Paper is perhaps the most common element that provides a connection between the four exhibitions presented this winter by the Museum of Contemporary Art in Herzliya.
The tour begins with Rotam Amizur’s monumental paper collages presented at the entrance of the museum and continues with Aviva Uri’s paintings on paper, Ivan Shvebel’s colorful diaries (and his oil paintings) and finally oil painting. continues with On Point, a group exhibition of prints on paper that explores the history of moving images.
It’s a little messy, but it works.
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“All of these works are contemporary with their historical aspects,” says museum curator Aya Lurie.
This winter exhibition opened on January 14 and will end on May 20 at the Herzliya Museum. This time, Lurie invited curators who are also artists or collectors.
Amizuru, a young artist who had his first solo exhibition at the museum, was directed by another artist, Iddo Marcus. Both have worked as part of an artist collective in Haifa for the past ten years. Amizur created La Plaine, a series of monumental cushion-like paper collages inspired by a book reproduction of a giant fresco by Renaissance artist Andrea Mantegna.
Adjacent to Amizur’s works is the entrance to the museum’s gallery, which exhibits La Forza Del Destino, curated by collector Benno Kalev, based on Aviva Uri’s decades-long passion for contemporary Israeli art.
There are two dialogues that appear in Aviva Uri’s exhibition – between collector and artist as the two grow closer over many years of collaboration, and between Uri and artist David Hendler, Uri’s former teacher who became his wife.
“There are dozens of works by Urie in Benno,” explains Lurie, adding that the collector had a hard time choosing what he wanted to present in the context of the exhibition. and painted by Hendler for the woman who shares his existence.
During his lifetime, Uri was known especially as a painter’s painter. Lurie says Hendler’s star wasn’t as bright as hers, but the two artists shared a deep love and life.
The main group exhibition presented in the museum is called “On Point”, referring to the tip of the pen. Curated by artist Ben Hagari, he sought to explore the history of moving images through his own works and those of independent artists and others whose compositions are part of the collection of the LeRoy Neiman Center at Columbia University School of the Arts. Hajari was once teaching.
With Jasper Johns, William Kentridge, Aki Sasamoto, and Terry Winters among the 25 artists represented in total, Hagari, an Israeli artist who taught at Columbia while earning a master’s degree and is now a professor at Yale, explores the history of animated images before 2011. the invention of the camera.
It features engravings, ancient optical devices, mobile books, eyeholes, shadows and silhouettes, films, videos exploring early experiments in animation and hand-drawn drawings, the development of animation and real-time motion, including early animation work. This was done by an employee of the Edison Laboratory.
“This scene highlights the interaction between moving images and paper,” Hagari said. “Imagination starts from there, something emerges from there.”
The fourth exhibition is FSP Free-Standing Painting, featuring dozens of paintings, drawings, prints and workbooks by American-born Ivan Schwebel.
Connections to other exhibits are made through impressive paper notebooks that Schwebel kept, filled with handwritten notes and colored with sketches and other expressions of his art.
There is also a filmic side to Schwebel’s work that emphasizes his very American childhood and Hollywood culture. comics and with the superheroes he grew up with.
Schwebel was born in West Virginia, then moved to the Bronx as a child. He joined the US Army and served in Japan during the Korean War. Later, he studied art history at New York University, traveled, and finally, like many other artists and poets, settled in Jerusalem’s Ein Karem neighborhood in 1963. He was married to an Israeli.
Schwebel lived most of his adult life in Israel – but he always had to borrow American, Jewish and Hollywood iconography in his works. He was initially accepted into the Israeli artistic milieu, but was gradually pushed aside, given the “more abstract” and minimalistic obsession of other Israeli artists of his generation with Jewish imagery and the Holocaust. steeped in art history, Jewish history, and biblical figures,” Lurie explains.
These four exhibitions also offer a chance to gain a clearer insight into the art and psyche of the participating artists and curators, and present a comprehensive picture of contemporary Israeli art while managing to create an intelligent connection between the materials and ideas used. .