Relevant bibliographies by topics / Tel Aviv (Israel). Artists' House

Academic literature on the topic 'Tel Aviv (Israel). Artists' House'

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Published: 25 July 2024
Last updated: 26 July 2024

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Journal articles on the topic "Tel Aviv (Israel). Artists' House"

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Tarnowska, Magdalena. "Zagłada i odrodzenie w twórczości ocalonej – łódzkiej malarki Sary Gliksman-Fajtlowicz (1909–2005)." Studia Judaica, no. 2 (48) (2021): 437–71. http://dx.doi.org/10.4467/24500100stj.21.018.15073.

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The Holocaust and Rebirth in the Works of Sara Gliksman-Fajtlowicz, a Painter From Łódź, 1909–2005 Sara Gliksman-Fajtlowicz, a painter, came from a well-off family of Majerowiczs, the owners of opticians’ shops in Łódź. She studied at private painting and drawing schools in Łódźand Warsaw. Before the outbreak of World War II, she was active in the Polish art milieu. In 1933, she became a member of the Trade Union of Polish Artists (Związek Zawodowy Polskich Artystów Plastyków, ZZPAP) and participated in its exhibitions in Łódź, Warsaw, Kraków,and Lviv. She painted mainly landscapes, still lifes, and—less frequently—portraits. She published her works in the union magazine Forma. In 1940, she was displaced to the Łódźghetto where she worked as a graphic artist at the Statistics Department. Thanks to this she could obtain art materials. Her clandestine activity was documenting life in the ghetto in paintings and drawings. She survived the liquidation of the ghetto and then was forced to work on cleaning that area. Liberated on 19 January 1945, she returned to her house where some of her prewar works had survived. After 1945 she continued her artistic career and exhibited with the ZZPAP, as well as with the Jewish Society for the Encouragement of Fine Arts. In 1957, she emigrated to Israel. Gliksman died in Tel Aviv in 2005. The aim of this article is to verify and describe Sara Gliksman’s biography, to present her activities in the Polish-Jewish artistic community of postwar Poland, as well as to place her works in the context of issues concerning survivors’ memory and artistic attitudes toward the Holocaust, and art as a manifestation of hope for the rebirth of Jewish life and culture in postwar Poland in the second half of the 1940s and the beginning of the 1950s.
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Ram, Haggai. "TO BANISH THE “LEVANTINE DUNGHILL“ FROM WITHIN: TOWARD A CULTURAL UNDERSTANDING OF ISRAELI ANTI-IRAN PHOBIAS." International Journal of Middle East Studies 40, no. 2 (May 2008): 249–68. http://dx.doi.org/10.1017/s0020743808080537.

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Held since 1956, the Eurovision Song Contest is an annual event traditionally dedicated to the eternal themes of love, peace, and harmony. Yet Israelis asked to pick a song for the 2007 contest in Helsinki paid little heed to these themes. Instead, they settled for “Push the Button,” a controversial number by an Israeli punk group called Teapacks; the song is generally understood as a description of life under the threat of a nuclear-armed Iran with its “crazy rulers.” Meanwhile, an Israeli fashion house (Dan Cassidy) commissioned a series of photos at a construction site in southern Tel Aviv that showed a topless model lying in a pit. The project was designed as a warning against the “holocaust” that would follow Iran's possible nuclear attack on Israel; the pit, as the project's creative director explained, represented “the mass grave of complacent Tel Aviv residents.”
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Guilat, Yael. "Israeli-Ness or Israeli-Less? How Israeli Women Artists from FSU Deal with the Place and Role of “Israeli-Ness” in the Era of Transnationalism." Arts 8, no. 4 (December 4, 2019): 159. http://dx.doi.org/10.3390/arts8040159.

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The Israeli art field has been negotiating with the definition of Israeli-ness since its beginnings and more even today, as “transnationalism” has become not only a lived daily experience among migrants or an ideological approach toward identity but also a challenge to the Zionist-Hebrew identity that is imposed on “repatriated” Jews. Young artists who reached Israel from the Former Soviet Union (FSU) as children in the 1990s not only retained their mother tongue but also developed a hyphenated first-generation immigrant identity and a transnational state of mind that have found artistic expression in projects and exhibitions in recent years, such as Odessa–Tel Aviv (2017), Dreamland Never Found (2017), Pravda (2018), and others. Nicolas Bourriaud’s botanical metaphor of the radicant, which insinuates successive or even “simultaneous en-rooting”, seems to be close to the 1.5-generation experience. Following the transnational perspective and the intersectional approach (the “inter” being of ethnicity, gender, and class), the article examines, among others, photographic works of three women artists: Angelika Sher (born 1969 in Vilnius, Lithuania), Vera Vladimirsky (born 1984 in Kharkiv, Ukraine), and Sarah Kaminker (born 1987 in Dnipropetrovsk, Ukraine). All three reached Israel in the 1990s, attended Bezalel Academy of Arts and Design in Jerusalem, and currently live and work in Tel Aviv or (in Kaminker’s case) Haifa. The Zionist-oriented Israeli-ness of the Israeli art field is questioned in their works. Regardless of the different and peculiar themes and approaches that characterize each of these artists, their oeuvres touch on the senses of radicantity, strangeness, and displacement and show that, in the globalization discourse and routine transnational moving around, anonymous, generic, or hybrid likenesses become characteristics of what is called “home,” “national identity,” or “promised land.” Therefore, it seems that under the influence of this young generation, the local field of art is moving toward a re-framing of its Israeli national identity.
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Levin, Iris. "Intersectionality in the Migrant House: Homes of Migrants from the Former Soviet Union in Metropolitan Tel Aviv, Israel." Journal of Intercultural Studies 35, no. 4 (June 4, 2014): 421–41. http://dx.doi.org/10.1080/07256868.2014.913011.

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Foresti, Margherita. "All Is Not Well: Contemporary Israeli Artistic Practices de-Assembling Dominant Narratives of Warfare and Water." Arts 12, no. 4 (July 11, 2023): 150. http://dx.doi.org/10.3390/arts12040150.

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Well (2020) is an installation by Israeli artists Noga Or Yam and Faina Feigin. It investigates the story of an underground passage in Tel Aviv designed by a British Mandate-era Jewish architect. Starting from this building, the artists’ archival research leads them to the story of a water source which does not figure in the architect’s plan. While the story of the well is unearthed, so is one about the tense relations between the Jewish architect and the Palestinian orange merchant who inhabited the site before 1948. By restaging a hypothetical archive, Well reminds us of the problems inherent in narrative formation and erasure in the context of the Palestinian–Israeli conflict. Noga Or Yam also examined space and water in an earlier work, Black Soldier, White Soldier (2018): with the background sound of water drilling in southern Israel, urban photographic landscapes of Palestinian rooftops covered with water tanks are projected onto the walls. Water, either concealed or lacking, emerges in both works as a vehicle for unearthing a historical narrative that counters the official one. This research article reflects on contemporary art’s engagement with the formation of history, and how such engagement shapes the identity of present-day art in postcolonial realities.
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Allweil, Yael, and Noa Zemer. "Brutalism and Community in Middle Class Mass Housing: Be’eri Estate, Tel Aviv, 1965–Present." Urban Planning 7, no. 1 (March 31, 2022): 349–68. http://dx.doi.org/10.17645/up.v7i1.4811.

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Fostering functioning, place-based communities has been a major concern in architecture and planning circles since the mid-1950s revolving the issue of habitat. Using the ethics of European New Brutalism, in Israel the architectural discourse locally developed a Team 10 critique of CIAM, addressing community as the main challenge of modern housing. The failure of modern mass housing to foster viable communities is associated with, and arguably triggered by, the global shift from state-sponsored to market housing that began in the 1970s. Increasing neoliberal policies, which address housing as economic investment, further strip housing off its social role as the site for collectivity and identity. These policies sideline community in housing design. Challenging these assumptions, this study focuses on the socio-spatial dynamics of Beit Be’eri, a single-shared New Brutalist housing estate built in 1965 in Tel Aviv. Marking the beginning of the end of the Israeli welfare state, this estate was produced in the open market explicitly for well-to-do bureaucrats, civil servants, and professionals. Nevertheless, it uses the architectural and urban manifestations of New Brutalism associated with the earlier period of Brutalist state housing. The estate is cooperatively managed since its opening. It consists of a local interpretation of Team 10’s call to plan the city as a big house, the house as a small city. Although its cooperative management provokes ongoing inter-resident struggles over its shared spaces, Be’eri represents a long-lasting community, fifty-years strong. Be’eri estate forms a perplexing community, where residents’ individual ownership and middle-class identities clash in intricate practices of shared estate management. Based on archival, ethnographic, and architectural field research, this article unravels values of identity and senses of belonging that the brutalist estate provides to its residents. Fostering a critical view of the notion of community, it also examines the residents’ persistence in the context of a neoliberal housing bubble. This article portrays how the building allows for shared management of the large estate, shaping and consolidating an active community built upon every-day struggles over shared spaces. Applying Anderson’s powerful idea of the imagined community as a cultural product, we ask: Is the strong sense of collectivity in Be’eri imagined? If so, how do these imagined communities form? Upon what are they grounded? How do the intricate practices managing the estate shape its persistent middle-class identity?
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Sawyer, John F. A. "M. Weinfeld: Justice and righteousness in Israel and the naations: equality and freedom in ancient Israel in Light of social justice in the ancient Near East.[In Hebrew]. [iv], 625pp. Tel Aviv: Tel Aviv University and the Ministry of Defense Publishing House, 1984." Bulletin of the School of Oriental and African Studies 50, no. 3 (October 1987): 543. http://dx.doi.org/10.1017/s0041977x00039604.

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Anzi, Achia. "Migration, Exile, and Homecoming in the Book of Ruth." Open Theology 7, no. 1 (January 1, 2021): 514–30. http://dx.doi.org/10.1515/opth-2020-0178.

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Abstract My article examines various artworks from Europe and Israel that portray and are inspired by the Book of Ruth. While in Jewish sources such as the Talmud (Yevamot 47b) Ruth is seen as an immigrant and a convert to Judaism, European artists since the seventeenth century highlighted different episodes and aspects of the biblical story that suited their social, political, and religious worldviews. Notably, the expansion of colonialism during the nineteenth century transformed the depictions of Ruth. While in the canvases of painters such as Pieter Lastman and Jan Victors Ruth is depicted as a model of religious identification, in the paintings of Joseph Anton Koch and Francesco Hayez she epitomises “oriental” otherness. Furthermore, while early European painters underscore the immigration of Ruth, Hayez represents Ruth as a dweller of the “East.” Zionist artists were influenced by European traditions of depicting the Book of Ruth but developed a unique fusion between strategies of identification and differentiation. Artists such as Ze’ev Raban (1890–1970) portrayed the story of Ruth as both ancient and contemporary, while imitating and appropriating Palestinian tropes in order to imagine the Zionist narrative of homecoming. The contemporary Israeli artist Leor Grady (b. 1966), on the other hand, addresses questions of immigration and homecoming while exploring the Book of Ruth in his solo exhibition Bethlehem (2019, Tel Aviv). While Raban’s illustrations ignore the Jewish experience of exile, Grady’s oeuvre epitomises what the Israeli historian Amnon Raz-Krakotzkin sees as “exile within sovereignty.” Instead of recounting a linear historical narrative that begins with exile and culminates with the return to the Promised Land, Grady underscores that every return is also a departure and every departure a return. In this manner, Grady foregrounds the voices silenced by Zionist historiography and challenges the exclusion of the Palestinian narrative.
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Feinberg, Anat. "Die erste »Erez-Israelische Oper« in »Altneuland«." Aschkenas 33, no. 2 (November 28, 2023): 341–80. http://dx.doi.org/10.1515/asch-2023-2019.

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Abstract »Ha-opera ha-erez israelit«, also known in English as the »Palestine Opera«, was founded in 1923 in the still nascent city of Tel Aviv. There was no stately opera house, no large stage for grand performances, not even a professional orchestra. The financial budget was extremely modest – and yet, over the course of only four seasons (1923–1927) no fewer than 17 operas were performed, all of them in Hebrew translation. This article takes the centenary of the first Hebrew opera as a point of departure to probe the history of this important cultural institution in pre-state Israel. The initiative for this ambitious undertaking came from Mordechai Golinkin (1875–1963), a seasoned conductor and passionate Zionist. Like Golinkin, most of the singers were of Russian origin. Remarkably, all libretti were in Hebrew with a synopsis in English and Arabic, so as to cater to a particularly broad audience. The article pays special attention to the four ›Hebrew/Jewish‹ operas which Golinkin selected during those years (one each season). This in turn raises the question as to how these categories were understood and debated at the time.
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Ben-Shaul, Daphna. "The Performative Return: Israeli and Palestinian Site-Specific Re-enactments." New Theatre Quarterly 32, no. 1 (January 7, 2016): 31–48. http://dx.doi.org/10.1017/s0266464x15000846.

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In this article Daphna Ben-Shaul explores politically engaged Israeli and Palestinian site-specific re-enactments that pursue what she terms a ‘performative return’. This includes performed aesthetic and political re-enactments of real-life events, which bring about a re-conceptualization of reality. Three contemporary cases of return are discussed with regard to the historical precedent of Evreinov’s 1920 The Storming of the Winter Palace. The first is an activist, unauthorized return to the village of Iqrit in northern Israel by a group of young Palestinians, whose families were required to leave their homes temporarily in the 1948 war, and have since not been allowed to return. The second is Kibbutz, a project by the Empty House Group, which involved an unauthorized temporary settlement on an abandoned site in Jerusalem. The third is Civil Fast, a twenty-four-hour action by Public Movement, which was hosted mainly on a central public square in Jerusalem, integrated into the urban flow. The article draws attention to the fine line these actions straddle between political activism and aesthetic order, and explores their critical and performative effectiveness. Daphna Ben-Shaul is Senior Lecturer in the Department of Theatre Arts, Tel Aviv University. Her current research on site-specific performance in Israel is funded by a grant from the Israeli Science Foundation. She is the editor of a book on the Israeli art and performance group Zik (Keter, 2005), and has published articles in major journals.
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Books on the topic "Tel Aviv (Israel). Artists' House"

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Michael, Hamp, Tiefert Marjorie A, Deutsche Stiftung für Internationale Entwicklung. Zentralstelle für Ernährung und Landwirtschaft., and Merkaz le-shituf ṿe-hadrakhah ḥaḳlaʼit benleʼumit (Israel), eds. Agricultural production under semi-arid conditions with special reference to the Paraguayan Chaco: strategies and appropriate technologies: Proceedings of a German/Israel/Paraguayan Workshop in Kibbutz Shefayim Guest House (near Tel-Aviv) Israel, 1-7 December 1988. Feldafing: Food and Agriculture Development Centre, 1989.

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Yaari, Nurit. The Cameri. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198746676.003.0003.

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This chapter discusses the establishment and growth of two new theatres founded by actor-director Yosef Milo: the Cameri Theatre in Tel Aviv (1944) and Haifa Municipal Theatre in Haifa (1961). Milo was a representative of a young generation of theatre artists who arrived in Israel at an early age and were educated by the Eretz-Yisraeli education system. The encounter of these young artists with classical Greek tragedy is presented in the context of these new theatres. By examining three productions—Anouilh’s Antigone (1946), Euripides’ Electra (1964), and Sophocles’ Antigone (1965)—the chapter defines the theatrical questions and practical problems that arose as the classic masterpieces were transposed to a new culture, and describes Yosef Milo’s quest for an innovative artistic, theatrical identity.
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Book chapters on the topic "Tel Aviv (Israel). Artists' House"

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Dekel, Tal. "Tal Dekel, Transnational Identities: Women, Art, and Migration in Contemporary Israel. Detroit: Wayne State University Press, 2016. 171 pp." In Textual Transmission in Contemporary Jewish Cultures, 321–23. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197516485.003.0044.

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Transitional Identities: Women, Art and Migration in Contemporary Israel, translated from the original Hebrew (the name of the translator is not given), focuses on the experiences of three different groups of migrant women artists living in Israel. Dekel, who herself migrated to Israel as a 12-year-old from the United States, is interested in the double perspective that immigrants bring to their lives in the new country: both as outsider and insider, Israeli and/or “other.” Dekel, who lectures both in the department of art history and in the women and gender studies program at Tel Aviv University, has a particular interest in gender and transnationalism in contemporary art and visual culture. Her first book, ...
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Bala, Sruti. "Gestures of institutional critique." In The gestures of participatory art, 26–50. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526100771.003.0002.

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Chapter I deals with the question of institutional critique in relation to participatory art. What is the place of institutional critique in relation to participatory performance? The chapter reflects on the conundrums of institutional critique, exploring the formation of participatory art forms as emergent from the critique of mainstream art institutions. It compares a number of approaches to institutional critique: the institutional affiliations of a community-based theatre project from Darfur, Sudan, a flash mob performance by an Israeli activist group protesting a Cape Town Opera production in Tel Aviv Opera House, a breaching experiment by visual artist Pilvi Takala, of trying to enter Disneyland dressed as Snow White, amongst others. Sometimes the gesture of critique consists in building counter-institutions, and sometimes in fleeing them. Institutional critique, understood as the explicit use of an artistic practice to interrogate, oppose or break out of art institutional frameworks has very asymmetrical trajectories across the world and across domains. The chapter argues that the changing institutional conditions of participation expose not just the norms of a certain institution, but also its specific traditions of institutional critique.
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Friedell, Steven F. "Yuval Sinai, Application of Jewish Law in the Israeli Courts (Hebrew), Israel Bar Publishing House, Tel Aviv-Yaffo, 2009, 655 pp." In Jewish Law Annual Volume 20, 339–44. Routledge, 2013. http://dx.doi.org/10.4324/9780203714201-7.

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