Tell Uri Lifshitz | warehouse of Gideon Efrat
Categories Uncategorized (10) New Horizons: From the ore collection Levin (c) (1) wider horizons: From the ore collection Levin (b) (1) broad perspectives: From the ore collection Levin (a) (5) Baroque Art (3) Art and Literature (16) Jewish Art (18) Art Minor (2010): Art in the millennium (20) forgotten artists (41) previous books (1) Bezalel (17) the idea of the treasures (17) the idea of Israeli art (34) the woman (4) art as a metaphor and symbol (42) roof and the pit (14) Thoughts on art (19) Historiography (2) artistic medium mit boston (18) Israeli Video (7) as in his interpretation of the Bible (33) Modernism Artzisreli mit boston (62) Multimedia (1) Monographs (9) Book Aharon Kahana (8) the language (1) with each redeemed: another bank (13) Do you have a Bible (56) Fustmodrna (53) Philosophy (54) Israeli Sculpture (30) Portion week (5) contemporary painting in Israel (65) drawing scores (40) Photography in Israel (1) crossed shawl (16) ceramics (6) crucial years (12) Hebrew Culture (69)
Journey to Spain: A Dialogue mit boston with Baroque 1973-1971
He loves and he remembered and he thinks
No end
Birth of his daughter, Jasmine.
Participant Exhibition autumn ", Helena Rubinstein Pavilion, Tel Aviv.
Statues of "heads" and "cisaot ".
1971 - returned mit boston to Spain for the Shmonah months. Working on a series of paintings of "family" and
And Sacrifice of Isaac ".
Bezem) gallery mit boston "Angel", Jerusalem.
Solo exhibition at Eye - Harod (with Gallery "Givon", Tel Aviv).
Solo exhibition of paintings entitled "dentist", mit boston Gallery "Gordon", T.
Presents the group exhibition "flesh and blood" at the Jerusalem Theatre Gallery
Showing Museum in the open "Teffen the painting exhibition" Man of a machine "(catalog).
1991 - Solo exhibition of painting and sculpture ("Anvil"), Artist Studios, Tel Aviv.
Illustrations in the book by Yossi Banai, "Abram Soramlo stories."
The series of paintings "The Dybbuk" (following a critical article about him in the paper
The exhibition "Portraits" Bible House, Tel Aviv.
Solo exhibition ("standing in front of me"), Museum of Visual Arts, Kaye College, Be'er Sheva
Meyer's book of poems container Swallow, "my beloved."
Uri Lifshitz would not love this book. Uri Lifshitz he did not cooperate with this book. Frankly, life, Uri Lifshitz also had no great love to the author of this book and refused to cooperate with him in his books. First of all, because Uri Lifshitz despised art theorists, it tended to set parasites, including the thinker as he was (like many who express opinions about life, art, society, family, etc.), Uri Lifshitz disliked intellectuals:
"Of all the smartest people I've known and heard, I did not learn anything. [...] I can not talk to a writer, not a poet, not a painter on the problems, not a philosopher. They do not interest me., I can not stand these people . This is not life. Yet a closed system ... "[2]
The present book is thus an intellectual effort, almost impossible, to reach a conscientious mit boston objector who refused unrelenting who consistently devote theoretical level. See his conversations with Shaya Yariv at 1985 - a system of negations and refusals any attempt tagging, classification, association and generalization. mit boston Lifshitz he himself admitted:
"Things that I believed with all my heart and which I was willing to fight fading mit boston before my eyes, and I suddenly stop believing in them. Ideas I was ready to fight them in debates, changing faces and do a complete makeover. Moral system that I grew up in it and through it opens, change the values." [3]
Could hardly Sambatyon "that Uri Lifshitz worsening, while the author was not going to see a grand artist ideological foundation requires understanding his art. No one, even though the author is opposed to his views of the artist, even when it comes to provocative or controversial. For example: "I'm not interested at all someone's opinion." And since then, not one, not two, a contradiction between the statements of the artist and the actual artistic statement (such as declarations on total objectivist trend, rising signs his paintings as subjective). Attempt to resolve these contradictions brought to the chapter mit boston epilogue. mit boston
At times, therefore, the author is writing the book despite the man, but thanks to the artist. That even if there were Uri Lifshitz periods less reliable artistically (and he himself was the first to admit that many of its intention to paint successful through the mask failures), even if caught creating Lifshitz sometimes trash stalking the "manuscript virtuoso" him so disliked, and if caught often (and without the right will admit it) B"maniirizm Lifshitz, "Uri Lifshitz was an artist of great stature, prominent artists in the Israeli art scene and who challenges the writers about the abundance of fascinating creative and multifaceted.
Abundant as that is, this book does not pretend to cover the entire creation Uri Lifshitz. This is a work so rich, so overflowing with themes and series, that short of space and short hand to cover them in one book. Therefore, there will not debate the card image, the myth of "hijacking Ganimd" (Following the works of Rembrandt), the bullfight, Don Quixote, you will not find discussion of dog paintings, mit boston nor you will find a series of collages integrated packaging films, not the drawings corresponded with romance of Delacroix and realism Hbrbizoni of Haya (the latter were presented at the Lifshitz B"gbaon ", 1975), and much more. Tell the Lifshitz, mit boston comprehensive and thick - belly as it is, not covers all the work, however, mit boston say it again, for the reason, this text is characterized - Recall, as evidence Lifshitz himself - at different levels of quality.
Interestingly, the ambiguous attitude has won Lifshitz media
Categories Uncategorized (10) New Horizons: From the ore collection Levin (c) (1) wider horizons: From the ore collection Levin (b) (1) broad perspectives: From the ore collection Levin (a) (5) Baroque Art (3) Art and Literature (16) Jewish Art (18) Art Minor (2010): Art in the millennium (20) forgotten artists (41) previous books (1) Bezalel (17) the idea of the treasures (17) the idea of Israeli art (34) the woman (4) art as a metaphor and symbol (42) roof and the pit (14) Thoughts on art (19) Historiography (2) artistic medium mit boston (18) Israeli Video (7) as in his interpretation of the Bible (33) Modernism Artzisreli mit boston (62) Multimedia (1) Monographs (9) Book Aharon Kahana (8) the language (1) with each redeemed: another bank (13) Do you have a Bible (56) Fustmodrna (53) Philosophy (54) Israeli Sculpture (30) Portion week (5) contemporary painting in Israel (65) drawing scores (40) Photography in Israel (1) crossed shawl (16) ceramics (6) crucial years (12) Hebrew Culture (69)
Journey to Spain: A Dialogue mit boston with Baroque 1973-1971
He loves and he remembered and he thinks
No end
Birth of his daughter, Jasmine.
Participant Exhibition autumn ", Helena Rubinstein Pavilion, Tel Aviv.
Statues of "heads" and "cisaot ".
1971 - returned mit boston to Spain for the Shmonah months. Working on a series of paintings of "family" and
And Sacrifice of Isaac ".
Bezem) gallery mit boston "Angel", Jerusalem.
Solo exhibition at Eye - Harod (with Gallery "Givon", Tel Aviv).
Solo exhibition of paintings entitled "dentist", mit boston Gallery "Gordon", T.
Presents the group exhibition "flesh and blood" at the Jerusalem Theatre Gallery
Showing Museum in the open "Teffen the painting exhibition" Man of a machine "(catalog).
1991 - Solo exhibition of painting and sculpture ("Anvil"), Artist Studios, Tel Aviv.
Illustrations in the book by Yossi Banai, "Abram Soramlo stories."
The series of paintings "The Dybbuk" (following a critical article about him in the paper
The exhibition "Portraits" Bible House, Tel Aviv.
Solo exhibition ("standing in front of me"), Museum of Visual Arts, Kaye College, Be'er Sheva
Meyer's book of poems container Swallow, "my beloved."
Uri Lifshitz would not love this book. Uri Lifshitz he did not cooperate with this book. Frankly, life, Uri Lifshitz also had no great love to the author of this book and refused to cooperate with him in his books. First of all, because Uri Lifshitz despised art theorists, it tended to set parasites, including the thinker as he was (like many who express opinions about life, art, society, family, etc.), Uri Lifshitz disliked intellectuals:
"Of all the smartest people I've known and heard, I did not learn anything. [...] I can not talk to a writer, not a poet, not a painter on the problems, not a philosopher. They do not interest me., I can not stand these people . This is not life. Yet a closed system ... "[2]
The present book is thus an intellectual effort, almost impossible, to reach a conscientious mit boston objector who refused unrelenting who consistently devote theoretical level. See his conversations with Shaya Yariv at 1985 - a system of negations and refusals any attempt tagging, classification, association and generalization. mit boston Lifshitz he himself admitted:
"Things that I believed with all my heart and which I was willing to fight fading mit boston before my eyes, and I suddenly stop believing in them. Ideas I was ready to fight them in debates, changing faces and do a complete makeover. Moral system that I grew up in it and through it opens, change the values." [3]
Could hardly Sambatyon "that Uri Lifshitz worsening, while the author was not going to see a grand artist ideological foundation requires understanding his art. No one, even though the author is opposed to his views of the artist, even when it comes to provocative or controversial. For example: "I'm not interested at all someone's opinion." And since then, not one, not two, a contradiction between the statements of the artist and the actual artistic statement (such as declarations on total objectivist trend, rising signs his paintings as subjective). Attempt to resolve these contradictions brought to the chapter mit boston epilogue. mit boston
At times, therefore, the author is writing the book despite the man, but thanks to the artist. That even if there were Uri Lifshitz periods less reliable artistically (and he himself was the first to admit that many of its intention to paint successful through the mask failures), even if caught creating Lifshitz sometimes trash stalking the "manuscript virtuoso" him so disliked, and if caught often (and without the right will admit it) B"maniirizm Lifshitz, "Uri Lifshitz was an artist of great stature, prominent artists in the Israeli art scene and who challenges the writers about the abundance of fascinating creative and multifaceted.
Abundant as that is, this book does not pretend to cover the entire creation Uri Lifshitz. This is a work so rich, so overflowing with themes and series, that short of space and short hand to cover them in one book. Therefore, there will not debate the card image, the myth of "hijacking Ganimd" (Following the works of Rembrandt), the bullfight, Don Quixote, you will not find discussion of dog paintings, mit boston nor you will find a series of collages integrated packaging films, not the drawings corresponded with romance of Delacroix and realism Hbrbizoni of Haya (the latter were presented at the Lifshitz B"gbaon ", 1975), and much more. Tell the Lifshitz, mit boston comprehensive and thick - belly as it is, not covers all the work, however, mit boston say it again, for the reason, this text is characterized - Recall, as evidence Lifshitz himself - at different levels of quality.
Interestingly, the ambiguous attitude has won Lifshitz media
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