Identity and the Body Visual arts in Israel

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gideon gechtman

exposure (installation view), 1975


the landscape space performance , expressions of gender, occupied center stage in american art of period, never caught on in israel did in united states. ilana tannenbaum claimed that, in contrast artists worldwide, works of israeli artists restrained in artistic language , tended reductionist regard forms. in works of many israeli artists, such moshe gershuni, tamar getter, , others, relationship body assimilated sociopolitical significance. in work letter beuys (1974), example, getter wrote fictitious letter artist joseph beuys. letter included 3 different biographies , asked beuys make coat , shoes.


in work via dolorosa (1973), motti mizrachi, walked on crutches, created series of photographs documenting walking along route of via dolorosa on crutches while carrying large portrait of himself on back. works of gideon gechtman during period dealt complex relationship between art , life of artist, , dialectic between artistic representation , real life. in exhibition exposure (1975), gechtman described ritual of shaving body hair in preparation heart surgery had undergone, , used photographed documentation doctors letters , x-rays showed artificial heart valve implanted in body. in other works, such brushes (1974–1975), uses hair head , heads of family members , attaches different kinds of brushes, exhibits in wooden boxes, kind of box of ruins (a reliquary). these boxes created according strict minimalistic esthetic standards.








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