitive and inferior, but in recent years more and more artists have been using tattooing as a practice, as a symbol, or as an artistic act.

In an exhibition that addresses American tattoo culture, Rona Yifman continues to observe personas that operate with a sense of oppression, and discovers a humanity that transcends social definitions.

Contrary to popular belief, the Jews of the Biblical era maintained a rich folk tattoo culture. The common view is that Jewish faith categorically forbids tattoos. But is this historically accurate?