Gideon Ofrat, Gideon Ofrat’s Archives: ‘What drives Orit Hofshi ?’, October 2025 [Heb]

Hofshi creates in contemplative abstract contexts of “Time”, “Inquiry”, “Reflection” …and “Ominous political realities” …​

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The Jerusalem Post: ‘The Medium and the Message: Six Centuries of Printmaking’, September 2025

A significant aspect of the exhibition is its focus on female artists, such as Kathe Kollwitz, Louise Bourgeois, Kiki Smith, and Orit Hofshi. Their works ... highlight the evolving role of women in the art world and their impact on the medium of printmaking.

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Neria Barr, The Jerusalem Post: ‘A temple of art, resilience, and renewal’, 2025

The Medium and the Message: Six Centuries of Printmaking...from Dürer, Rembrandt, and Goya to Picasso and Warhol...a special focus on female artists such as Käthe Kollwitz, Louise Bourgeois, Kiki Smith, and Orit Hofshi

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Karen Wilkin, The Wall Street Journal: ‘The Best Art of 2024: Emphasis on Italy’, 2024

A gallery of contemporary artists … all responding to the mood and affect of the German works on view…

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Gilad Melzer, Haaretz: “Amidst the Emotional and brute Chaos”, 2024 [Heb]

What appears to be incidental is the infinite thicket created by the depicted bush fire…​

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Karen Wilkin, The Wall Street Journal: ‘The Anxious Eye: German Expressionism and Its Legacy’, April 2024

Hofshi confronts us with an enormous multi-panel work dealing with migration and displacement... 

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Angelica Hankins, ARTFORUM Critic's Pick: 'The Anxious Eye: German Expressionism and Its Legacy', April 2024

The disorienting picture anticipates Orit Hofshi’s woodcut Time… thou ceaseless lackey to eternity, the show’s jolting denouement...

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National Gallery of Art, Washington DC: 'The Anxious Eye: A Conversation with Orit Hofshi and Shelley Langdale', 2024

Discover how Hofshi’s work connects to the rich legacy of early 20th century German expressionism.

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Mark Jenkins, The Washington Post: 'German expressionists mined the anxiety of war — and the vibrancy of life', March 2024

The largest is Israeli artist Orit Hofshi’s print, rubbing and drawing of figures in barren terrain, suggesting a postwar landscape...

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Ralf Borchard, BR24: 'Expressionismus - Ausstellung: Deutsche Angst in den USA', February 2024 [Germ]

Konfrontation mit Gegenwart

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National Gallery, Art & Society: 'What is German Expressionism? 8 Things to Know', February 2024

Today, we find ourselves in a world that echoes the turbulence of the early 20th century. Artists like Orit Hofshi​

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Alice Gauvin, The New York Sun: 'Early Optimism...in National Gallery’s Exploration of German Expressionism’s Legacy', 2024

Orit Hofshi’s “Time…thou ceaseless lackey to eternity” (2017) deserves special attention for its craftsmanship

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National Gallery of Art, Washington DC, Exhibition: 'The Anxious Eye German Expressionism and Its Legacy', 2024

The Anxious Eye: German Expressionism and Its Legacy, presents insights into the work of these innovative, early 20th-century artists…Contemporary artists shown in the exhibition—Leonard Baskin, Nicole Eisenman, Orit Hofshi, and others—carry on the rich legacy of the German expressionists.

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National Gallery of Art, Washington DC: 'Acquisition: Orit Hofshi', April 2022

Implied forces of human and natural destruction as well as evolutionary changes over time coexist in this haunting vista that alludes to the romantic sublime, underscored by disquiet in the lack of specificity of location and timeframe.

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​Brian T. Allen, National Review: 'The Fine Art Print Fair Delivers Old and New Beauties', May 2021

Hofshi’s “Evenfall”, is a woodcut, etching, and aquatint. It is beautiful, and an essay in print connoisseurship ...  ​​​

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Cate McQuaid, The Boston Globe: 'Art Blossoms into ‘Paradise’ at Cade Tompkins Projects', March 2021

'Paradise' at Cade Tompkins Projects'

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​Sarah Kirk Hanley, Art In Print Magazine, from Volume 9 #4: 'Orit Hofshi: Deep Time', 2019

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The blackened wood panels at the center here have since become a common motif in Hofshi’s work. Some are blank, while others are carved and appear printable, though Hofshi regards them as bas-relief sculptural objects rather than matrices.

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The Center for Contemporary Israeli Art and Memorial, Tivon: 'Black Smoke-White Smoke', May 2019 [Heb]

Hofshi creates apocalyptic scenarios with a vocabulary emanated from varied sources.  There is no explicit depiction of time or place, rather an existential sense and contemplation…

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Hagit Peleg Rotem, Portfolio Magazine: 'The Metropolitan Museum of Art Acquires work by Orit Hofshi', 2019 [Heb]

The Metropolitan Museum of Art Acquires “Quest” by Orit Hofshi..."In my large-scale works I combine drawing, painting and printmaking transcending traditional printmaking paradigms"​

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Zemack Contemporary Art: 'Orit Hofshi and Mahmood Kaiss, "Standpoint", 2019

The juxtaposition of the two artistic expressions created by the two artists brings to mind additional dualities

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Hagay Hacohen, The Jerusalem Post: 'A celebration of Israeli printmaking', September 2018

Hofshi takes center stage in the exhibition with her 2018 installation “Realization” …​

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Eitan Buganim, Haaretz: 'How did Jacob Pins inspire other artists', 2017 [Heb]

 Irena Gordon, exhibition curator, accentuates … all participating artists are a testament to woodcutting traditions being ever so relevant in contemporary art…

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​East Contemporary Art - Exhibitions, Slovakia: Danubiana Meulensteen Art Museum, 2017

Orit Hofshi “Crossing“, Large size woodcut reliefs and installations​​

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Yona Fischer

Hundred Years of Israeli Art, Discount Bank Collection, 2016​

 

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Kunst im Deutschen Bundestag: "Kein fernes Land" – Künstler aus Israel im Deutschen Bundestag', 2015 [Ger]

Orit Hofshi: Resilience​

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Angela Levine, Midnight East: ' Changing Perspectives at the Haifa Museum of Art'. May 2015

The young people Hofshi depicts, having attained the top of some mountain ridge, find that they are looking out into space, into nothingness... ​

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Abigail Crocker, Our RISD: 'Weighted woodcuts', 2015

She uses these images in making large-scale woodcuts that speak to universal experiences of loss, dislocation and resilience ...​

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Tal Dekel PhD, Tough & Tender - Publication: 'Gender and aging as portrayed in art: Just do not call me Granny', 2013 [Heb]

In 2007 Hofshi created her work “Vis Vitalis” … Timna Seligman, Curator, Jerusalem Israel Museum, emphasized that in this work, it is the older generation paving the way to future …

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Julia Villaro, Clarin: 'Artists from all over create here', October 2013 [Span]

They come from Israel, Belgium, and Tucumán… They exhibit their works in Recoleta and create new works  in San Telmo.

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Orit Hofshi, Print Time, Tefen Museum: 'Upon this Bank and Shoal of Time', 2013

"I am constantly searching for a way of making time palpable: personal time, the present time, historical time..."

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Leah Ollman, Los Angeles Times: 'Woodcuts and more by Israeli artist Orit Hofshi at Shulamit', 2013

Israeli artist Orit Hofshi … extends herself ambitiously in multiple directions, but what proves most memorable about her work is its irreducible element, the mark of her hand.

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Scarlet Cheng, ArtSceneCal: 'Orit Hofshi "Cessation", Shulamit Gallery, Venice, CA', 2013

The scale of her work lends itself to immersion, particularly the installation of “Convergence” in the gallery's project room ...​

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Angela Levine, Midnight East: 'Lightening up Edvard Munch- Israeli Artists Share His Space', 2012

Hofshi is exhibiting Trail, a large and powerful woodcut realized by the forceful linear gauging of her wood. With a nod to Munch and to early 19th century German Romantic painter Caspar David Friedrich…

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Irith Hadar, artdaily.com: 'Exhibition covering fifty years of Edvard Munch's prints on view at the Tel Aviv Museum', 2012

The exhibition draws additional gazes to the examination of Munch's work: those of Munch's contemporary artists, who dealt with similar motifs and may have even echoed his works in theirs...

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Galya Yahav, Haaretz: ' Encounters in Edavrd Munch’s space', 2012 [Heb]

​The Munch exhibition in the Tel Aviv Museum of Art does not succumb to the idealization of the individualistic agonizing genius, but rather show Munch as the complex multi-faceted artist he was…

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Edith Newhall, Philadelphia Inquirer: 'See Hofshi', 2012

Hofshi’s work is even more impressive at Locks, whose high ceiling allow her pieces an even stronger presence.

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Amze Emmons, Printeresting.org: 'Orit Hofshi at Locks Gallery', March 2012

She resolves that old printmakerly dilemma of the beautiful matrix – by hanging it on the wall too! This move … seems both bold and generous, as it lays her process bare, removing the distance found in the prints...

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Marilyn MacGregor, Broad Street Review: 'Orit Hofshi’s "Pharos" at Locks Gallery: A novel unfolding in her mind', 2012

Hofshi is a printmaker on a grand scale, with a freedom of vision and execution that is exhilarating to witness...

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Charles Schultz, Art in Print Magazine, Vol 1: ' A Matrix you can move in: Prints and Installation Art', September 2011

“Convergence may refer then not only to the intersection of stages oriented around processes and material, but also to the metaphysical relationship between memory and nowness".

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Edith Newhall, Philadelphia Inquirer: 'Galleries: In prints and paintings, an outlook on devastation', 2011

“…the enormous scale of her work…the massive woodcuts …appear to be windows looking out to kaleidoscopic scenes of destruction in a country of no particular identity…”

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LIST GALLERY, Swarthmore College: “Ori Hofshi: Resilience”, 2011

Exhibition Catalogue

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Andrea Packard, List Gallery Director: ' Realism and Resilience in the Art of Orit Hofshi', 2011

Hofshi’s monumental imagery, tireless labor, and creative agility demonstrate a commitment to history, family, and future generations—ongoing resilience...

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Julien Robson, Curator, The Graphic Unconscious, 2010

The Graphic Unconscious, “Transforming the Known into the New: Pennsylvania Academy of the Fine Arts and Philagrafika 2010” ​​

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Deborah Ripley, ArtNet Magazine 2010

Philgrafika 2010, “Paper Chase”

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Mara Hoberman, ARTFORUM Magazine: 'The Graphic Unconscious', 2010

Hofshi, for example, incorporates hand-carved pine panels along with the prints pulled from them into a large-scale sculptural installation.

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Ken Johnson, Art Review, The New York Times: 'Philgrafika 2010'

“What Is Printmaking Today? Philadelphia Dares to Ask”

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Faye Hirsch, Art in America Magazine: 'The Open Print', 2010

Art in America Magazine, "Philagrafika 2010", p. 67-74, APR2010 Issue

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Gigi Lamm, Pennsylvania Academy of Fine Arts, Preview PAFA: 'Alumni Spotlight', 2010

Alumni Spotlight: Orit Hofshi returns to PAFA for Philagrafika 2010​

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Florence Shu, Artist Magazine, Taipei, Taiwan: 'Philagrafika 2010', 2010 [Chi]

“Philagragfika 2010, pp. 176-183

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Printmaking Today, Vol 18 No.4, Cello Press London, UK 2009

In Focus – Orit Hofshi, Page 2 - 4

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Smadar Sheffi, Art critic, Haaretz: 'Orit Hofshi:  In the Forests', 2009 

Something absent …as poignantly referred to by Stefan Zweig in his book “The World of Yesterday”, is ever present in Hofshi’s works…

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Patrick T. Murphy, Curator: 'The Situations of Orit Hofshi', 2009

The warmth of the wooden panel woodblock printing and the contrast within the drawing indicate the flickering of memory itself as it grasps to recall and fix the ever-shifting details of the past…

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Timna Seligman, Curator Israel Museum: 'Two Conversations with Orit Hofshi', 2009

"I attempt to observe, through these personal stories, a wider phenomena which is not necessarily private but is also public..."

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Jose Roca, Curator of Contemporary Art, Philagrafika | Blog: 'Interview - Orit Hofshi', 2009

Hofshi works by hand on a very large scale, achieving monumentality while retaining an intimate quality in her prints...

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Heidi J. Gleit, Editor, ERETZ Magazine: 'Carved in Wood', 2009

Hofshi creates art that transports viewers into another world, a world where questions about man’s place in the universe confront them​

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Julien Robson, Curator of Contemporary Art, artblog: 'Whole lotta shaking going on at PAFA', 2009

The Philagrafika exhibit is also figurative, and we included alumna Orit Hofshi, so it gives us a sense of looking at our traditions.

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Hagit Peleg-Rotem, Globes Magazine: 'Ori Hofshi - Ephemeral Passage', 2009 [Heb]

Her drawing and carving on woodblocks create cascades and ripples of motion on paper…

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Jose Roca, Artistic Director, Philagrafika 2010, Art on Paper Magazine: ' Orit Hofshi', 2008

Hofshi works by hand on very large formats, achieving grandeur and monumentality while retaining an intimate quality in her depictions of landscape…

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Timna Seligman, Curator, Jerusalem Israel Museum: 'The Disenchanted Forest', 2006

Orit Hofshi's work "Upon this Bank and Shoal of Time" offers us another vision suspended between reality and myth...​

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Uzi Tzur, Haaretz: 'Kairos - Orit Hofshi', 2006 [Heb]

In a spectacular woodcut, rocky fragments are piled like ice chips on a frozen lake, in early spring…  

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Dan Miller, Pennsylvania Academy of the Fine arts: 'The Woodcut: Meaning and Mission', 2004

Orit’s drawing and cutting were free, expressive and explorative from the first...

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Faye Hirsch, International Print Center New York: 'Play Print', 2003

Orit Hofshi worked in the tried-and-true technique of rubbing her carved woodblocks with a spoon...