Menorah Review (No. 52, Spring/Summer, 2001)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Landscapes 20 January — 24 February 2018
Avigdor Arikha Landscapes 20 January — 24 February 2018 Private View: Friday 19 January, 6-9pm Blain|Southern Potsdamer Straße 77–87 Avigdor Arikha, View from Rue de la Chaise, 2005 10785 Berlin Courtesy the Estate of Avigdor Arikha and Blain|Southern Blain|Southern presents Landscapes, a selection of landscape paintings and drawings by Avigdor Arikha (1929-2010), one of the great observational artists of the late twentieth century. The gallery now represents the Estate of Avigdor Arikha and Landscapes is the first exhibition of the artist’s work. The exhibition is on view in the Long Gallery, beginning a new programme of simultaneous exhibitions at the Berlin gallery. While Avigdor Arikha is highly regarded for his interiors, still lifes and portraits, most of which he painted in his Paris studio, he also spent long periods in Israel and New York, and he never failed to take his pencil or brush along with him. Spending summers in Israel, he painted the warm walls, arid hills and desert vegetation, and during his frequent trips to New York City, the city’s rhythmic, rising grids became a new view to stimulate his eye and hand. His adopted hometown of Paris was his most frequent subject, from iconic Haussmann cityscapes, to seemingly overlooked patches of the city. Wherever he landed his eye, he found a subject, or a structure, worthy of a picture. Landscapes allows viewers to travel with the artist, and to see places and perspectives that were important throughout the artist’s life. Window frames inspired the artist wherever he travelled. In View from Rue de la Chaise (2005), the warm glow of the interior window frames are contrasted with the cool burst of green from the tree beyond. -
Review of Dalia Ardon Ish-Shalom, Ardon: a Comprehensive Catalogue, Jerusalem: the Association for the Perpetuation of the Artistic Legacy of Mordecai Ardon, 2019
Review of Dalia Ardon Ish-Shalom, Ardon: A Comprehensive Catalogue, Jerusalem: The Association for the Perpetuation of the Artistic Legacy of Mordecai Ardon, 2019. Mordecai Ardon is a major Israeli artist and art educa- studio in 1933 that destroyed many of the works he tor who achieved international renown in his lifetime. had stored there. His transition to life in Israel is well- After his religious childhood in Poland, he moved to discussed, but Ardon Ish-Shalom doesn’t explain the Germany where he studied advanced modern art at change in his name from Bronstein to Ardon which the Bauhaus and traditional painting techniques with would have given an insight into his occasionally Max Doerner. In 1933, he escaped the Nazis and found mischievous character.2 She does discuss his long- himself in Jerusalem, which surprised him by feeling lasting affair beginning in 1935 with Rikuda Potash, to like the home he had been longing for. His art unites whom several of his paintings are dedicated. However, modern abstraction with traditional techniques and after 1945, the biography becomes more impersonal, mystic Jewish and ancient Canaanite symbolism to replete with his attainments, exhibitions, major works, comment on modern events in Israel and the world. but few details of his actual life. While objectivity is This catalogue raisonné is a definite contribution a good trait in such a book, I missed here any of the to research on this fascinating artist, as the book author’s own reminiscences or insights into the art- gives new information on his life and work and ist’s life and character, and any discussions she may 550 photographs of his works in various media. -
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. -
Israeli) Star of Hope Agamograph 29 X 31 Cm (11 X 12 In.) Signed Lower Right, Numbered '8/25' Lower Left
1* Yaacov Agam b.1928 (Israeli) Star of Hope agamograph 29 x 31 cm (11 x 12 in.) signed lower right, numbered '8/25' lower left $1,500-1,800 2* Yaacov Agam b.1928 (Israeli) Untitled color silkscreen mounted on panel 57 x 62 cm (22 x 24 in.) signed lower right, numbered 'L/CXLIV' lower left $400-500 3 Menashe Kadishman 1932-2015 (Israeli) Sheep head acrylic on canvas 30 x 30 cm (12 x 12 in.) signed lower left and again on the reverse $450-550 4 Menashe Kadishman 1932-2015 (Israeli) Motherland charcoal on paper 27 x 35 cm (11 x 14 in.) signed lower right $150-220 5 Menashe Kadishman 1932-2015 (Israeli) Valley of sadness pencil on paper 27 x 35 cm (11 x 14 in.) signed lower right $100-150 6* Ruth Schloss 1922-2013 (Israeli) 1 Girl in red dress, 1965 oil on canvas 74 x 50 cm (29 x 20 in.) signed lower right Provenance: Private collection, USA. $3,500-4,000 7 Sami Briss b.1930 (Israeli, French) Doves oil on wood 8 x 10 cm (3 x 4 in.) signed lower center $500-650 8 Nahum Gilboa b.1917 (Israeli) Rural landscape with wooden bridge mixed media on canvasboard 23 x 30 cm (9 x 12 in.) signed lower right, signed and titled on the reverse $1,800-2,200 9 Audrey Bergner b.1927 (Israeli) Flutist oil on canvas 40 x 30 cm (16 x 12 in.) signed lower right, signed and titled on the reverse $4,800-5,500 10 Yohanan Simon 1905-1976 (Israeli) Vegetarian Evolution, 1971 oil on canvas 46 x 54 cm (18 x 21 in.) signed in English lower left, signed in Hebrew and dated lower right, signed, dated and titled on the stretcher $8,000-10,000 11* Yohanan Simon 1905-1976 (Israeli) Wedding, 1969 2 oil on canvas 15 x 23 cm (6 x 9 in.) signed in English lower left and in Hebrew lower right $2,200-2,500 12 Menashe Kadishman 1932-2015 (Israeli) Fallow deer iron cut-out 34 x 30 x 2 cm (13 x 12 x 1 in.) initialled $1,400-1,600 13 Naftali Bezem b. -
American Friends of the Tel Aviv Museum of Art Spring Gala! Thursday, April 25, 2013 the Pierre Hotel
American Friends of the Tel Aviv Museum of Art Spring Gala! Thursday, April 25, 2013 The Pierre Hotel American Friends of the Tel Aviv Museum of Art 36 West 44th Street, Suite 1209 New York, NY 10036 To Dave Genser for the years Congratulations of dedicated leadership Suzanne Landau of the Director and Chief Curator American Friends of the of the Tel Aviv Museum of Art. Tel Aviv Museum of Art. Best wishes for great success, Herta and Paul Amir With friendship and best wishes, Herta and Paul Amir American Friends of the Tel Aviv Museum of Art Spring Gala 2013 Honoring Patron of the Arts Martin Sanders Artist of the Year Tal R Leadership in Public Arts Tsipi Ben-Haim Thursday, April 25, 2013 6:30 pm Cocktails and Silent Auction 7:30 pm Dinner Dance and Live Auction The Pierre Hotel, New York Welcome David Genser AFTAM Chairman Motzi Adam Sanders Address Suzanne Landau Director and Chief Curator Tel Aviv Museum of Art Patron of the Arts Martin Sanders Presented by: Suzanne Landau Director and Chief Curator Tel Aviv Museum of Art Artist of the Year Tal R Introduction by: Anders Kold Curator & Head of Acquisitions Louisiana Museum of Modern Art Presented by: Joan Genser Leadership in Public Arts Tsipi Ben-Haim Presented by: Ambassador Ron Prosor Permanent Representative of Israel to the United Nations Dinner and Dance Performance Burr Johnson Live Auction DawnMarie Kotsonis Auctioneer Musical Program Passacaglia of Handel-Halvorsen 2013 Recipient of the Irving and Mollie Sanders Memorial Juilliard / Tel Aviv Museum of Art Prize Dane Johansen, Cellist 2012 Recipient of the Irving and Mollie Sanders Memorial Juilliard / Tel Aviv Museum of Art Prize Sean Lee, Violinist Honorary Committee Paul and Herta Amir Mayor and Mrs. -
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. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMTPON FACULTY OF HUMANITIES Modern Languages Perceptions of Holocaust Memory: A Comparative study of Public Reactions to Art about the Holocaust at the Jewish Museum in New York and the Israel Museum in Jerusalem (1990s-2000s) by Diana I. Popescu Thesis for the degree of Doctor of Philosophy April 2012 UNIVERSITY OF SOUTHMAPTON ABSTRACT FACULTY OF HUMANITIES Modern Languages Doctor of Philosophy PERCEPTIONS OF HOLOCAUST MEMORY: A COMPARATIVE STUDY OF PUBLIC REACTIONS TO ART EXHIBITIONS ABOUT THE HOLOCAUST AT THE JEWISH MUSEUM IN NEW YORK AND THE ISRAEL MUSEUM IN JERUSALEM (1990s-2000s) by Diana I. Popescu This thesis investigates the changes in the Israeli and Jewish-American public perception of Holocaust memory in the late 1990s and early 2000s, and offers an elaborate comparative analysis of public reactions to art about the Holocaust. -
Ben-Gurion University of the Negev the Faculty of Humanities and Social Sciences Department of Politics and Government
BEN-GURION UNIVERSITY OF THE NEGEV THE FACULTY OF HUMANITIES AND SOCIAL SCIENCES DEPARTMENT OF POLITICS AND GOVERNMENT SECTIONSCAPING In Search for Non-Modern Landscape An Israeli-Palestinian Case Study REQUIREMENTS FOR THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE THE MASTER OF ARTS DEGREE (M.A.) ALON MATOS UNDER THE SUPERVISION OF Prof. HAIM YACOBI 06/2018 S E C T I O N S C A P I N G In Search for Non-Modern Landscape An Israeli–Palestinian Case Study Figure 1: Nachum Gutman, 1934, illustration for the song "On the Beach" from "Children's Songs" by Anda Amir Pinkerfeld i Thanks to my parents, nothing would have happened without them Thanks to Prof. Haim Yacobi for the guidance, support, patience and good spirit Thanks to all the friends I met along this path Special thanks to Prof. Ayala Ronel and Arch. Eytan Mann for their inputs and support Thanks to all my teachers who taught me the landscape, and caught me in love with it ii CONTENT ABSTRACT …………………………………………………………………… i PROLOGUE …………………………………………………………………… ii SUMMARY …………………………………………………………………… iii INTRODUCTION …………………………………………………………………… 1 Imperial Landscape 1 Holy Landscape 5 THEORY …………………………………………………………………… 11 Modern Constitution 11 Non-modern Constitution 17 METHODOLOGY …………………………………………………………………… 24 Sectionscaping 24 CASE STUDY …………………………………………………………………… 31 Hybrid Landscape 31 Research Question 34 1. LANDSCAPE …………………………………………………………………… 39 MATRIX Structural Flows 39 Landscape Folds 41 Landscape Texture 49 Modern Folds 53 2. ZIONIST FLOW …………………………………………………………………… 60 The Modern -
Université De Pau Et Des Pays De L'adour
Université de P au et des Pays de l’Adour ECOLE DOCTORALE 481 SCIENCES SOCIALES ET HUMANITES Thèse de doctorat L’ART CONTEMPORAIN D U MOYEN-ORIENT ENTRE TRADITIONS ET NOUVEAUX DEFIS Présenté par Madame Susanne DRAKE Sous la direction de Madame Evelyne TOUSSAINT Membres du jury : Madame Evelyne TOUSSAINT, professeur à Aix-Marseille Université, précédemment professeur à l'U niversité de Pau et des Pays de l’Adour Monsieur Rémi LABRUSSE , Professeur d’ Université de Paris Ouest Nanterre-La Défense Monsieur Dominique DUSSOL , Professeur de l’Université de Pau et des Pays de l’Adour Monsieur Eric BONNET , Professeur de l’Université de Paris VIII Date de soutenance : 10 Juin 2014 1 Résumé fran çais et mots clefs Dans les pays du Moyen Orient, nous sommes face à une réalité complexe, qui est encore peu comprise en Europe. Les médias nous dépeignent souvent une société majoritairement islamique fondamentaliste. Cette image, qui pourrait relever d’une représentation tardive du Moyen Orient par l’Occident est empreinte de problématiques d’ordre économique et soci étal. Une analyse précise permet de mettre au jour des singularités nationales et intranationales. Les développements artistiques profitent de ces sources multiples. Pour inclure les artistes du Moyen Orient dans l’histoire de l’art du monde , et comprendre les œuvres d’art contemporain, nous nous sommes servis de plusieurs approches. O utre l’analyse esthétique et la recherche d’influences formelles, il s’agit de comprendre les positions politiques de l'artiste, sa psychologie, son rôle dans la société, mais aussi la place de la religion dans la vie publique, la valeur attribuée à l’art contemporain et sa réception dans la société. -
Tel Aviv University International Study Abroad Fall Semester 2017
Tel Aviv University International Study Abroad Fall Semester 2017- 2018 COURSE DESCRIPTION MAIN OFFICE UNITED STATES CANADA The Carter Building , Room 108 Office of Academic Affairs Lawrence Plaza Ramat Aviv, 6997801, Israel 39 Broadway, Suite 1510 3130 Bathurst Street, Suite 214 Phone: +972-3-6408118 New York, NY 10006 Toronto, Ontario M6A 2A1 Fax: +972-3-6409582 Phone: +1-212-742-9030 [email protected] [email protected] Fax: +1-212-742-9031 [email protected] INTERNATIONAL.TAU.AC.IL TABLE OF CONTENT ■ FALL SEMESTER 2017 DATES 3-4 ■ ACADEMIC REQUIREMENTS 5-13 ■ SCHEDULE OF COURSES 14-16 ■ TRANSCRIPT REQUEST INSTRUCTIONS 16 ■ COURSE DESCRIPTIONS 17-110 ■ REGISTRATION FORM FOR STUDY ABROAD COURSES 111 ■ EXTERNAL REGISTRATION FORM 112 2 FALL SEMESTER 2017-2018 IMPORTANT DATES ■ The Fall Semester starts on Monday, October 23rd 2017 and ends on Thursday, January 4th 2018 (inclusive). ■ Academic Orientation: Monday, August 14th 2017 at 2:00 p.m. ■ Course registration deadline: Monday, August 21st 2017. ■ Class changes and finalizing schedule (see hereunder): Sunday, October 29th 2017. ■ Last day in the dorms: Sunday, January 7th 2018. Students are advised to register to more than the required 5 courses but not more than 7 courses. Students will be allowed to delete courses from their schedules, (not add), on Sunday, October 29th 2017. Fall Semester lasts 11 weeks, most courses will be given 4 hours per week, (two hours, twice a week), in most cases 3 credits each course. As a result, no early departures will be approved prior to Thursday, January 4th 2017. Early departures may in some case be approved for students whose Fall Semester in their school overlaps with the Tel Aviv University schedule. -
Israel Museum Announces 2016 Exhibition Highlights
Israel Museum Announces 2016 Exhibition Highlights Exhibitions in Archaeology, Fine Arts, and Architecture Reflect on Cross-Cultural Exchange Spanning Millennia Jerusalem (January 7, 2015) — The Israel Museum, Jerusalem today announced its upcoming program of exhibitions for 2016, following the conclusion of its 50th Anniversary celebrations throughout 2015. From focused presentations of international contemporary artists to exhibitions exploring cross-cultural themes, the Museum’s 2016 program embraces topics spanning continents, genres, and time periods. Opening on March 4 as a centerpiece of the Museum’s 2016 season, Pharaoh in Canaan: The Untold Story marks the first-ever exhibition to explore the cross-cultural ties between Egypt and Canaan during the second millennium BCE through an unprecedented display of more than 650 ancient artifacts. Featuring objects discovered in Egypt and Israel, the exhibition illuminates the cross-fertilization of ritual practices and aesthetic vocabularies between these two distinct ancient cultures. On view beginning July 1, Social Construction: Modern Architecture in British Mandate Palestine extends into the 20th century this same exploration of how distinct cultures can coalesce to inform the development of new cultural expressions by highlighting the transformative impact of early European modernism on the development of architecture in Palestine during the British Mandate. “The notion of cross-cultural dialogue goes right to the heart of everything we do at the Israel Museum, resonating deeply