Suchergebnisse

AbstractDiscrimination against women in the Western field of Visual Arts persists, even today. In this article I reflect upon the formative years of the field of Visual Arts in Jewish Palestine/Israel. I examine what role art critics took in the emergence of the systematic forms of artistic malestream domination. I also analyze which strategies allowed art critics to develop their position as the "knowers" of high art. While artistic malestream practices have not only held back female artists in the past, they also still affect women's artistic careers. Thus, the exposure of these concealed mechanisms can inform both academic scholarship and the artistic discourse.

Multiples transgressions. Le Street art des artistes israéliennes Cet article analyse la façon dont les Israéliennes s'adonnent aux arts de la rue. Elles transgressent non seulement l'évidence de l'appropriation capitaliste du contrôle de l'espace public, mais aussi les frontières normatives des activités interdites aux femmes. Leurs transgressions se fondent sur des stratégies historiquement définies comme féminines, mais aussi en détournant l'ordre masculine dominant.

This article begins as an attempt to analyse an apparently paradoxical situation created by two events, which occurred simultaneously in 1948: the establishment of Israel as an independent state and the emergence of the Ofakim Hadashim (New Horizons) group of artists, acknowledged as the most renowned local artists at the time. The creation of the state of Israel may be considered the high point of Jewish nationalism, when the nation celebrated its distinctiveness. On the other hand, Ofakim Hadashim was a group of intellectuals who aspired to disengage their artistic work from the dominant political processes of the time. The basic claim of its members was l'art pour l'art, which ostensibly contradicted the significance of the general political process. This situation is highly interesting since it challenges the general sociological assumptions about the role of intellectuals in nation‐building processes, and also contradicts the usual explanation regarding the Israeli state‐building process. It concludes that an explanation of the social complexity existing in 1948 can be found in an understanding of modernity as a multifaceted phenomenon embracing a diversity of inherently contradictory practices.