Sunday, May 18, 2008

Exhibition: 1956, French embassy, Tel-Aviv

Solo exhibition, French embassy, Tel-Aviv, 1956. Exposed: oils, aquarelles and gouaches.

[click to enlarge]

















Digital images © Ariel L. Szczupak 2008

Friday, May 16, 2008

Exhibition: 1956, Tel-Aviv Museum

Collective exhibition: "New Horizons 7", the Tel-Aviv Museum. Exposed: "Sleep".

[click to enlarge]





Digital images © Ariel L. Szczupak 2008

Exhibition: 1955, Bezalel Museum, Jerusalem

Solo exhibition, Bezalel Museum, 1955. Curator: Mordechai Narkiss. Exposed: oils, aquarelles and gouaches (list below).

Israel being then under a regime of austerity, and canvas being scarce and expensive, some of the oils are on plywood or cardboard.


[click to enlarge]


















Digital images © Ariel L. Szczupak 2008

Exhibition: 1954, Tel-Aviv Museum

Collective exhibition: "Young Israeli Painters", the Tel-Aviv Museum, 1954. Curator: Eugene Kolb. Exposed: "Chatter", "Ruth" and "Still Life", oils.

[click to enlarge]





Digital images © Ariel L. Szczupak 2008

Monday, May 5, 2008

Exhibition: 2008, Monart Center, Ashdod

Collective exhibition: "The Birth of "Now", Art in Israel in the 1960s", the Monart Center, Ashdod. Curators: Yona Fischer, Tamar Manor-Friedman. 26 July 2008 – 15 December 2008

To be exposed: Landscape, chalk/charcoal? on paper, 1959. Israel Museum collection.

Exhibition: 2008, Petah-Tikva Museum

Collective exhibition: "Etchings, Scratches and Scars- Changing Representations of the Israeli Soldier", the Petach Tikva Museum of Art. Curator: Sigal Barkai. 07.3.2008 - 30.6.2008. Exposed: "3rd night, midnight news", a 6-Day War woodcut.

[click to enlarge]




The exhibition explores the connection between artistic printmaking and the representation of soldiers and warfare in Israel. It includes prints from the collection of the Petach Tikva Museum of Art, along with prints by contemporary artists, most of which were created especially for this exhibition. The decision to focus this exhibition on print work arises from the desire to explore a subject, which was usually treated on a grand scale employing official “state” vocabularies, through an alternate mode, featuring products of an artistic process that is more introverted and humble, that grapples with techniques and media that are not readily pliable or compliant. Etching plates are limited in size, which is dictated by the size of the printing press; the acids that eat into the surface of the plate demand a work rhythm that is sensitive and attentive to exacting organic processes; the results of these complex processes do not require large exhibition spaces. The reduction into both the small format of print work and its monochrome schemes enable the artists to refine a personal statement while excavating deeper strata, but also allow space for critical expression to emerge, without these expressions taking on the form of blatant propagandistic declarations. Even harsh claims are transformed by print work into an intimate, interiorized, and understated protest. [...]

Ynete-mago


Other links:

Exhibition: 1974, Centre Culturel Juif, Paris

A 1974 collective exhibition at the Jewish Cultural Center in Paris, some of the 6-Day War woodcuts.

[click to enlarge]





Digital images © Ariel L. Szczupak 2008

Exhibition: 1971, Beit Yad Labanim, Petah-Tikva

1971 exhibition of the 6-Day War woodcuts at Beit Yad Labanim, Petah-Tikva

[click to enlarge]














Digital images © Ariel L. Szczupak 2008

The 6-Day War woodcuts

Yvette was a volunteer paramedic in Magen David Adom when the 6-Day War started. She took an active part in its caring for the civilian wounded and dead during the fighting.1

[click to enlarge]



She expressed her experiences of the war in a series of woodcuts, starting with drawings she made during, and right after, the war:



Work in progress at her Talitha Kumi studio:



Other woodcuts in the series:














1. Newsweek, June 19th 1967.


Digital images © Ariel L. Szczupak 2008