٠ featuring: ‘Finder and Keeper: a Conversation Between Rotem Rozental and Yaron Lapid’ ٠

This is not one of my usual posts. In conversation with Rotem Rozental, the editor of the Shpilman Institute for Photography blog, she suggested I should take a look at a couple of her posts and that’s how I came … Continue reading ٠ featuring: ‘Finder and Keeper: a Conversation Between Rotem Rozental and Yaron Lapid’ ٠

٠ The political function of landscape-family photographs in the context of the Israeli–Palestinian conflict ٠

© Gil Pasternak, Esther Pasternak, 1970s. Esther Pasternak collection of family photographs, 1946–99. Description: The defiant lion is a tombstone monument erected in 1932 to commemorate a group of eight Jewish pioneer settlers who, as the Israeli version of the … Continue reading ٠ The political function of landscape-family photographs in the context of the Israeli–Palestinian conflict ٠

٠ Israel, the first fur free nation? Yes, you’re allowed to laugh about the irony ٠

Hester Vlamings, in Amsterdam’s Fur Free Exhibition, 2011 Fur free events took place this past Friday worldwide. The video below is from a “performance” (aka bleeding fashion event) that took place in Tel-Aviv. During the rally, people used slogans such … Continue reading ٠ Israel, the first fur free nation? Yes, you’re allowed to laugh about the irony ٠

┐ Photographs from inside the Israeli army └

“…Israeli soldiers’ use of social media has given a unique insight into an “army” that functions more like a rabble – with soldiers misusing weapons, breaking laws, and expressing violent and extreme views and posting images of themselves doing it online. A case in point is Osher Maman, another 20-year-old Israeli soldier currently enlisted in the “elite” Golani Brigade. Maman’s Instagram account currently includes 549 images which show, among other things, images of him mishandling weapons and breaking military laws. The earliest date from April 2012 and the most recent from today. An illustrative selection – with tags where he … Continue reading ┐ Photographs from inside the Israeli army └

┐ Shira Klasmer – Walk the Line └

© Shira Klasmer, Walking the Line, 2012. 10’34” in loop “The ‘painting’ is performed by the artist holding a ‘brush’ made up of a line of LED lights. The act (of painting) is photographed by two still digital cameras creating a single still frame of long exposure, capturing the traces of the action on to the camera’s sensor. A sequence of frames is edited to a video format, where each frame is the recording of one act of ‘painting’. Transforming the still frames into a video format was done by exposing; scanning each frame from left to right, similar to … Continue reading ┐ Shira Klasmer – Walk the Line └

┐ Assaf Shaham – in the gap between the comma and its following letter └

© Assaf Shaham, Untitled, from the series Time After Time and Again “The work Time after Time and Again deconstructs photography into its components and reassembles them on one surface that encompasses the essence of the photographic act, the fundamentals of color photography, and the marvel that combines light and time into a photograph. At the same time, in a kind of an aside, Shaham also subverts the concept of freezing the moment which religiously accompanies photography and differentiates it from cinema. In a simple but not innocent still photograph, Shaham records movement on a timeline: a landscape depicting a … Continue reading ┐ Assaf Shaham – in the gap between the comma and its following letter └

┐ Yanai Toister – Toward a Brief Manifesto on Photography └

© Yanai Toister, Bouy (From Register of Facts), 2004, C-print, 156/120 cm © Yanai Toister, Untitled (from Straits), 2002, C-print, 80/100 cm © Yanai Toister, Untitled (from Straits), 2002, C-print, 65/80 cm “In order to formulate a binding stand with regard to the photographs in the exhibition, one must first acknowledge that the word “photography” today refers to a very broad spectrum of rather loosely connected practices. Any attempt to define photography as a differentiated, independent ontological category can no longer rely on the Barthean scheme of “that-has-been” or “that-has-been-there” with regard to the photograph; it must refer to photography … Continue reading ┐ Yanai Toister – Toward a Brief Manifesto on Photography └

┐ Michal Heiman └

CRITICAL IMAGE: MICHAL HEIMAN, By Dr. Ariella Azoulay Michal Heiman chose the position of the spectator looking at someone else’s photographs taken by someone else, in which someone else is photographed, which someone else collected. Heiman turns this quintessential position of spectator (in a museum, but not only) into her own, elaboration and giving it back to it to spectator, whom she transforms not only into the subject of the artistic image but also into the subject of the psychological image. This is the spectator who is asked, on several levels, to assume Heiman’s position and to reproduce it. When … Continue reading ┐ Michal Heiman └

┐ Sheffy Bleier └

© Sheffy Bleier, Organs,, from the series Organ Gardens, 2007 © Sheffy Bleier, Internal Landscape in the Pink Outside, 2009 “Ultimately, the question that lurks in these images is that of the possibility of reaching the sublime, the spiritual through the medium that appears wholly antithetical to it – body’s inner organs. True, the organs are not “raw meat” – which borders on the horror of the formless – for they retain well-defined forms and texture. And it is precisely their form and texture – mysterious, yet troublingly familiar – that turns them into visual medium of something utterly different … Continue reading ┐ Sheffy Bleier └

║ Elad Lassry ║

© Elad Lassry, Burmese Mother, Kittens, 2008 © Elad Lassry, Two wolves, 2008 “Rarely is there enough visual information in a photograph by Elad Lassry to quite tell what is going on in the picture. Thatʼs the reverse of what most photographs intend, dedicated as they typically are to delivering data selectively plucked from the quotidian world. Since we live in an engorged image-environment, where we are continuously hectored by photographs that purport to be telling us stuff, the subtle absence disorients. (…)” source: Knight, Christopher, “Photographs that ask questions” Los Angeles Times, October 16, 2009 More of Elad’s work … Continue reading ║ Elad Lassry ║

║ Ori Gersht ║

© Ori Gersht, Blow up No. 14#06, from the series Time after time, 2008 “The latest digital technology has enabled Gersht to create contemporary versions of frozen life, bringing the concerns of Fantin-Latour and other still-life masters into a contemporary context. His photographs echo the appearance of oil paintings and allude to the inherent shadow of death and decay hanging over traditional still-life and vanitas painting. Yet they are distanced from them due to the instantaneous digital process employed, which captures each shattering still-life at a speed of 1/6000 of a second and stores the information immaterially as data on … Continue reading ║ Ori Gersht ║

║ Gaston Zvi Ickowicz ║

© Gaston Zvi Ickowicz, Untitled #2, from the series August 06, 2006 © Gaston Zvi Ickowicz, Untitled #6, from the series August 06, 2006 “The images in the series “August 06″ were taken in the summer of 2006, during the cease-fire between Israel and Lebanon. These photographs portray Ickowicz’s view of the war  a dark cloud that is at once present and absent. The images in this series examine the traces of a war that faded as quickly as it had begun  the vestiges of its contaminating presence.” To see more of Gaston’s work click here Continue reading ║ Gaston Zvi Ickowicz ║

║ Adi Nes ║

© Adi Nes, Hagar, from the series Bible, 2006 © Adi Nes, Untitled, from the series Soldiers, 2000 © Adi Nes, Untitled, from the series Soldiers, 1998 “Staged photography, the style which I’ve adopted, demands complex production and exacting direction, if for no other reason than a great deal of money and energy are poured into it. This is a style that, actually, developed when photography was invented. Later, people like Cindy Sherman, Jeff Wall, Gregory Crewdson and others brought staged photography to a certain level of artistic perfection. Some view photographers as “hunters” who go out into the streets … Continue reading ║ Adi Nes ║

║ Yuval Yairi ║

© Yuval Yairi, from the series Forevermore © Yuval Yairi, from the series Forevermore “Yuval Yairi’s (b. 1961) body of photographs, Forevermore, focuses on the Hansen Hospital in Jerusalem, the abode of Hansen’s disease patients, an illness which had erroneously been identified with biblical leprosy. Originally called Jesus Hilfe, the hospital was founded in 1887 by Protestant missionaries from Germany on a remote hillside, nowadays the Talabiya neighborhood. The massive stone building was designed by architect and researcher of Jerusalem, Conrad Schick (1822-1901). It represents late 19th-century Jerusalem architecture, combining European and Middle Eastern styles. The structure contains evidence of … Continue reading ║ Yuval Yairi ║

║ Inbal Sivan ║

© Inbal Sivan, Baroque, 2003 © Inbal Sivan, Nude, 2007 “Inbal Sivan’s images borrow heavily from traditions in art history, including aspects of the “male gaze.” It entails inactive women looking at some vague point off-camera suggesting that they are not engaged with their audience (or with anything) but rather have appeared, conveniently, to be looked at. Ironically, the art Sivan references in her work has been made almost exclusively by men. The images created by these men are laden with burdens; long-standing conventions of art history, sexual interest and social gender roles. As a female artist, Sivan feels less … Continue reading ║ Inbal Sivan ║