תבנית והפרעה: על ההדפס באמנות העכשווית

עמוד:13

, 180 x 125 , וק בירצת , 1995 , ףונב ימצע ןקויד , שולל רפוע יח םהרבא : םולצת ; ירבכ ץוביק , טירחתל ןמסטוג זכרמ Ofer Lellouche , Self-Portrait in Landscape , 1995 , etching , , , photo : Avraham Hay artworks in other mediums . Addressing print and its encounter with contemporary art in terms of both form and subject matter raises questions pertaining to the creation of images , the nature of representation , and the treatment of memory and subjective experience . The exhibition calls attention to the vitality of print and its cross-generational relevance for artists , curators , and collectors , despite the absence of scholarly research on the signifcance contemporary print in Israel and on the local history of this medium . It reveals a wide range of local printmaking practices whose seeming invisibility does not detract from their power , and which provide a productive conceptual basis for a discussion cultural and political themes pertaining to the Israeli private and public spheres . The importance of pointing to the signifcant presence print in contemporary art is related to its perception as a marginal tool subservient to other forms of art , to its relatively low commercial value in comparison to other forms of artistic reproduction , as well as to its existence at a distance from the world's centers of power . Artists opt for print in an age of almost unlimited technical possibilities because it touches a vibrant nerve in the artistic creation . Notes Multiples are three-dimensional works typically created on a small scale , in editions of multiple copies . Ruth Weisberg , "The Syntax of the Print : In Search of an Aesthetic Context , " Tamarind Papers , vol . 9 , no . 2 ( Fall 1986 ) , pp . 52-60 . MoMA . org / Interactives / Exhibitions / 2003 / Kiki Smith : Prints , Books & Things , http : // www . moma . org / interactives / exhibitions / 2003 / kikismith / ash . html without seeing it , in blindness and suspension , thus increasing his control over it . Brothers Jake and Dinos Chapman appropriated Goya's series of etchings The Disasters of War , intervening it to point at the contemporary transformation of war and horror images into pornographic portrayals of kitsch and excess . Christiane Baumgartner examines our experience of time and movement by bringing together cutting-edge technologies and traditional printmaking . She uses photographs and documentary video footage taken on the streets or published in the media , recreating these images as large-scale , handmade woodcuts . Kara Walker's installations , which are composed of cut-paper silhouettes , produce an alternative reading of slavery in the United States . Her prints serve as a direct extension of these installations , similarly offering alternative representations of history . The exhibition "Print Time , " currently on view at the Open Museum , Tefen , features approximately 120 print works created the Jerusalem Print Workshop and the Gottesman Etching Center , a selection from the vast oeuvre of numerous artists , who have worked at the Jerusalem Print Workshop ( since 1974 ) and at the Gottesman Etching Center ( since 1993 ) over past four decades . Fifty artists participate in the exhibition : from Yehiel Shemi , Micha Ullman , Ofer Lellouche , Alima , Jan Rauchwerger , Deganit Berest , and Moshe Gershuni , through Larry Abramson , Asaf Ben Zvi , Sharon Poliakine , Yigal Ozeri , Hila Lulu Lin , and Orit Hofshi , to Nelly Agassi , David Adika , Maya Attoun , Hilla Ben Ari , Tamar Shippony , and Erez Israeli . Their works reveal the metamorphic potential of printmaking and the ways in which its underlying principles–imprinting and traces , multiplication and dissemination–may infltrate female body , while casting birth , sensation , death weathering as forms of formal and existential , she holds , "mimic what we are as humans : we same , and yet everyone is different . "

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