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Last 7 Days Catalog Additions

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  • English  (93)
  • 2015-2019  (93)
  • 1960 - 1964
  • Ausstellung  (93)
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  • 1
    Language: English
    Pages: 73 Seiten , Illustrationen
    Year of publication: 2019
    Keywords: Künstler ; Ausstellung
    Abstract: The figures in Roni Taharlev’s paintings are ambiguous, in two respects: the world that they inhabit is undefined, its historical and geographic coordinates are unclear, and in most instances their gender is unclear and subject to interpretation. These ambiguities are deliberate, and also interrelated. This is an attempt to create portraits that lie on the spectrum between femininity and the masculinity, that straddle the midway point between what are conventionally regarded as two poles. These are not portraits of actual characters with a nonconformist gender, but rather form part of a purely artistic inquiry – namely, an attempt to negate or counteract gender traits in a bid to achieve a “zero degree” of gender. What brings us closer to it is youth: the time before the portrait is imbued with a life story, before the subject’s expression is shaped by a social role and the body assumes the trappings of social status. One can point out the combinations of feminine and masculine traits in each and every picture. The difficulty in pinning down the gender of the figures makes us aware of the gender-attribution process that usually occurs automatically and unconsciously, and of our discomfort at failing to do so. Indeed, gender is such a key social category, that gender ambiguity induces a sense of unease, like that of a niggling riddle that requires resolution. In addition, the characters appear to be removed from the here and now, but the few accessories that they are given – a garment, a flower, a butterfly, or a fantasy bird – are not enough to place them in any other definite space. This question of location also extends to the works’ painterly composition. The portraits appear to belong to another era – but which one? Are we in the Renaissance, in the Baroque period, or the nineteenth century? Is it realism, fantasy, or allegory? The only thing that can be said with any certainty is that these figures inhabit not an actual historical context of any kind, but the realm of art. This is especially evident in the Annunciation paintings, depicting the famous scene in the New Testament, in which the Archangel Gabriel announces to the Virgin Mary that she would conceive and become the mother of Jesus. To this artistic topos that includes an encounter between two figures – a young woman and an angel – Taharlev offers an original reinterpretation. In her images, she explores various gender possibilities: in one instance, the angel is a man, in another it is a woman, and in yet another, a girl, and the Virgin Mary is depicted as somewhat androgynous. All that remains of the Annunciation theme is the vaguely charged nature of the situation, which despite the nudity is devoid of any eroticism. There is no doubt that Taharlev is conducting an intensive and multi-faceted dialogue with the history of art, and the preoccupation with the question of gender in her works is not of a psychological or social nature, but rather an inquiry that has more to do with the pictorial qualities of the works and their intra-artistic resonances. After all, white ravens are such rare creatures, that they belong almost exclusively in the realm of art. Text by Amalia Ziv
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  • 2
    Language: English
    Pages: 84 Seiten , Illustrationen
    Year of publication: 2019
    Keywords: Installation ; Ausstellung
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  • 3
    ISBN: 9789652784377
    Language: English
    Pages: 86 Seiten , Illustrationen
    Year of publication: 2015
    Series Statement: Israel Museum Catalogue = Katalog 619
    Series Statement: Israel Museum Catalogue
    Keywords: Künstler ; Ausstellung
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  • 4
    Book
    Book
    Tel-Aviv ; Jaffa : Neve Schechter
    Language: English
    Pages: 38 Seiten , Illustrationen
    Year of publication: 2017
    Keywords: Künstler ; Ausstellung
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  • 5
    Language: English
    Pages: 216 Seiten , Fotografien
    Year of publication: 2018
    Keywords: Israel ; Kunsthandwerk ; Design ; Ausstellung
    Abstract: In celebration of Israel’s 70th anniversary, Mingei International Museum, in collaboration with its neighbor in San Diego’s historic Balboa Park, the 70 year-old House of Israel, mounted a magnificent exhibition of Israeli craft and design. Beautifully laid out and filled with an expansive range of creations in a broad breadth of mediums, the exhibition exemplified the imagination, innovation and resourcefulness of a developing nation. The accompanying book, “Israel: 70 Years of Craft & Design,” beautifully captures the excitement of the museum event, presenting historical data as well as wonderful, page-size black & white and color plates of a sweeping array of craft and design creations: textiles, jewelry, ceramic, religious and ceremonial objects, furniture and clothing, and many more, with excellent accompanying explanatory information, and an outstanding, enlightening introduction by exhibition curator Smadar Samson. The spirit of creation – for Art’s sake, for functionality, for ceremonial/historical use, representing both individuality and unity – is stunningly displayed in the book. The striking cover, a detail from Noa Raviv’s ‘Ensemble from Hard Copy Collection’ (2014), created with 3-D software, hints at the wildly imaginative modernity and ingenuity that sits side by side, as it always has in Israel, with reverence for antiquity. Pat Launer Emmy Award-winning theater critic and arts writer
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  • 6
    Language: English
    Pages: 41 Seiten
    Year of publication: 2019
    Keywords: Künstler ; Ausstellung
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  • 7
    Language: English
    Pages: 52 Seiten
    Year of publication: 2019
    Keywords: Heymann-Marks, Grete ; Ahlfeld-Heymann, Marianne ; Ausstellung
    Abstract: To mark the Bauhaus centenary, the MAKK will be presenting the work of avant-garde ceramic artist Margarete Heymann-Loebenstein and of sculptress and stage designer Marianne Ahlfeld-Heymann. Their work will be shown in a dialogue with colour studies, paintings, drawings and sculptures by Johannes Itten, Oskar Schlemmer, Wassily Kandinsky and László Moholy-Nagy from the museum’s own collection. With this exhibition, the MAKK retraces the work of two female artists born in Cologne to Jewish families: the cousins Margarete (1899-1990) and Marianne (1905-2003) Heymann. The exhibition title relates to the fact that 14 Cologne-born people spent some time at the Bauhaus. Up until now, with a few exceptions, their artistic legacies have not been generally known to the public. In 1920, Margarete Heymann was admitted to Johannes Itten’s preliminary course at the Bauhaus. In 1921, she went to train at the ceramic workshop Dornburg under master of craft Max Krehan and master of form Gerhard Marcks. She continued to attend courses in Weimar taught by Georg Muche, Paul Klee and Gertrud Grunow. Although Heymann left the Bauhaus in the autumn of 1921, her time there would have a lasting effect on her work. This is particularly evident in both the avant-garde and reduced forms of her consumer ceramics and in her famous disc-handle services, most notably in the tea service, which is designed completely using basic geometric shapes. Its ornamentation also lends itself to comparison with compositions by Kandinsky or Moholy-Nagy. In 1923, together with her husband Gustav Loebenstein, Margarete Heymann-Loebenstein founded the Haël Workshops for artistic ceramics in Marwitz, near Berlin. The workshops’ creative programme would soon be met with great international demand. The business was closed at the end of 1933 and aryanised in 1934. Margarete first fled to Denmark, then emigrated to the UK in 1936. Marianne Heymann first attended the School of Arts and Crafts in Cologne and, from 1923 onwards, the sculpture workshop at the Bauhaus, but she left in 1925 because the class was dropped after the Bauhaus‘s move from Weimar to Dessau. She attended Walter Gropius’s sculpture and stage design classes, but she was particularly impressed by Paul Klee’s artistic teachings. After her time at the Bauhaus, she created hand puppets and marionettes for independent productions, before working as a stage designer, both for the Mannheim National Theatre and the Cologne Opera. She created many designs for imaginative sets, costumes and masks, for example for Jacques Offenbach’s operetta La Périchole. The influence of Schlemmer’s stage art is particularly evident in her costume designs: towering headpieces, featuring concentric rings, trapezoid robes, quilted and padded borders and clear colour palettes. Marianne Heymann was also denounced to the Nazis. She fled to Paris via Ascona and emigrated to Israel in 1949.
    Note: Auf dem Museumsserver gespeichert.
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  • 8
    Language: English
    Pages: 65 Seiten, [1] Blatt
    Year of publication: 2016
    Keywords: Israel ; Künstlervereinigung ; Ausstellung ; Kunstausstellung
    Abstract: Pinchas Abramovich, Kosso Eloul, Arie Aroch, Mordechai Arieli, Robert Baser, Yitzhak Danziger, Jacob Wexler, Joseph Zaritsky, Aaron Kahana, Yehiel Krize, Moshe Kupferman, Rafi Lavi, Uri Lifshitz, Avigdor Luisada, Zvi Mairovich, Avraham Naton, Avigdor Stematsky, Yohanan Simon, Yigal Tumarkin, Avshalom Okashi, Dov Feigin, Ruth Zarfati Shterenshus, Chaim Kiewe, Moshe Castel, , Shmuel Raayoni, Yehezkel Streichman, Moshe Sternschuss, Yehiel Shemi, Marcel Janco. Members: 1948 – the group’s founding; 1951-1955 – The first distinct appearance of abstraction (in Zaritsky’s “Yehiam” series); 1956-1958 – The rift within the group and the leaving of Marcel Janco, Aaron Kahana and Yohanan Simon; 1958-1960 – The triumph of abstraction; 1963 – The final exhibition at The Museum of Art, Ein Harod. Other parts of the exhibit will be devoted to late works by members of the group, representing both their evolution as individual artists and the mature stage of their art, and to works on paper – a medium that allowed for a more lyrical and intimate expression. A separate exhibition space will feature current Israeli artists who are searching in their work for local “fathers” and “mothers.” Their works – which include paintings, drawings, sculptures and installation art – are characterized by quotes and gestures of homage, by an interpretive and sometimes critical perspective on the New Horizons artists. By presenting the works side by side, the existence of this cross-generational dialogue in Israeli art can be explored. The present exhibition coincides with the publication of a revised and annotated edition of Professor Gila Balas’ New Horizons: The Birth of Abstraction in Israeli Art, which tells the story of the group, reconstructs its exhibitions, documents its internal disputes and its battles with powerful forces in the Israeli artistic establishment (museums, The Israel Painters and Sculptors Association) and with other artistic approaches and movements of the time.
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  • 9
    ISBN: 9789652784421
    Language: English
    Pages: 67 Seiten , Illustrationen
    Year of publication: 2015
    Series Statement: Israel Museum Catalogue = Katalog 624
    Series Statement: Israel Museum Catalogue
    Keywords: Videokünstler ; Ausstellung
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  • 10
    ISBN: 9783943620320
    Language: English
    Pages: [120] Seiten , Illustrationen
    Year of publication: 2015
    Keywords: Künstlerin ; Ausstellung
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