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Thesis” (Peri, “Radical” 240) UvA-DARE (Digital Academic Repository) Shifting sights: civilian militarism in Israeli art and visual culture Roei, N. Publication date 2012 Document Version Final published version Link to publication Citation for published version (APA): Roei, N. (2012). Shifting sights: civilian militarism in Israeli art and visual culture. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:04 Oct 2021 Shifting Sights Civilian Militarism in Israeli Art and Visual Culture Noa Roei SHIFTING SIGHTS CIVILIAN MILITARISM IN ISRAELI ART AND VISUAL CULTURE ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het college voor promoties ingestelde commissie, in het openbaar te verdedigen in de Agnietenkapel op donderdag 14 juni 2012, te 14:00 uur door Noa Roei geboren te Jeruzalem, Israël PROMOTIECOMMISSIE Promotor: Prof. dr. M. G. Bal Copromotor: Dr. M. Aydemir Overige leden: Prof. dr. E.J. van Alphen Prof. dr. G. Ankori Dr. R. Celikates Prof. dr. D.A. Cherry Dr. S.M. Dasgupta Faculteit der Geesteswetenschappen CONTENTS LIST OF FIGURES ................................................................................................................................ 1 ACKNOWLEDGMENTS ...................................................................................................................... 5 INTRODUCTION .................................................................................................................................. 9 CHAPER I CANONS OF ISRAELI SOCIETY ................................................................................ 21 THE FORTUNES OF THE SOLDIER-FIGURE IN ISRAELI ART .................................................................. 26 TAKING SIDES .................................................................................................................................... 31 FRAMING REPRESENTATION ............................................................................................................... 35 CRITICAL FRICTIONS .......................................................................................................................... 39 CHAPTER II BODIES OF THE NATION: EROTICIZED SOLDIERS ....................................... 45 THE POLITICS OF QUOTING ................................................................................................................. 49 NATIONAL BODIES ............................................................................................................................. 58 REWRITING THE JEWISH BODY, AGAIN .............................................................................................. 62 WOMEN SOLDIERS .............................................................................................................................. 65 QUEER DREAMS OF THE NATION ........................................................................................................ 72 CHAPTER III LOOKING THROUGH LANDSCAPE ................................................................... 81 THE LANDSCAPE WAY OF SEEING ...................................................................................................... 84 TRACING ERASURE: TSO˘OB´Ä AND ZIONIST SCOPIC REGIMES ........................................................... 89 THE “STIFLING OF THE GAZE” ............................................................................................................ 96 ISRAELI MINDSCAPES ....................................................................................................................... 103 CHAPTER IV KEBAB IN THEORY: MAPPING VISION .......................................................... 113 CONTESTING MIS/INTERPRETATIONS ................................................................................................ 115 THE STILL LIFE AS INTERTEXT ......................................................................................................... 120 THE MAP AS STILL LIFE ................................................................................................................... 123 SEEING GREEN: SHAPING EMPLACEMENT ........................................................................................ 128 CHAPTER V GREETINGS TO THE SOLDIER-CITIZEN: CONSUMING NOSTALGIA ..... 133 PEACE, SECURITY, AND SPARKLES ................................................................................................... 136 FROM GUNS TO CREAM CHEESE ....................................................................................................... 143 THE POLITICS OF NOSTALGIA ........................................................................................................... 145 PREPOSTEROUS POSTCARDS ............................................................................................................. 147 THE LIMITS OF CRITICAL DISCOURSE ............................................................................................... 153 CHAPTER VI FENCE ART: RE/FRAMING POLITICS ............................................................. 161 REDISTRIBUTING VISIBILITY ............................................................................................................ 166 CHANGING CONTEXTS, SHIFTING FRAMES ....................................................................................... 176 AFTERWORD .................................................................................................................................... 191 WORKS CITED ................................................................................................................................. 197 SUMMARY ......................................................................................................................................... 219 SAMENVATTING ............................................................................................................................. 223 LIST OF FIGURES Figure i.1. Entrance hall to Tel Aviv Museum of Art. Tel Aviv, 2009. 11 Figure i.2. Entrance hall to Tel Aviv Museum of Art (detail). Tel Aviv, 2009. 11 Figure 1.1. Catalogue cover, English front. Uniform Ltd.: Soldier 22 Representations in Contemporary Israeli Art. 2004. Cover design by Sefi Sinay. Figure 1.2. Catalogue cover, Hebrew front. Uniform Ltd.: Soldier 23 Representations in Contemporary Israeli Art. 2004. Cover design by Sefi Sinay. Figure 1.3. Dudu Bareket, Self Portrait at the IDF Induction Centre, 2002, 34 gallery view. Uniform Ltd.: Soldier Representations in Contemporary Israeli Art, Avraham Baron Art Gallery (curator: Haim Maor et al.), Beer Sheva 2004. Figure 2.1. Adi Nes, Untitled (“Body Builder”). Color photograph, 1996. 47 Courtesy of Sommer Contemporary Art Gallery, Tel Aviv. Figure 2.2. Adi Nes, Untitled (“Sleeping Soldier”). Color photograph, 2000. 47 Courtesy of Sommer Contemporary Art Gallery, Tel Aviv. Figure 2.3. Adi Nes, Untitled (“The Last Supper”). Color photograph, 1999. 51 Courtesy of Sommer Contemporary Art Gallery, Tel Aviv. Figure 2.4. Adi Nes, Untitled (“Pietà”). Color photograph, 1995. Courtesy of 52 Sommer Contemporary Art Gallery, Tel Aviv. Figure 2.5. Adi Nes, Untitled (“Suez Canal”). Color photograph, 1999. 56 Courtesy of Sommer Contemporary Art Gallery, Tel Aviv. Figure 2.6. Adi Nes, Untitled (“Um Rashrash”). Color photograph, 1998. 56 Courtesy of Sommer Contemporary Art Gallery, Tel Aviv. Figure 2.7. “Israeli Soldier Cools Off in the Suez Canal.” LIFE magazine 57 cover, 13 June 1967. Photograph by Denis Cameron. Figure 2.8. Micha Perry, “A Soldier Raising an Ink-Drawn Flag at Um 57 Rashrash (Eilat).” Black and white photograph, 1949. Figure 2.9. Nir Hod, Women-Soldiers. Triptych, oil on canvas, 1994. 68 Figure 2.10. Moshe Milner, “Lea Klein from Nahariya Serves in the Israeli 71 Navy.” Black and white photograph, 1965. Figure 2.11. “Israeli [sic] Defense Forces: Natalie.” Maxim, July 2007. 71 Photograph by Jim Malucci. Figure 2.12. Yigal Tumarkin, He Walked Through the Fields (detail). Bronze 73 statue, partly painted, 1967. 1 Figure 2.13. Erez Israeli, Terrorist. Epoxy cast and stuffed pigeons on MDF 75 base, 2007. Figure 2.14. Ari Liebsker, The Draft Dodger. Concrete cast, 2007. 75 Figure 3.1. Map of military training areas open for hikes on Passover 82 holidays. Haaretz 8 April 2009. Figure 3.2. Larry Abramson, from tso˘ob´ä. Oil on canvas, 1993–94. 91 Figure 3.3. Larry Abramson, from tso˘ob´ä. Oil impression on newspaper, 92 1993–94. Figure 3.4. Larry Abramson, from tso˘ob´ä. Oil on canvas, 1993–94. 92 Figure 3.5. tso˘ob´ä, gallery view. Larry Abramson: Paintings 1975–2010, 95
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