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Andy Woortman, 2015 Index 1. at the End of Art Everyone
ANDY WOORTMAN, 2015 INDEX 1. AT THE END OF ART EVERYONE IS AN ARTIST……page 4 2a. ATTITUDE AS METHOD – a business model……page 6 2b. NOT AN ARTIST / NOT MAKING ART……page 8 2c. CHOOSING NOT TO CHOOSE……page 9 2d. NON ARTISTS VS. PUBLIC OPINION……page 10 3. CONCLUSION……page 13 4. APPENDIX Transcript and stills from the video HOW TO BECOME A NON ARTIST by Ane Hjort Guttu, 2007……page 14 BIBLIOGRAPHY……page 27 1 “Art or the artist is per definition pretentious. It pretends to be something else than what it appears to be. So literally that means it’s pretentious.” In conversation with a friend about my thesis, Barcelona, 2014 INTRODUCTION The first time I saw Martin Creed was in a Youtube video of a lecture that he gave in the Camberwell College of Arts in 2014. He seemed to me someone who just does things randomly; not really knowing why and what for. Creed, for example, stated not having the intention or ambition of making art. While I was watching this video, I opened a second tab and found his profile on Wikipedia. I found an impressive list of past shows and won prizes, amongst which the Turner prize in 2001. As I was reading, I started to doubt my first impression. The image of a man who seemed unsure, insecure and doubtful started to turn into a well-considered concept: an artist that deliberately chooses not to choose. I stumbled upon the following in The Guardian: Creed makes me think of a really sociable philosopher. -
Inside January/February 2018 Volume 17, Number 1
JANUARY/FEBRUARY 2018 VOLUME 17, NUMBER 1 INSIDE Shanghai: Its Galleries and Museums Conversations with Artists in the KADIST Collection Artist Features: Pak Sheung Chen, Tsang Kin Wah, Zhu Fadong, Zhang Huan US$12.00 NT$350.00 PRINTED IN TAIWAN 1 Vol. 17 No. 1 8 VOLUME 17, NUMBER 1, JANUARY/FEBRUARY 2018 CONTENTS 30 4 Editor’s Note 6 Contributors 8 Contemporary Art and the Contemporary Art Museum: Shanghai and Its Biennale John Clark 30 (Inter)Dependency: Privately Owned Art Museums in State-Sponsored West Bund 46 Xing Zhao 46 Out of Sight: Conversations with Artists in the KADIST Collection Biljana Ciric 66 Pak Sheung Chuen: Art as a Personal Journey in Times of Political Upheaval Julia Gwendolyn Schneider 80 Entangled Histories: Unraveling the Work of Tsang Kin-Wah 66 Helen Wong 85 Zhu Fadong: Why Art Is Powerless to Make Social Change Denisa Tomkova 97 Public Displays of Affliction: On Zhang Huan’s 12m2 Chan Shing Kwan 108 Chinese Name Index 80 97 Cover: In memoriam, Geng Jianyi, 1962–2017. Courtesy of Zheng Shengtian. Editor’s Note YISHU: Journal of Contemporary Chinese Art PRESIDENT Katy Hsiu-chih Chien LEGAL COUNSEL Infoshare Tech Law Office, Mann C. C. Liu Mainland China’s museum and gallery scene FOUNDING EDITOR Ken Lum has evolved rapidly over the past decade. Yishu EDITOR-IN-CHIEF Keith Wallace MANAGING EDITOR Zheng Shengtian 84 opens with two essays examining Shanghai, EDITORS Julie Grundvig a city that is taking strategic approaches Kate Steinmann in its recognition of culture as an essential Chunyee Li CIRCULATION MANAGER Larisa Broyde component of a vibrant urban experience. -
Note to the Secretary-General Tonight You and Mrs. Annan Have
Note to the Secretary-General Tonight you and Mrs. Annan have agreed to drop by (from 6:35-6:45 p.m.) the reception in the West Terrace hosted by Yoko Ono wherein she will present grants to an Israeli and a Palestinian artist in her own Middle East humanitarian arts initiative. When Mrs. Annan and you arrive David Finn, Philippa Polskin and Holly Peppe of Ruder-Finn, will greet you. You will then be accompanied into the center of the room where two easels will display the work of the two artist recipients of the LennonOno Grants, Khalil Rabah and Zvi Goldstein. The following people will greet you and stand with you for a brief photo-op: > Yoko Ono > Zvi Goldstein, Israeli artist, grant recipient > Khalil Rabah, Palestinian artist, grant recipient > Jack Persekian, Founder & Director, Anadiel Gallery, Jerusalem > Suzanne Landau, Chief Curator, The Israel Museum, Jerusalem > Shlomit Shaked, Independent Curator, Israel. At 6:45 p.m. you will proceed to the Macalester Reception and dinner, in Private Dining Room #8. Kevin S.: 9 October 2002 Copy to: Ms. S. Burnheim ROUTING SLIP FICHE DE TRANSMISSION TO: A A: OJ *Mt* FROM: / /" DE: /64< ^*^/^^~^ Room No. — No de bureau Extension — Poste Date / G&W aiLbfo^ FOR ACTION POUR SUITE A DONNER FOR APPROVAL POUR APPROBATION FOR SIGNATURE POUR SIGNATURE FOR COMMENTS POUR OBSERVATIONS MAY WE DISCUSS? POURRIONS-NOUS EN PARLER ? YOUR ATTENTION VOTRE ATTENTION AS DISCUSSED COMME CONVENU AS REQUESTED SUITE A VOTRE DEMANDS NOTE AND RETURN NOTER ET RETOURNER FOR INFORMATION POUR INFORMATION COM.6 12-78) ZVI GOLDSTEIN Artist Recipient of the LennonOno Grant for Peace Born in Transylvania, Romania in 1947, artist Zvi Goldstein immigrated to Israel in 1958. -
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. -
Israel, Palestine, and the Olso Accords
Fordham International Law Journal Volume 23, Issue 1 1999 Article 4 Israel, Palestine, and the Olso Accords JillAllison Weiner∗ ∗ Copyright c 1999 by the authors. Fordham International Law Journal is produced by The Berke- ley Electronic Press (bepress). http://ir.lawnet.fordham.edu/ilj Israel, Palestine, and the Olso Accords JillAllison Weiner Abstract This Comment addresses the Middle East peace process, focusing upon the relationship be- tween Israel and Palestine. Part I discusses the background of the land that today comprises the State of Israel and its territories. This Part summarizes the various accords and peace treaties signed by Israel, the Palestinians, and the other surrounding Arab Nations. Part II reviews com- mentary regarding peace in the Middle East by those who believe Israel needs to surrender more land and by those who feel that Palestine already has received too much. Part II examines the conflict over the permanent status negotiations, such as the status of the territories. Part III argues that all the parties need to abide by the conditions and goals set forth in the Oslo Accords before they can realistically begin the permanent status negotiations. Finally, this Comment concludes that in order to achieve peace, both sides will need to compromise, with Israel allowing an inde- pendent Palestinian State and Palestine amending its charter and ending the call for the destruction of Israel, though the circumstances do not bode well for peace in the Middle East. ISRAEL, PALESTINE, AND THE OSLO ACCORDS fillAllison Weiner* INTRODUCTION Israel's' history has always been marked by a juxtaposition between two peoples-the Israelis and the Palestinians 2-each believing that the land is rightfully theirs according to their reli- gion' and history.4 In 1897, Theodore Herzl5 wrote DerJeden- * J.D. -
Preparing a Dvar Torah
PREPARING A DVAR TORAH GUIDELINES AND RESOURCES Preparing a dvar Torah 1 Preparing a dvar Torah 2 Preparing a dvar Torah 1 MANY PEOPLE WHO ARE ASKED TO GIVE a dvar Torah don't know where to begin. Below are some simple guidelines and instructions. It is difficult to provide a universal recipe because there are many different divrei Torah models depending on the individual, the context, the intended audience and the weekly portion that they are dealing with! However, regardless of content, and notwithstanding differences in format and length, all divrei Torah share some common features and require similar preparations. The process is really quite simple- although the actual implementation is not always so easy. The steps are as follows: Step One: Understand what a dvar Torah is Step Two: Choose an issue or topic (and how to find one) Step Three: Research commentators to explore possible solutions Step Four: Organize your thoughts into a coherent presentation 1Dvar Torah: literallly, 'a word of Torah.' Because dvar means 'a word of...' (in the construct form), please don't use the word dvar without its necessary connected direct object: Torah. Instead, you can use the word drash, which means a short, interpretive exposition. Preparing a dvar Torah 3 INTRO First clarify what kind of dvar Torah are you preparing. Here are three common types: 1. Some shuls / minyanim have a member present a dvar Torah in lieu of a sermon. This is usually frontal (ie. no congregational response is expected) and may be fifteen to twenty minutes long. 2. Other shuls / minyanim have a member present a dvar Torah as a jumping off point for a discussion. -
Hagar: the Association for the Advancement of Cultural Pluralism
Dr. Tal Ben Zvi CURRICULUM VITAE AND LIST OF PUBLICATIONS 1. Personal Details Dr. Tal Ben Zvi MA Policy and Theory of Arts Bezalel Academy of Arts and Design, Jerusalem 972-54-7696810 [email protected] 2. Education 2010-2011 Post-doc, Truman Institute for the Advancement of Peace The Hebrew University of Jerusalem 2010 PhD Doctoral thesis at Tel Aviv University on "Representations of the Nakba in the Palestinian art of the 1970s and 1980s, as reflected in the work of artists who belong to the Palestinian minority in Israel" [Supervisors: Profs. Hanna Taragan and Moshe Zuckermann] 1999-2004 MA Summa Cum Lauda, The Yolanda and David Katz Faculty of the Arts - Graduate School, Tel Aviv university. her thesis was titled: “Between Nation and Gender: The Representation of the Female Body in Palestinian Art". 1995-1997 The new seminar for visual culture: Criticism and Curatorship program, Camera Obscura College, Tel Aviv. 1989-1992 B.A. fine arts and art history, Art department , Haifa university. 3. Employment History (a) Positions in academic 2015 Lecturer, MA Policy and Theory of Arts Bezalel Academy of Arts and Design, Jerusalem Senior lecturer (Tenured position) [Hebrew: "Martze Bakhir"] 2012-2015 Vice President for Academic Affaires Bezalel Academy of Arts and Design, Jerusalem 2009-2010 Head of the School of Arts, Kibbutzim College of Education Kibbutzim College of Education is the largest teaching college in Israel. The School of Arts includes the fields of theatre, dance, media and cinema, design and art. The school is attended by 600 B.Ed and diploma students. -
1993 PROGRAM COMMITTEE NOTE: All Friday Afternoon Sessions Are at the LEVINSON and the RESISTING READER: William J
9:30 - 10:25 am VISTA MAR MONTE II IS THERE A DEFINITlDN OF ART? Vanda Boziccvic) Philosophy, University of Croatia 2:00 - 3:50 pm COMMENT: Stephanie Ross, Philosophy, FOUR QUESTIONS FOR MARGOLIS University of Missouri/Saint LOt~is Michael Krausz, Philosophy, Brytl Mawr C HAIR: Roger Shiner, Philosophy, University of Alberta MARGOLIS AND THE METAPHYSICS OF CULTURE Dale Jacquette, Philosophy, Pennsylvania State University Break: 10:30 - 10:45 am COMMENT: joseph Margolis, Philosophy, Tempi, University 10:45 - II :40 am CHAIR: Curtis Carter, Philosophy, Marquette University THE IMPACT OF JAZZ ON CHINESE AUDIENCES Shirley Kennedy, Black Studies, Break: 4:00 - 4:15 pm University of California/Santa Barbara COMMENT: David Samue ls, Anthropology, , 4:15 - 5:10 pm University of Texas/Austin PAINTINGS AND FRAMES CHAIR: jo Ellen jacobs, Philosophy, Millikin University Barbara Savedoft; Philosophy, CUNY/Baruch College COMMENT: Claudia Sole, Santa Barbara 11:45 am - 12:40 pm CHAIR: Susa n FC::lgin, Philosophy, IL FAUT ETRE ABSOLUMENT RADICALIEI University of Missouri/ Kansas City Peter Madsen, Comparative Literature, University of Copenhagen COMMENT: Gary Shapiro, Philosophy, VISTA MA1~ MONTli III University of Richmond CHAIR: Mechthild Nagel, Philosophy, 2:00 - 4:00 pm Uni.versity of Massachusetts/Amh errt AESTHETICS AND YOUNG PEOPLE Marcia Eaton, PIJi/flwph.y, Ut/i,',.,'sily oj'Mimll:sota Cynthia Rost:lt1koW I'k.I, I'lul(/ltlp/~y, Sa" losr Seate University VISTA MAR MONTE III Ellen Handler Spill, P''Ytl!j·,fU'Y, Cornell Vlli"frllly Alr, IIII,! ( -
Holocaust Narratives and Their Impact: Personal Identification and Communal Roles Hannah Kliger, Bea Hollander-Goldfein, and Emilie S
LITJCS001prelspi-xiv 25.03.2008 09:58am Page iii Jewish Cultural Studies volume one Jewishness: Expression, Identity, and Representation Edited by SIMON J. BRONNER Offprint Oxford . Portland, Oregon The Littman Library of Jewish Civilization 2008 LITJCS06p151-174 28.01.2008 08:13pm Page 151 six Holocaust Narratives and their Impact: Personal Identification and Communal Roles hannah kliger, bea hollander-goldfein, and emilie s. passow Scholarly attention within the humanities and social sciences has con- verged on aspects of trauma and its aftermath, especially the effect of trauma on personal and cultural formations of identity. Studies that range in perspective from the anthropological, the sociological, and the historical to the literary, the psychological, and the philosophical examine the long-term consequences of the experience of trauma on human beings and how their constructions of traumatic memories shape the meanings they attribute to these events (Brenner 2004; Lifton 1993; Van der Kolk, McFarlane, and Weisaeth 1996). Researchers from a variety of perspectives have investigated the history of the concept of trauma, and have offered their observations on the impact of overwhelming life experiences on those affected by genocidal persecution (Caruth 1996; Leys 2000). For the Jewish historical and cultural narrative, particularly of the last century, the experience of trauma and dislocation is communicated on two levels, as fam- ily discourse and as communal oral history. Friesel (1994) has noted the ways in which the Holocaust affects contemporary Jewish consciousness. Bar-On (1999) describes the interpretative strategies that survivors and their children employ to communicate real and imagined lessons of the Holocaust. From these and other studies, the forms of recording and transmitting the experiences of Jewish Holo- caust survivors offer lessons in the modes of adaptation and meaning-making in the aftermath of trauma. -
In Between Tel Aviv Museum of Art the Andy Prize for Contemporary Crafts
Attai Chen: In Between Tel Aviv Museum of Art The Andy Prize for Contemporary Crafts Attai Chen: In Between Jeweler, recipient of the 2014 Andy Prize The Agnes and Beny Steinmetz Wing for Architecture and Design, galleries 1, 2 Herta and Paul Amir Building May 22 — October 25, 2014 Judges: Nirit Nelson, Ido Bruno, Rivka Saker, Meira Yagid-Haimovici Andy Prize Steering Committee: Janet Aviad, Rivka Saker Exhibition Curator: Meira Yagid-Haimovici Associate curator: Maya Vinitsky Assistant curator: Sharon Gil Design and production: Ben Hyndman Graphic design: Michal Sahar Catalogue Editor: Meira Yagid-Haimovici Art direction, design and production: Michal Sahar Text editing and English-Hebrew translation: Daphna Raz Hebrew-English translation and and English editing: Talya Halkin German-Hebrew translation (Künzli): Gaby Wallenstein German-English translation: Ursula Wokoeck Photos: Roni Cnaani; additional photos: Attai Chen (pp. 21, 40, 92, 101, 105); portrait photo: Carina Chitsaz-Shoshtary Models: Matan Glazovsky, Katia Tolkovsky Plates, printing and binding: A.R. Printing Ltd., Tel Aviv © Tel Aviv Museum of Art, cat. 9/2014 ISBN 978-965-539-090-2 Foreword 124 In Between: A Conversation with Attai Chen Meira Yagid-Haimovici 122 Between Species: Representations of Hybridity in Myth and Religion Amir Or 110 On the Outskirts Susan Cohn 104 “I am Living Between Two Worlds”: Thoughts on the Work of the Jewelry Artist Attai Chen Rüdiger Joppien 100 The Bird that Wanted to be a Cloud Otto Künzli 96 Biographical Notes 90 125 מקטרת ו–AT23, סיכה, 2013 עץ, צבע, כסף, קרן, פלסטיק, ברזל, פליז, נחושת, פלדת אלחלד ואלומיניום, 30×80×120 מ“מ Pipe and AT23, brooch, 2013 Wood, paint, silver, horn, plastic, iron, brass, copper, stainless steel, and aluminum, 120×80×30 mm 124 We are proud to award the 2014 Andy Prize for Contemporary Crafts. -
Sprawuj Się (Do Good): Using the Experience of Holocaust Rescuers to Teach Public Service Values
SPRAWUJ SIĘ (DO GOOD): USING THE EXPERIENCE OF HOLOCAUST RESCUERS TO TEACH PUBLIC SERVICE VALUES ARTICLE * CHRISTINA A. ZAWISZA Introduction ........................................................................................................... 1051 I. Krakow Conference Theme: Lawlessness and the Holocaust ......................... 1056 II. The Therapeutic Jurisprudence Framework ................................................... 1059 A. TJ Principles ............................................................................................... 1060 B. TJ Techniques and Methodologies ........................................................... 1061 III. Attributes of the Altruists in the Holocaust .................................................. 1064 A. Individual Rescuers.................................................................................... 1065 B. Group Rescuers .......................................................................................... 1067 C. Why Would the Altruists Do What They Did? ........................................ 1068 IV. Rewinding and Reframing the Krakow Conference Through a Therapeutic Jurisprudence Lens ..................................................................... 1072 V. Teaching Professional Service Values from this Rewound and Reframed Lens .................................................................................................. 1075 A. Attributes of the Millennial Generation ................................................... 1075 Conclusion ............................................................................................................ -
Curriculum Vitae Dr. Ofira Gruweis-Kovalsky Contact: Kefar Tabor P.O.B 256 Israel 15241 Home Tel: 972- 4- 6765634. Mobile: 972
1 Curriculum Vitae Dr. Ofira Gruweis-Kovalsky Contact: Personal details: Kefar Tabor P.O.B 256 Israel 15241 Citizenship: Israeli Home Tel: 972- 4- 6765634. Languages: Hebrew and English Mobile: 972-52-3553384 E-mail: [email protected] [email protected] Academic rank Senior Lecturer, Zefat Academic College, Israel (2017- present) Associate researcher Herzl Institute University of Haifa, Israel (2009-present) Associate researcher at the HBI Brandeis University, USA (2015-present) Adjunct lecturer, MA and BA programs in Israel Studies, University of Haifa, Israel (2010–present). Lecturer, Zefat Academic College, Israel (2014-2017) Education 2009-2010: Post Doc. Department of Geography and Environment, Bar-Ilan University, Israel, "The History of Jerusalem as Israel Capital City". 2009: PhD, Summa cum Laude. 'Land of Israel Studies' Dept., University of Haifa. "The Vindicated and the Persecuted": Myth, Ritual, and Propaganda in the Herut Movement 1948-1965. 2006: MA, Magna cum Laude. 'Jewish History' Dept., University of Haifa. 'The Myth of the Altalena Affair and the Herut Movement'. 1980: BA, Jewish History Dept. and Land of Israel History Dept., Tel Aviv University. Israel. Certificates Mediator, Emek Yizrael Academic College, Israel (1999). Archive manager, Tel Hai Academic College and the Israel National Archives (1994). 2 Scholarly Positions: Head of the general studies division, Multidisciplinary Department, Zefat Academic College, Israel (2018-present) Senior Lecturer, Multidisciplinary Department, Zefat Academic College, Israel (2017-present) Lecturer, Multidisciplinary Department, Zefat Academic College, Israel (2014 -2017) Adjunct lecturer, Land of Israel Studies Dept., Jewish History Dept., University of Haifa. MA and BA programs (2010–present). Assistant editor, Ze’ev Jabotinsky's Ideological Writings.