Catalogue of Map Artists
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Analyzing the Barometer of Responses
Chapter 6 Don’t Touch My Holocaust – Analyzing the Barometer of Responses Israeli Artists Challenge the Holocaust Taboo Tami Katz-Freiman The national museum in the eternal capital of the Jewish people should encourage many exhibitions attesting that we are indeed liberated from the traumas of the past. If the Israel Museum could get hold of the bones of Holocaust victims, they could invite kindergarten children to build castles. Perhaps the Israel Museum should also import hair from Auschwitz to hang on it postmodern works.1 This sarcastic and radical response, published in Maariv on January 19, 1997, by Holocaust survivor, Knesset member, and journalist Joseph Lapid, following the controversial exhibition of Israeli artist Ram Katzir at the Israel Museum, reflects the problematic nature, the hypersensitivity, and the intricacy of the current Holocaust discourse in Israel. In this essay, I delve into the pressing issues of this highly delicate discourse. I attempt to locate the very root of its problematic nature, wherefrom all taboos and paradoxes stem pertaining to the discourse of Holocaust representation in 188 contemporary Israeli art. The Zionist ethos is informed by two fundamental notions: Holocaust and Heroism and Negation of Exile that are crucial to the understanding of the problematic nature inherent in Holocaust representation in Israel. In the following paragraphs, I trace the implications of these two perceptions on Holocaust representation in art, and attempt to categorize and classify modes of Holocaust representation in contemporary Israeli art in light of, or in relation to, the public sensitivity toward the manipulative use of the Holocaust. In order to elucidate some basic concepts relating to the Israeli black hole, I examine some strategies employed by current Israeli artists who are communicating Auschwitz2 in their work. -
Mapping Robert Storr
Mapping Robert Storr Author Storr, Robert Date 1994 Publisher The Museum of Modern Art: Distributed by H.N. Abrams ISBN 0870701215, 0810961407 Exhibition URL www.moma.org/calendar/exhibitions/436 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art bk 99 £ 05?'^ £ t***>rij tuin .' tTTTTl.l-H7—1 gm*: \KN^ ( Ciji rsjn rr &n^ u *Trr» 4 ^ 4 figS w A £ MoMA Mapping Robert Storr THE MUSEUM OF MODERN ART, NEW YORK DISTRIBUTED BY HARRY N. ABRAMS, INC., NEW YORK (4 refuse Published in conjunction with the exhibition Mappingat The Museum of Modern Art, New York, October 6— tfoti h December 20, 1994, organized by Robert Storr, Curator, Department of Painting and Sculpture The exhibition is supported by AT&TNEW ART/NEW VISIONS. Additional funding is provided by the Contemporary Exhibition Fund of The Museum of Modern Art, established with gifts from Lily Auchincloss, Agnes Gund and Daniel Shapiro, and Mr. and Mrs. Ronald S. Lauder. This publication is supported in part by a grant from The Junior Associates of The Museum of Modern Art. Produced by the Department of Publications The Museum of Modern Art, New York Osa Brown, Director of Publications Edited by Alexandra Bonfante-Warren Designed by Jean Garrett Production by Marc Sapir Printed by Hull Printing Bound by Mueller Trade Bindery Copyright © 1994 by The Museum of Modern Art, New York Certain illustrations are covered by claims to copyright cited in the Photograph Credits. -
Class of 1965 50Th Reunion
CLASS OF 1965 50TH REUNION BENNINGTON COLLEGE Class of 1965 Abby Goldstein Arato* June Caudle Davenport Anna Coffey Harrington Catherine Posselt Bachrach Margo Baumgarten Davis Sandol Sturges Harsch Cynthia Rodriguez Badendyck Michele DeAngelis Joann Hirschorn Harte Isabella Holden Bates Liuda Dovydenas Sophia Healy Helen Eggleston Bellas Marilyn Kirshner Draper Marcia Heiman Deborah Kasin Benz Polly Burr Drinkwater Hope Norris Hendrickson Roberta Elzey Berke Bonnie Dyer-Bennet Suzanne Robertson Henroid Jill (Elizabeth) Underwood Diane Globus Edington Carol Hickler Bertrand* Wendy Erdman-Surlea Judith Henning Hoopes* Stephen Bick Timothy Caroline Tupling Evans Carla Otten Hosford Roberta Robbins Bickford Rima Gitlin Faber Inez Ingle Deborah Rubin Bluestein Joy Bacon Friedman Carole Irby Ruth Jacobs Boody Lisa (Elizabeth) Gallatin Nina Levin Jalladeau Elizabeth Boulware* Ehrenkranz Stephanie Stouffer Kahn Renee Engel Bowen* Alice Ruby Germond Lorna (Miriam) Katz-Lawson Linda Bratton Judith Hyde Gessel Jan Tupper Kearney Mary Okie Brown Lynne Coleman Gevirtz Mary Kelley Patsy Burns* Barbara Glasser Cynthia Keyworth Charles Caffall* Martha Hollins Gold* Wendy Slote Kleinbaum Donna Maxfield Chimera Joan Golden-Alexis Anne Boyd Kraig Moss Cohen Sheila Diamond Goodwin Edith Anderson Kraysler Jane McCormick Cowgill Susan Hadary Marjorie La Rowe Susan Crile Bay (Elizabeth) Hallowell Barbara Kent Lawrence Tina Croll Lynne Tishman Handler Stephanie LeVanda Lipsky 50TH REUNION CLASS OF 1965 1 Eliza Wood Livingston Deborah Rankin* Derwin Stevens* Isabella Holden Bates Caryn Levy Magid Tonia Noell Roberts Annette Adams Stuart 2 Masconomo Street Nancy Marshall Rosalind Robinson Joyce Sunila Manchester, MA 01944 978-526-1443 Carol Lee Metzger Lois Banulis Rogers Maria Taranto [email protected] Melissa Saltman Meyer* Ruth Grunzweig Roth Susan Tarlov I had heard about Bennington all my life, as my mother was in the third Dorothy Minshall Miller Gail Mayer Rubino Meredith Leavitt Teare* graduating class. -
Artists and Social Change Curtis Carter Marquette University, [email protected]
Marquette University e-Publications@Marquette Philosophy Faculty Research and Publications Philosophy, Department of 1-1-2009 Artists and Social Change Curtis Carter Marquette University, [email protected] Published version. International Yearbook of Aesthetics, Vol. 13 "Art and Social Change" (2009): 19-38. Publisher Link. © 2009 International Association of Aesthetics. Used with permission. Artists and Social Change Curtis L. Carter I. Introduction When exploring the topic of the arts as a force in social change, one is immediately confronted with a long history, beginning in the West with ancient Greece; as well, other parts of the world foster their own respective histories of art and social change. Pericles‘s vision for transforming the world‘s view of Athens from a small Greek city state, one among others, to a world power embodying the principles of democracy, employed the arts as the image of the new Athens. Architecture, sculpture, theatre arts including drama and dance, as well as poetry, all were marshalled in the service of changing the image of this ancient Classical city. Architecture and sculpture were especially important in creating the new image required to symbolize the cultural and political aims of Pericles. The results significantly helped shape the history of the Classical Western Arts and remain a benchmark of civilization for all times. Influences from this Classical model for the arts recur again and again throughout history in Roman art, European art of the Renaissance, and extending to the Neo-classical era of the Nineteenth and Twentieth centuries. The philosopher Hegel, writing in the Nineteenth century, named one of three main ontological and historical categories in his examination of the philosophy of art after the Classical art of ancient Greece.1 1 Some interpreters of Hegel‘s Philosophy of Fine Art believe that he found in Classical arts of Ancient Greece, especially sculpture, art‘s highest achievements. -
Experience of Borders. the Israeli Conceptual Art at the Turn of Sixties and Seventies
doi:10.32020/ARTandDOC/22/2020/17 VARIA ENGENGENG--- LISHLISHLISH SUMSUMSUM--- MAMAMA--- Ewa KĘDZIORA RY EXPERIENCE OF BORDERS. THE ISRAELI RYRY CONCEPTUAL ART AT THE TURN OF THE SIXTIES AND SEVENTIES The topic of the article is Israeli art in the face of geopolitical and social consequences of two wars – Six Days (1967) and Yom Kippur (1973). The article discusses the activity of conceptual artists who have taken up the problems associated with experiencing life in disputed territories, thus, for the first time in Israeli history of art, critically referring to political and social reality. The starting point for the study is the reception of the concept of political boundaries in the artistic creativity of that period. In the first part, the article introduces the political and social situation at the turn of the 1960s and 1970s, i.e. the period in which the ‘map’ of Israel underwent multiple transformations, and the beginning of the occupation of the West Bank and the Gaza Strip affected the polarization of social moods. In the second, the atmosphere of emerging conceptualism in Israel was presented. The exhibition entitled The Borders, which took place at the Israel Museum in Jerusalem (1980), and the performance by Joshua Neustein, Project: Jerusalem River (1970) serve as the context. The third part of the text focuses on the analysis of projects relating to the concepts of maps and demarcation lines, among which were discussed the cartographic ‘games’ of Michael Druks, the performance of Joshua Neustein Territorial Imperative (1974), and Touching the Borders (1974) by Pinchas Cohen Gan. The last part of the study is an analysis of projects related to the topic of the Arab community. -
Staring Back at the Sun: Video Art from Israel, 1970-2012 an Exhibition and Public Program Touring Internationally, 2016-2017
Staring Back at the Sun: Video Art from Israel, 1970-2012 An Exhibition and Public Program Touring Internationally, 2016-2017 Roee Rosen, still from Confessions Coming Soon, 2007, video. 8:40 minutes. Video, possibly more than any other form of communication, has shaped the world in radical ways over the past half century. It has also changed contemporary art on a global scale. Its dual “life” as an agent of mass communication and an artistic medium is especially intertwined in Israel, where artists have been using video artistically in response to its use in mass media and to the harsh reality video mediates on a daily basis. The country’s relatively sudden exposure to commercial television in the 1990s coincided with the Palestinian uprising, or Intifada, and major shifts in internal politics. Artists responded to this in what can now be considered a “renaissance” of video art, with roots traced back to the ’70s. An examination of these pieces, many that have rarely been presented outside Israel, as well as recent, iconic works from the past two decades offers valuable lessons on how art and culture are shaped by larger forces. Staring Back at the Sun: Video Art from Israel, 1970-2012 traces the development of contemporary video practice in Israel and highlights work by artists who take an incisive, critical perspective towards the cultural and political landscape in Israel and beyond. Showcasing 35 works, this program includes documentation of early performances, films and videos, many of which have never been presented outside of Israel until now. Informed by the international 1 history of video art, the program surveys the development of the medium in Israel and explores how artists have employed technology and material to examine the unavoidable and messy overlap of art and politics. -
Vt~ • He Moved to New York City When He Was 19 and Briefly Studied at a Well Uf Known Art School
Three Flags by Jasper Johns done in 19~, the artist painted 3 separate flags using what is known as encaustic which is the use of wax and pigment on canvas. He attached each of them to each other to create a 3 dimensional object. This form of art is known as pop art- using familiar imagery from everyday life. It was acquired by the Whitney Museum in New York City in 1980 for 1 million dollars. Meet the Artist: Jasper Johns • He was born in 1930 in Augusta, Georgia, but grew up in South Carolina. He began drawing when he was 3 but had little exposure to art education. ~ vv~ Vt~ • He moved to New York City when he was 19 and briefly studied at a well Uf known art school. He became friends with other prominent artists of the day and together they began developing their ideas on art concepts. • He is best known for his "Flag," (1954-55) painting after he had a dream about a large American Flag. • Many images in his art are recognizable symbols and familiar objects that stand on their own design that don't need interpretation or have a hidden meaning or emotion. • He liked the simple design of objects like the American Flag, the alphabet, numbers or a map of the United States as these symbols are powerful on their own. • He carefully chose the subject matter for his art based on its simplicity, symmetry, and basic patterns. • His Flag series was what made him famous as an artist but he also worked with other mediums. -
The Alternative Spaces Residency Program Number 3
Wright State University CORE Scholar Exhibition and Program Catalogs Robert and Elaine Stein Galleries 1980 Quintessence: The Alternative Spaces Residency Program Number 3 The Wright State University Department of Art and Art History Follow this and additional works at: https://corescholar.libraries.wright.edu/restein_catalogs Part of the Art and Design Commons, Art Practice Commons, and the Fine Arts Commons Repository Citation The Wright State University Department of Art and Art History (1980). Quintessence: The Alternative Spaces Residency Program Number 3. Dayton, Ohio: Robert and Elaine Stein Galleries, Wright State University. This Catalog is brought to you for free and open access by the Robert and Elaine Stein Galleries at CORE Scholar. It has been accepted for inclusion in Exhibition and Program Catalogs by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. • • • • • , QUINTESSENCE L Lovingly dedicated to the memory of Sharon K. Schrodi The Alternative Spaces Residency Program Number3 The City Beautiful Council of Dayton, Ohio The Wright State University Department of Art and Art History Project Director: Paul R. Wick, Administrator, City Beautiful Council QUINTESSENCE is the catalogue of The Alternative Spaces Residency Program administered by the City Beautiful Council and the Wright State University Department of Art and Art History, Dayton, Ohio. Funding provided by the Ohio Arts Council and the National Endowment for the Arts, a Federal agency, is gratefully acknowledged. QUINTESSENCE Copyright© 1980, City Beautiful Council. Dayton, Ohio All Rights Reserved Library of Congress Catalogue Card Number 80-54455 ISBN 0-9602550-1-X This catalogue may not be reproduced in whole or in part. -
Israel Culture Scene
Israel Culture Scene UPCOMING EVENTS Israel Magic 3 - Summer in Istria Numerous visitors had a chance to enjoy magic of Israeli artists, musicians, dancers and singers that performed during last two summers in Croatia as part of the cultural program organized by the Art &Culture Embassy. This year, summer cultural Mona Lisa Live Exhibition, Tel Aviv. July 1-August 1, 2013. program will take place in Hatachana, the Old Railway Station in Tel Aviv beautiful Istria from August 3-9, Mona Lisa Live, a groundbreaking multimedia exhibition bringing the works of the 2013. Renaissance period including Da Vinci and Michelangelo, will come to Tel Aviv during July 2013. Mona Lisa Live will combine music, animation and special effects, with huge "Israel Magic 3 - Summer in Istria" projections to bring new life to classical works of art within the setting of the quaint will present number of Israeli artist, alleyways of Florence in the Renaissance period. Great for art lovers and families alike, including Carmel A-Cappella, with kids activities following the exhibition. Sheketak, The mentalist Lior Mona Lisa Live comes to Tel Aviv from July 1 to August 1, 2013, and is open seven days Suchard, Carmel Quartet, wind a week. instruments artist Amir Gwirtzman, Acollective, Chef Shaul Ben Aderet will present Israeli Cuisine, and more… Conceptual and Minimalist Art Herzliya Museum of Contemporary Art American-Israeli Professor Michael Adler whose 50 piece art collection covering a period between the 1960 and 1990s, donated to the Herzliya Museum of Contemporary Art six years ago, is currently on display. Israel Coming Festivals: In focus is an underrated but truly significant period in Israeli art when some dozen young Israelis, despite resistance from the local art establishment, turned to conceptual (ideas) art, sometimes with a socio-political slant. -
D'ont Touch My Holocaust
“D’ont Touch My Holocaust” Analyzing the Barometer of Responses Israeli Artists Challenge the Holocaust Taboo Published in Impossible Images: Contemporary Art After the Holocaust , a collection of articles edited by Shelley Hornstein, Laura Levitt, and Laurence J. Silberstein, New Perspectives on Jewish Studies series, New York University Press. Based on a paper for the International conference: Representing the Holocaust: Practices, Products, Projections, Berman Center of Jewish Studies, Lehigh University, Pennsylvania “The national museum in the eternal capital of the Jewish people should encourage many exhibitions attesting that we are indeed liberated from the traumas of the past. If the Israel Museum could get hold of the bones of Holocaust victims, they could invite kindergarten children to build castles. Perhaps the Israel Museum should also import hair from Auschwitz to hang on it postmodern works.”(1) This sarcastic and radical response, published in Ma’ariv on January 19, 1997, by Holocaust survivor, Knesset member, and journalist Joseph Lapid, following the controversial exhibition of Israeli artist Ram Katzir at the Israel Museum, reflects the problematic nature, the hypersensitivity, and the intricacy of the current Holocaust discourse in Israel. In this essay, I delve into the pressing issues of this highly delicate discourse. I attempt to locate the very root of its problematic nature, wherefrom all taboos and paradoxes stem pertaining to the discourse of Holocaust representation in contemporary Israeli art. The Zionist ethos is informed by two fundamental notions ―Holocaust and Heroism‖ and ―Negation of Exile‖ that are crucial to the understanding of the problematic nature inherent in Holocaust representation in Israel. -
1 Ann Messner CV December 2019 Public Projects | Installations 2014
Ann Messner CV December 2019 Public Projects | Installations 2014 - current abovegroundcollective, collaborative building of multi-purpose public meeting hall, Brooklyn Sunset Park, public debut winter 2020 2018 the free library and other histories, site-specific public project, commissioned by Franklin Furnace and the Pratt Institute Library, installations at Pratt Institute Brooklyn Campus and the Jefferson Market Branch New York Public Library, NY. Additional distribution of tabloid through the Lower Manhattan Network of New York Public Libraries. 2015 the underground potato, single day deployment, Essex Street Market, commissioned by Artists Alliance, New Museum’s Ideas City; a collaborative project with Laurie Arbeiter 2014 the underground potato, public project, food media-media vending cart, installed in the Essex Street Market in conjunction with The Real Estate Show: Was Then: 1980; What Next 2014?, Cuchifritos Gallery, (in the Essex Street Market), New York, NY 2013 DuBois_the FBI files, public project for Du Bois in Our Time, University Museum of Contemporary Art, UMASS, Amherst, MA 2009 who gets to speak?, speakers corner for public events, Revolution Books, New York 2008 mobile home, a public installation, Munson Williams Proctor Arts Institute, Utica, NY 2007 petition to congress for redress of grievances, site specific offset tabloid (20 pages, edition of 5,000) delivered to Congress and the general public, April 25, 2007, Wash DC 2006 penitentiary, offset tabloid project for Eastern State Penitentiary, Philadelphia, PA. Distributed for free through vending machine on site 2006-7 season, edition of 40,000. 2005 disarming images, a 3-channel 60 minute DVD project. Ann Messner was the creative director of the project, produced by Artists Against the War. -
Susan Crile COSMATTI 1988 Pastel on Paper 22 X 30 Inches Opening Bid: $2500
Susan Crile COSMATTI 1988 Pastel on paper 22 x 30 inches Opening bid: $2500 Artist Statement: I had traveled as a teenager to the Middle East, Greece and Italy. I had been struck by the patterns in the architecture, paintings, pots, carpets and mosaic tiles, how different and powerful they were in each place. Although I arrived at Bennington College the spring of 1961 with aspirations to be a poet, it was art that allowed me to externalize these past, still haunting visual experiences into paintings and drawings. Pattern was more than decoration; It expressed something essential about human nature and the desire to make sense and beauty out of the world around us. Bennington College was where this could happen to a young woman: it opened up the world to us intellectually and creatively in unconventional ways. Biography: Susan Crile’s paintings move between the poles of beauty and horror. Her work is in the collections of many museums including the Metropolitan Museum of Art, New York NY, The Hirshhorn Musem & Sculpture Garden, Washington D.C., The Soloman R. Guggenheim Museum, New York, NY and the Cleveland Museum of Art, Cleveland, OH. She has exhibited at numerous museums in the US and Europe which include, Il Museo di Roma in Trastevere, Il Museo di Palazzo Mocinego in Venice, The phillips Collection in Washington DC and the St Louis Museum of Art. She has had over 50 one person exhibitions. Crile has received two National Endowment for the Arts awards, and Residency grants to The Bellagio Study and Conference Center, at The Rockefeller Foundation in Bellagio, Italy and to The American Academy in Rome.