The Arty Semite

Bezalel Graduates Hold Their Own

By Jenna Weissman Joselit

Crossposted From Under the Fig Tree

Gil Nahmany. Femme Fractal (2011)

Over the next few weeks, those seeking respite from the clamor of talking heads should make a beeline for the Corcoran College of Art + Design where the work of recent graduates of Israel’s storied Bezalel Academy of Arts and Design is on display.

The exhibition will take your breath away, especially if your idea of Israeli art and craft is that of olive wood plaques and patinated greenware. Holding its own — and then some — with the best of what Milan has to offer, the objects on view are the very last word in innovative and sophisticated design.

For nearly a year now, Bezalel has been making the rounds of the United States, showcasing its handiwork and captivating audiences at venues as varied as Sotheby’s in Chicago, the Maltz Museum in Cleveland, and MICA in Baltimore.

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Homage to Nachum Gutman

By Galia Yahav

Crossposted from Haaretz

The connection between Nachum Gutman (1898-1980) and graduate students at the Bezalel Academy of Arts and Design in Jerusalem is not arbitrary, say curators of the exhibition “What Does It Mean to Interpret a Tradition?”

Yulia Rabsky

“Gutman was one of the first students at Boris Schatz’s old Bezalel, and his oeuvre, especially that of the 1920s, has become a part of the canon of Israeli art,” say the curators — Monica Lavie, curator of the Gutman Museum in Tel Aviv, and David Ginton, a lecturer at Bezalel. “The participating students were free to choose.”

Although “land of Israel” painting definitely merits this approach, and although discussion of the canon and tradition is important, the question still arises as to why Bezalel students are taking a particular interest in Gutman all of a sudden.

Read more at Haaretz.com

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Throwing Art in Glass Houses

By Renee Ghert-Zand

Eyal Perry
Israeli artist Lital Dotan in “The Glasshouse” at Marina Abramovic Institute West, San Francisco.

Streetcar bells clang, workers hurry to their offices, and shoppers and tourists meander along the crowded sidewalk. Lital Dotan, a fair-skinned young woman with long, frizzy, strawberry blond hair, clad in a white terrycloth bathrobe, stares out at the busy downtown San Francisco scene from a couch in the front window of the Marina Abramovic Institute West.

Performance artist Dotan and her artistic and life partner Eyal Perry are living in “The Glasshouse,” a combined gallery and performance space, from July 8 until October 6. In it, they have turned a raw, empty, street-level loft-like area into a home — albeit one with no privacy.

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