Between Bearrty anel Destirry: Three Generations of lsraeli Art

Septernber 9 throrrgh Norrernber 1, t99A

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Glerreland Genter for Gonternporary Art lUloshe l(upferrrlaril -=-+*"rp

As :r Polish Je'"v who sr-rrvived Wor.ld Wal II, and rvho helped build the State of Isr:rel, Mosl-re Kupfennan'.s art is about histoly rnd nremory. "l dor-r't choose cor-rsciously to deal

s,ith dre historical reality," says Kr-rpfentran, "br-rt I can never be fi'ee fi.or-n a connection to the past." Atter inltrigrating to Ist'ael in 194U, 'W'arsnv Kupfenlan joined a eror-rp of ehetto fighters to for-rnd Kibbutz Lol-r:rnrei Haqetaot (Ghetto Fighters

Kibbutz). I{upfennar-r chose, as his part in building tl'ris nervJervish society, i() bcconre ltrr lrtist. He :-ertnitrs ltrt lctive nrertrber of the Kibbutz and all tlre ert:-r'rirrgs fi-orrr his p:lir)tinqs so to his conrnrunity. Kupferman'.s paintinln, lal'ee sonrbel abstractions of nruted purple

.rrr.1 rilver torres, llludc to arr irrrrcr- gestures, qu:rsi-eeortretrical sl-rapes Kupfernran'.s paintinqs tepresent rc:rlnr of solr.ow and nrouming.The and r rich palette of r-nuddied tones. the paradox of the inrpossibility of process of layerir-ru by rvl-rich he His paintinqs cl'eate a rvorld of ten- reconstructing the horrors of the builds his canvases encodes a rnorll sions and paradoxes, an inrpossible Holocaust. As he rvrote in a crt:rlogue .rct. a disciplined balance of doubt unity ofveltical and horizontal, a of :rn exhibition in , in 1995: .rnrl rr'ill. His dense surfaces are the field of ordel and chaos. As All:rn Horr mn .rrt c{)lrr-f tlrc nrttrdt'r rc'sult of l:ryers upon layers of p:rint Schrvartzntan states in his catalogue ttf rnilliotrs, tcll abortt tlrc ittdtrstry u'hich, like ar-r alcheolosical site, both essay, in Kupternranls rvork "there is ttf'dcatlt? hirle lnd reverl earlier ur:rrks.The at once conflict and I yearnins for Htut mtr I futttrp u,hat nty conrpositiorrs are active fields of grids, bal:rr-rce." _lcu,islt 1tt'trplc wcrrt tlrrorelt u,ltt,tt thc), rucrt' ttutrdcrcd?

Iilc slnll rrL'ut,r ltc oblc to trasp tltat tlis nurld lnuc happotcd. I pairrt. I tttiss tltcnr. Ahnys y,ill.

top: lli'r[ orr /)r/lr; lr){)J..otrrrcjr ofrhc rrrist.rDd (iolilit l'rlrr (i.rllcn: Moorr (lollc!:c ofArt.rlrl l)csiip rrliddle: 1|i,rilt l// /i/rr\,t ll;,: l()70. phoro:Tirrr Srtirrrck bortom: (l(:(lA irr\trllrti{nr. l()()S. phorr:Tirl Srfi.rnek 'a Joshua Neustein

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Joshua Ner.rstein'.s Ripcr rlf,4-s/rcs, l{iver, its p:rth fbrnred by tl-u:ee tons Hepl-rlestus, enenry of the Trojans,

D(u tt c st i ( Tt,tt t q i I i t y is a site-specifi c ofbllck coal ash. A crystal ch:urdelier' rvho turns against tl-re liver rvitl-t instlllation of epic propor:tions. Since hanr:s rbove tl-re nrap of ashes, a "gleanring fllnre." "What part have 1990, Neustein l-ns trrveled the rvor:ld synrbol of cr"rlture that dranr:rtically I in stlife or in belrinq aid?" asks to cre:lte sinrilal inst:rllations, elch illunrinates the nretaphoricrl rbyss of the scorched lrd flanring river? For' dr:rrvn fi'onr local topour:rphr,, r,et chllred dlrkness belorv llarv blocks Nelrstein, eacl-r of the eods is a player' alluding to univclsll thenres ofdis- of coal suspended fi-onr the ceilir-rg ale ir-r tl-re civil rval that govel ns tl-ris tale pl:rcenrent and belonuing. Maps lnd jelcrrri:rds lorv lrerr*irrg expr-essiorts lnd each beals lespolrsibility for the - bordels, botl-r real and uretlpholical, of foleboding. As the vierver trrr.rs- strife rnd conflict that consunres fiqure pronrinentlv in Neustein'.s lrt. verses this nrap, he is posited at the thenr.Tl-rr-rs, the river nrytholow is Tl-rey nrirr-or :r peripatetic lite thlt borderline ofthe physical and the both biblical and topical. Rivo' qf' has taken the altist fl'onr his nltivc political. Aslu's, Dorncstic T'arrqility elludes to Pol:rnd, through \\:il1'-to1'n Europe, lrr the Crry:rhog:r's histoly. irr plr'- corrflicts rvithirr erch corrrrrrurrity. to childhood in the . ticular its infinrous "burning river" including Clevel:rnd. and all e:rrly ldnlthood in lsr;rel. retunr to incident, Neustein hrs perceived a other conmunities that nrLlst recolr- NervYork and a bi-n:rtion:rl lifesn'le prr:rllel to m arlcient episode fi-onr cile opposition :lnronq neiql-rbors. since then. Honrer''.s Iliad. In this epic tale, tl-re

piygy 1tf Ashcs, Dorrrc-itic Ttntqrility liver qod, Scm:rnder', f,rcilitates dre reclertes the physical ten'lin of the Trojnst escape by flooding the city of :rnd tl-re Cuval-rosir phins, only to be countered by top lcft: /lrrrr r,/-1r/r\ I)nililtli lidtLltiIit) (letril). I()()S. phonr:Tirrr Srfi.rrrek r)()N top riglrt: ./?irt r,,/. Jiltr!, I)rilNi linillilitf klctril). I phorr:f_irr Srtirnck bottom: (:(:(lA irrst.rlhrirrrr. I(l()S. phorrr:Tirrr Srtirnck b l't, 'it; 1', Ariane tlft Littrrlan-Cohen fl II

Since qr':rdultiuq fl'onr tl-re lJezalel l)rcvious colleborrrtions 1-rave included olive b:rrrels cont:rir.rir.rg clisc:trded Acrtd.'rnv oiAlt .rrrtl I)csisrr irr Alinr, a l:rrse public Urb:tn olive pits :rre clensely trrtnqed.Their-

-lerus:rlenr in 1 991 , Arirne Littnr:rn- I )c'r'elopnrent Conrpau,v, Eclen Sprin g, size ,rrrd rrrrrnbers :rllrrdc to rlrrssivc Col-ren has explored collective cultur:rl lr rninerll w:rtel' conlPillry, :rnd tl-re qu:urtitics ololives, both rr virtble nrellrol-v throuqh installations thlt Isllel National Fund (l{lren Kaycrnet coninrer-cirrl procluct and l synibol of crrrnrine culturl] nrvths. Hel n'olk Lelsrael), knorvn tbr" its anibitior.rs lsr:rcl\ rre.rr rrrir':rculous borrrrry rrr .rclcl'esscs conlnron post-nroclern col)- ti)r'estlv projects. firce of en lrid clinr:tte rrncl dr,v telr:1i1r. celns olrepresentrttion rutd historv As irr |r-cviorrs rvork. Littrrr.rrr- Illr.rnrinrrtinq the bl:rck b:rn'els rvitlr :rnd joins :l curlent qerrer:rtion of Cohen l-rere coll:rbot'ltes s,ith a red light flonr u'ithin, Littnrrn-Cohen Isr:reli :trtists u,ho lre explorinq issnes public enterprise, the Kibbutz Ilcit skillfully tr:rnsfblnrs their utilitrtrirtn oiidentity, ctrltur-:rl :ruthority :rnd the H:rshit:r, the l:rrsest distlibutor ol Itrrrctiorr irrto drr-k [.its oirrrysterious

t'ttrr;tls rll-lt l.trrd tIviil{-I ro rrr;trrrt:tiD its olives in Isrtel. Havinq norked lor Frolrortiol )s. l)erl t.t1ts tlre I i r I geri rrrj holiness :rqrinst the ever present tbrces :r short tinre on this kibbutz :rnc'l e:rrthy:rron:r of olives together rvitl-r rrl- rttoderrrisrrr ;rrr,l globilliz.rtiorr. laboled in its olive tictor-v upon her thesc d:rrk ri orrrb-lrkc irrtclror-s is

Corrcs pot I d u t il' continues Littnr:rn- ;trr-ivrrl irr Isr';rcl irr l()Sl, Littnr:ru- nlerlrt to evoke nrcnrorv :incl clesile, Cohen'.s investirtrttion of Ist'eeli Col-ren l-r:rs obselvecl thlt it "fulfrlled ri psvchologic:rl terrain datirrs blck to rlestiny rr,ithout utopi:rn illusiols. her desire to be plrt of tl-re Zionist biblicll tinres. lJv contrrtst, the acljrrcent

Since 1 992. her iustallrtions have ethos of u,orkirg the l:rnd." presc'nt:rtior :rnd ofltling of l{ibbutz involvecl colllborltions rvith lsrleli C(\ rcspolrduk( tl-rer:efole conrbines Iter Beit H:rsl'rite's conurrercirl products,

irtstitutions :rnd conrrnelcill indr.rslrv investig:rtion of Islaeli conrnrercializ:r- olives rrncl srrlsrr, resurt-rrces the tensions ur orc'ler to sct in colrtrlst nrvtl-rical tion u'ith :rn explor:rtion of her on'r.r bc'twc.c'rr such r.rtopi:It longiDus ancl colrcepts such rrs the "Holv Lantl" bioqrlrphr rrr.l lrclsorr,rl lri\toly. n:rtion ill :tclr':tn cc'nr ent. .rqrrirtst tl're rc:rlities of nroclenr-dlv C()!r('slott(lutc( is a pon'ertul con-

liti:, in clu dinq ir dustrirlizrrtion, ullr:ur t:ritrel of enrotion lnd nreniorv. In :r top righr: (-rrrrrTrrrr/rrrr' (lct.ril). l'l(lS. ll)(to:Tiilr Srti.rrrk .{r'r'eloIt ttet ;tt r-efirrest.ttior r. tt ttl contined rrnd c1:rrkenecl space, l:u'ge bottonr lcf't: (i,rn.lr'r,/r,11 (tlcr.ril). l'l')S. phonr:Tiilr S.rtl.rrrek bottonr right: (l(l(lA ir*,rll.rtion. 1')')s. tho(,:Tirrr Srtl.rrrek Betttteert Beautl, and Dcstirtlt:Thyee Gencrations of Israeli Arl concludes Clevelandt year-long comilrenloration of the fiftieth anniversary of the establishment of the State of Israei. Rather than present a broad sllrvey of post-war Israeli art, we chose to focus on three artists, each representing a generation in the lineage of Israeli art created since 1948.As such, this exhibi- tion canlot be vierved as a comprehensive staternent of Israeli visual art accomplishment. It is a selective vierv, one that captures broad thematic shifts-from post-Holocaust trauma to questions of territory and boundaries to collective memory and cultural myths-and srylistic changes-from abstract, gesturai to -while maintaining a consistent exploration ofidentity in face ofcontinual struggle and change Since 1948, Israeli artists have confronted the paradox ofcultivating a personal, expressive

language in a society deeply devoted to a collectivist perspective. In an environment where biblical, historical and political forces define every day reality and shape collective destiny, how does one cultivate a poetics of the self? Can there exist artistic expression formed by the

personal, subj ective and idiosyncratic individual voice? The three arrisrs in Betwecn Beafiy and Dcstiny approach this paradox in distinctly different

ways. Kupfermant purple and silver expressionistic canvases and drawings are articulations of menrory.Joshua Neustein's majestic Riuer of Aslrcs, DontesticTianEtility forges a connection between local topology and the universal struggle over boundaries and territory. Ariane Littman-Cohen explodes cultural myth with a provocative installation of olive barrels that

sets Israel! agricultural industry against her own personal memories of working the land. Generational differences are apparent in the choice of aesthetic forms-Kupfernran's employ the language of abstract expressionism that permeated post-war'Western art, Neustein's topographical map evokes the realm of earthworks that came to define a post-60s generation while Littman-Cohen's installation nrirrors the current return to personal history and biography. Yet, all of these works reflect deep connections to Israel as a physical, sociopolitical and psychologicalterrain.ThethreeartistsinBetlueenBeautyandDestittllconfi.ontcontenporary life yet are never {iee from a connection to the past.

Jill Snyder, Exeuttiue Director Exhibition checklist Hd.qltt prcdcs tlidrlt

Moshe Kupferman: Paintings, Works Work on Paper Joshua Neustein: River of Ashes, on Paper, Scrolls 1 99+ Domestic Tianquiliry Oil :rnd graphite on pilper Organized by the Goldie Prle.v Gallery, Rhter oJ Aslrcs, Donrcstic Ti'anqriliq, Conrtesv of the artist Moore College ofArt and Desisn, 1 99u l53x 112 Philadelphia, Pennsylv:rnir Mixed uedia installation inclucling Work on Pnper t1y lsh, co:rl and chrndelier Dittrctr-slrrti-t i n &: t t t i il t I us 1 99+ Mlteri:rls cor.lrtesy of the artist, First Painthry Oil and srtphite on p:rper Enerqv Corporrtion rrnd lluckel,e 19U(r Courtesy of the:rrtist hidustrirl Mining on crnvas Oil 153 x 112 Dinreusions variable Courtesy of the :rrtist 1(r2 r 250 Work on Pnper Ilntitletl 1 99+ l99t] Work on Paper Oil, graphite, chalk and rvliite oil chalk Carbon ;rncl tissne paper 1 99+ oli p:lper Courtesy of the :rrtist Oil, er:rphite, ch;rlk ;rncl Conrtesy of the artist 12 x 10 ir-rches rvhite oil ch:rlk on paper 153r 112 Courtesy olthe artist Untitletl 153 x 112 Ptittirrg 199r1 191)7 C:ubon and tissue paper Recollectious Oil or.r clnv:is Courtesy olthe artist 1 9u5 Conrtesv of the Givon Galler,v, 12 x 10 inches C)il or.r c:rnv:rs 130 x 195 Courtesy of the :rrtist Untitled 162 x 25f) Paittittg irt Times oJ War 199r1 1970 C:rrbon and tissue prper: AYear Since the Mu'der of Yitzhak Rflbin Oil on canvls Courtesy of tl.re artist Sunrnrer 1 99(r Courtesy of the:rrtist 12 x 10 inches Oil or.r cnr.rv:rs 130 x 195 Courtesy of the rrtist Untitled (Scroll) 130 x 195 Work on Paper 199rJ 1995 Clrbon lnd tissue paper Paiutirtg Oil, graphite and rvhite oil ch:rlk on p:rper Cor-rrtesy of the artist l)ecenrber 1 997 Courtesy of the artist 12 x 10 inches Oil on canv:rs 72.5 x 3(X).5 Courtesy of tl.re ;rrtist Work on Paper (Scroll) 130 x 195 Ariane Littman-Cohen: 1995 Work on Paper Correspondence Oil, eraphite lnd rvhite oil cl-ralk on plper 1L)9+ Cor.rrtesy of the :utist Correspondence Oil, eraphite :rnd rvl-rite oil 72.5 r 300.5 l9clu ch:rlk on p:rper Mixed media ir.rstrlhtion includins olive Cor,rrtesy of the artist barrels, olives, olive pits, sals:r, olive oil, red 153 x 112 light bulbs, nrosqnito netting:rnd spoons

Work on Paper M:rterirls courtesy of the artist ar.rd 1,993 Kibbutz Beit Hashita Oil, graphite and chalk on paper Dimensior.rs variable Courtesy of the:rrtist 153 x 112

Glerreland Genter for Contemporary Art 8501 Carnegie Avenue tht'Horry K. Fox and Euna R. Fir,v C/rarilr,/r Founddtitt,,\ilrlo orrl Eitit Sirllo nid di dit\t)\it)i! (h)nnt. Clevehnd. Ohio 4410(r 276/121.-8671

.lttistt tu,rrL\iok prLtildul by Bnkt'yL' Inrlusnii )liuittg, Fi,il Er((), Cor)nratir\t tlntl Kibhn: Bci Htslti,t.