YIGAL OZERI - GALERIE RAPHAEL
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LIBERATED PA P E R
YIGAL OZERI
GALERIE RAPHAEL GARY LICHTENSTEIN EDITIONS
Contents
Inhalt
Sterbende Schöne – Die Frauen bei Yigal Ozeri 4–8
Dying Beauties – Yigal Ozeri’s Female Figures 10 – 14
Silkscreens / Serigraphien 17 – 39
Acknowledgement
Silkscreen Monotypes / Serigraphie-Monotypien 41 – 55
Design: Yigal Ozeri, Qiqi Huang
Text: Claudia Knöpfel
Text Translation: Jeremy Gaines
Watercolors / Aquarelle 57 – 63
Photography: Yigal Ozeri, Shear Ozeri, Pini Siluk, Qiqi Huang
Models: Olya Zueva, Zuzanna Buchwald, Shely Ben-Joseph
Silk Screen Printing: Gary Lichtenstein Editions
Printing: Arti Grafiche De Pietri
Gouache on Paper / Gouache auf Papier 65 – 71
Special thanks goes to Raphael Petrov, Gary Lichtenstein, Melissa Marr, Corinna Becker,
Eugene Lemay, Mana Contemporary, Shear Ozeri, Eileen S. Kaminsky Family Foundation. Oil on Paper / Öl auf Papier 73 – 77
Front cover image: Untitled (Olya), 2018
Back cover image: Untitled (Olya), 2014 Artist Resume / Vita des Künstlers 80 – 92
Sterbende Schöne – All beauty must die – so singen es Kylie Minogue zentralem Bestandteil. Keine Liebe ohne Schmerz, Liberated Paper sind: Frauen und immer wieder
und Nick Cave im Jahr 1995. Die Geliebte namens und folglich auch kein Liebeslied – und angewandt Frauen. Frauen als Verführerinnen, nachdenkliche
Die Frauen des Yigal Ozeri Elisa, schön wie die sprichwörtliche Rose (they call auf die bildende Kunst, auch kein Bild über die Frauen, verletzliche Frauen – immer aber Frauen
me the wild rose) wird von ihrem Liebhaber nach Liebe ohne Schmerz, ohne eine geheimnisvolle und als starke Persönlichkeiten. Der Hintergrund bleibt
drei Tagen des intensiven Zusammenseins getötet. unerklärliche Traurigkeit, die bestimmte Kunstwerke dabei in aller Regel genau das: Hintergrund,
In der Interpretation des aus Israel stammenden erfüllt. Diese Traurigkeit braucht Raum um sich und ohne große erzählerische Komponente – eine rote
Künstlers Yigal Ozeri heißt Elisa Shely. Ihr langes Stille – die Weite des Himmels, des Meeres oder Backsteinmauer als Kontrast zum hellen Teint der
They call me the Wild Rose Haar treibt um den Kopf, wird von der sanften eines sommerlichen Weizenfeldes wie das, in dem Frau in New York oder das Weizenfeld, das Olya
But my name was Elisa Day Wellenbewegung des Wassers mitgenommen, das Olya steht, gedankenverloren und allein. umgibt. Dabei sind diese Frauendarstellungen nicht
Why they call me it I do not know Gesicht umspült, überspült vom kühlen Nass. Shelys als reine Porträts zu sehen, als Abbilder individueller
For my name was Elisa Day Blick, zunächst noch herausfordernd und voller Allein sind Ozeris Frauen meistens, und selbst Personen, sondern vielmehr als Folie für zeitlose,
Leben, dann gebrochen, trifft den Betrachter. Und wenn sie zu zweit in Bildern auftauchen (wie Olya allgemeingültige Themen – neben dem duende
trifft ihn in zweifachem Sinne – physisch, indem die and Zuzanna, 2015/16), einander umschlingen und auch die Schönheit. Diese Schönheit, so subjektiv
Blicke sich kreuzen, trifft ihn aber auch in die Seele. sich körperlich sehr nah sind, bleiben sie dennoch sie empfunden werden mag, verknüpft wie ein roter
From the first day I saw her I knew she was seltsam getrennt, jede für sich in ihrer eigenen Faden die einzelnen Bilder der so unterschiedlichen
the one … Im Spanischen gibt es einen Ausdruck, geprägt (Gedanken-)Welt. Bekleidet sind sie in aller Regel Frauentypen miteinander.
Die Lippen rot, die Wangen rosig, das Kleid von von Federico García Lorca, verwendet vor allem im leicht, in transparente Stoffe (oder solche, die
Ranken und Blüten bedeckt – ein Sinnbild der Kontext des Flamenco: duende. (Im Portugiesischen eine Transparenz entwickeln, weil sie nass sind), Szenisch muten Ozeris Arbeiten häufig wie ein
Lebendigkeit, der Schönheit, auch der Unschuld wäre wohl die berühmte saudade das Synonym – manchmal auch gar nicht. Die Sinnlichkeit, die damit Film Still oder cinematische Hochglanz-Porträts
durch und durch. ein universelles Gefühl aus Sehnsucht, Melancholie, einhergeht, bleibt jedoch stets subtil, wird nie plakativ an. Die Bewegtheit der Szenerie, das Wehen des
Schmerz, Nostalgie und Einsamkeit, das jeder kennt oder gar pornografisch. Dem steht die Schönheit Windes, das Fließen des Wassers sind im Bruchteil
On the second day I brought her a flower … und doch keiner recht fassen kann.) Angelehnt an der Frauen – wenn auch nicht zwangsläufig im einer Sekunde eingefangen, als habe jemand die
Weißt Du, wo die wilden Rosen wachsen – so süß Goethes Beschreibung des „Dämonischen“ wirkt klassischen, „glatten“ Sinne – ebenso entgegen Pausetaste betätigt. Auch wenn die Basis scheinbar
und scharlachrot und frei? Komm mit mir, dahin, wo duende als „diese geheimnisvolle Kraft, die jeder wie die Distanz, die sie trotz aller zum Betrachter Momentaufnahmen, flüchtige Augenblicke sind, so
die Rosen blühen. fühlt, die aber kein Philosoph erklären kann“. gewandten Blicke stets wahren. komponiert der Künstler doch das Setting ähnlich
einem Regisseur, um das Ergebnis zu erzielen, das
On the third day he took me to the river … Nick Cave wiederum erklärt das Phänomen in Der motivische Schwerpunkt Ozeris ist somit vor seinem geistigen Auge bereits existiert.
Sie treibt im Wasser, die Augen weit aufgerissen – einem Vortrag, den er 1999 in Wien zur Natur offensichtlich, in seinen Malereien ebenso wie in den
lebt sie noch? des Liebesliedes hält, zu dessen wichtigem, ja Siebdrucken, die zentrales Thema der Ausstellung
4 5
Yigal Ozeri durchdringt seine Motive, seine Frauen, Malerei ein: Bedingt durch den Herstellungsprozess Ozeri beherrscht bei all dem virtuos die Klaviatur der eine Art Brücke, als Zugang zum Unbewussten
gleich in mehreren Arbeitsschritten, wenn er ist der Effekt der Grafiken letztlich „malerischer“, als prägnanten Stilmittel des Fotorealismus; Einflüsse insgesamt. Verliert ein Mann den Kontakt zur Anima,
zunächst das Modell und die Szenerie auswählt, er bei den tatsächlichen Gemälden des Künstlers von Künstlern wie Chuck Close, Franz Gertsch oder zu seiner inneren Weiblichkeit, verliert er somit
dann fotografisch festhält und schließlich auf zu nennen ist. Unschärfe, Verwischungen und Gerhard Richter sind spürbar. Dabei hat auch er den Kontakt zum Unbewussten – mit negativen
die Leinwand überträgt. Der nächste Schritt, die insbesondere wie ausgefranst wirkende Bildränder natürlich eine künstlerische Entwicklung durchlaufen, Folgen, denn „in einem derartigen Falle pflegt das
Umsetzung in eine weitere Technik, ist einer, dem werden nicht nur in Kauf genommen, sondern sind beschäftigt sich mit den verschiedensten Stilen Unbewusste Emotionen unverhältnismäßiger Natur
sich der Künstler erst in den letzten Jahren verstärkt gewollt und erzeugen – mehr noch als die Malerei und Motivwelten. Das Interesse an Porträts und zu produzieren, wie Gereiztheit, Unbeherrschtheit,
widmet: Die foto- oder gar hyperrealistischen – ein Changieren an den Grenzen von Realität und an Menschen findet sich bereits im Frühwerk Überheblichkeit, Minderwertigkeitsgefühle, Launen,
Arbeiten in Öl sind Ausgangspunkt für seine Fiktion. Wer kann entscheiden, um was es sich Ozeris, das sich jedoch noch nicht durch die für Depressionen, Zornausbrüche und dergleichen“.
Druckgrafiken, deren Vorarbeit (nicht Vorlage handelt, wenn ein Ölbild wie eine Fotografie aussieht sein Hauptwerk charakteristische fotorealistische Es scheint aus diesen Überlegungen heraus also
im Sinne einer reinen technischen Veränderung) und ein Siebdruck wie ein Gemälde? Formensprache auszeichnet. Stärker noch steht erstrebenswert, sich die eigene Anima zu erhalten
wiederum die Fotografien. So überrascht es nicht, das Malerische im Vordergrund, der sichtbare und auch und gerade als Künstler den Zugang zum
dass auch die Siebdrucke zunächst an Fotografien Dabei verleiht dieses malerische Moment zudem Pinselstrich, das Einfangen von Stimmung mittels Unbewussten – oder zum „weiblichen Anteil“ der
erinnern – verstärkt noch durch den Sepia-Effekt, jedem Einzelblatt den Charakter eines Unikats, da einer wie weichgezeichneten Malweise. Ab Anfang eigenen Persönlichkeit – nicht zu verlieren. (Nicht
der für viele der Arbeiten kennzeichnend ist. Die die Ergebnisse sich niemals exakt gleichen können der 1990er-Jahre beginnt er, sich mit Klassikern des unerwähnt bleiben soll an dieser Stelle, wie gerade
Varianten von Untitled (Olya) erscheinen wie ein Blick (und sollen). Das Arbeiten in Serien ist jedoch keine spanischen Barock auseinanderzusetzen: El Greco Yigal Ozeri sich selbst als eine Art Gesamtkunstwerk
in ein Fotoalbum aus längst vergangenen Tagen; Neuentwicklung in Ozeris Werk, sondern als Prinzip und Velázquez finden Einzug in sein Werk – oder konstituiert, bis hin zur selbst designten und
über jedem Abzug liegt eine andere Belichtung, in seinen Malereien schon zu finden – wenn es sich genauer: deren Figurenauffassung, insbesondere genähten Kleidung.)
ein Schleier oder eine Patina in Blau-, Grau- und natürlich auch in grafischen Techniken umso besser das Ins-Bild-Setzen des Weiblichen.
Grüntönen. Unsere Sehgewohnheiten werden in die umsetzen lässt; in Wiederholungen und Variationen, Ebenfalls offenkundig sind die Reminiszenzen an
Irre geführt wie schon bei Ozeris Malerei; waren wir Gruppen von Werken, die dasselbe Modell unter Zurück aber noch einmal zu Shely: Schon in früheren andere zentrale Werke der Kunstgeschichte, die
dort schon überrascht, festzustellen, dass wir Öl auf verschiedenen Umständen, mit unterschiedlichen Werkgruppen des Künstlers wie Desire for Anima sich in vielen Arbeiten Ozeris finden lassen – hier
Leinwand oder auf Papier vor uns haben, sind wir nun Ausdrucksmöglichkeiten und in verschiedenen finden wir das Motiv der im Wasser treibenden namentlich zur Ophelia von John Everett Millais.
umso überraschter zu merken, dass es Siebdrucke Umgebungen präsentieren. Dabei entwickelt Frau – hier verknüpft, schon allein im Titel, mit den Die Interpretation des Präraffaeliten ist zwar seiner
sind. sich zwischen den Einzelbildern, auch wenn sie Prinzipien der Anima nach C. G. Jung. Die Anima ist, Zeit entsprechend üppiger, präsentiert aber den
oftmals sequenziell erscheinen, keine zwangsläufig vereinfacht gesagt, zu verstehen als weiblicher Teil entrückten Blick der Frauengestalt, wie wir ihn auch
Durch diese Umsetzung in Siebdrucke geht Ozeri zusammenhängende Erzählung – sie stehen der Seele, als „Personifikation einer weiblichen Natur in einigen Versionen von Ozeri finden.
gewissermaßen eine Verbindung zwischen der genauso gut jedes für sich. im Unbewussten des Mannes“ (mit dem Gegenpart
Fotografie als technisch geprägtem Medium und der des Animus bei der Frau). Zugleich dient sie als
6 7
Ganz aktuell hat Yigal Ozeri die Arbeiten (und somit die Frauen) der vergangenen zehn Jahre seines künstlerischen Schaffens in einem Mappenwerk versammelt: My Territory – mein Revier. Das Revier des Künstlers selbst – oder doch das Revier der Frauen, die er porträtiert? So unterschiedlich wie das Leben selbst sind die Frauentypen: Die Soldatin mit starrem Blick, die dunkelhäutige, geheimnisvolle Schöne mit dem wallenden Haar, die kindlich- verletzliche junge Frau, der der Wind die Haare ins Gesicht treibt. Auch der Phänotyp der Madonna fehlt nicht, die in einer Mischung aus Verführung und Unschuld den Betrachter in den Bann zieht – sei es mit einer samtenen Kapuze über dem Kopf, sei es vor einem einheitlich blauen Hintergrund. (Blau eben sicher nicht zufällig, ist die Farbe doch eng mit der Gestalt der Maria verknüpft und symbolisiert Tugenden wie Reinheit, Wahrheit und Treue.) Lizzie, Olya, Priscilla – die Frauen, die uns zuvor, in früheren Werken, namentlich vorgestellt wurden, werden nun anonymisiert, verschmelzen zu einer Art phänotypischem Überblick über das Weibliche, die Frau an sich und auch, nicht zuletzt, eben die Schönheit. In den Bildern Yigal Ozeris ist sie lebendig und wird wohl die Zeit überdauern – all beauty must die? Nein, beauty is still alive. 8 9
Dying Beauties – All beauty must die – or so Kylie Minogue and visual arts no image of love without pain, without the background without any major narrative elements
Nick Cave sung in 1995. The girl is called Elisa, as mysterious and inexplicable sadness that suffuses – a red brick wall that contrasts with the light skin
Yigal Ozeri’s Female Figures beautiful as the proverbial rose (they call me the wild certain artworks. This sadness needs space and of the woman in New York or the field of wheat that
rose) and is killed by her lover after three days of an silence around it, the expanse of the sky, the sea surrounds Olya. These representations of women
intense relationship. or a field of wheat in summer, such as that in which should not be read as pure portraits, as images of
In the interpretation of Israeli artist Yigal Ozeri Elisa is Olya is standing lost in thought and alone. individual persons and rather as the foil for timeless,
called Shely. Her long hair floats around her head, is generally valid themes – alongside that of duende
They call me the Wild Rose carried along on the soft ripples of the water, the cool Ozeri’s female figures tend to be alone, and even if that of beauty, for example. Such beauty, however
But my name was Elisa Day liquid washing around and washing over her face. they appear as a duo in an image (such as Olya and subjective the feeling involved, runs like a red thread
Why they call me it I do not know Shely’s gaze, initially challenging and full of life, then Zuzanna, 2015-16), entwined and physically very through the individual images, linking all the different
For my name was Elisa Day somehow fractured, meets our own. And it is not just close, they nevertheless remain strangely separated, types of women shown.
that our eyes meet, but her gaze cuts us to the quick. each lost in her own world (of thought). As a rule,
they are only sparsely clad, in transparent fabrics In scenic terms, Ozeri’s works often have the feel of
In Spanish there is an expression, coined by (or textiles that become transparent if they are wet), film stills or glossy portraits for movies. The animated
From the first day I saw her I knew she was the one … Federico García Lorca, and used primarily in the sometimes they are naked. The sensual appeal this nature of the scene, with the wind blowing, water
Her lips are red, her cheeks rosy, her dress covered context of Flamenco: duende. (In Portuguese the entails always remains subtle, is never brash or even flowing, etc. are all captured in a fraction of a second,
by vines and blossoms – a symbol of vibrancy, of synonym would no doubt be the famous saudade – pornographic. The latter is countered by the beauty as if someone hit the Pause button. Even if they seem
beauty and most definitely also of innocence. that universal feeling of longing, melancholy, pain, of the women (albeit not necessarily beautiful in the to be based on snapshots, fleeting moments, the
nostalgia and loneliness which we all know and classic, “superficial” sense) as it is by the distance artist has composed the setting like a film director in
On the second day I brought her a flower … yet no one can quite capture in words.) Borrowing that they always preserve despite gazing out at the order to achieve a result that he already had in his
Do you know where the wild roses grow – so sweet from Goethe’s description of the “demonic”, duende viewer. mind’s eye.
and scarlet and free? Come with me to where the functions as “that mysterious force that everyone
wild roses grow. feels but no philosopher can explain”. Ozeri’s key subject matter is thus evident, both in In the work process, Yigal Ozeri goes deeply into
his paintings and in the silkscreens that form the his themes, his women, in the course of several
On the third day he took me to the river … For his part, Nick Cave declared in a lecture which central theme of the exhibition Liberated Paper: steps, first selecting the model and the scenery,
She floats in the water, her eyes wide open – is she he held in 1999 in Vienna on the nature of the love Women, more women, and yet more women. Women then recording them photographically, and finally
still alive? song that the phenomenon is its most important, as seductresses, contemplative women, vulnerable transposing this onto the canvas. The next step,
indeed the key component. No love without pain, women – but always women as strong personalities. realizing another technology, is one the artist has
and thus also no love song – and applied to the The background as a rule remains just that, a been increasingly focusing on in recent years:
10 11
photorealist or even hyperrealist works in oil form looks like a photograph and a silkscreen like a of his principal oeuvre. The focus was then more it would thus appear worthwhile to preserve one’s
the starting point for his prints, which once again are painting? clearly on the pictorial aspect, the visible brushstroke, own anima, also and particularly for an artist, in
based on photographs (whereby these do not simply the act of capturing moods by means of a blurred order not to lose touch with one’s unconscious or
get changed in a merely technical sense). It is thus Moreover, this picturesque effect lends each painting technique. As of the beginning of the 1990s with the “feminine side” of one’s own personality.
hardly surprising that the silkscreens likewise initially individual piece the character of a one-off, since the he started to take an interest in classic Spanish (At this point, we should not neglect to mention how
bring photographs to mind – something underscored results never can (or should) be exactly identical. baroque painting: El Greco and Velázquez began Ozeri in particular has presented himself as a kind
by the sepia effect characteristic of many of the However, working in series is by no means a new to find their way into his work – or to put it more of “Gesamtkunstwerk”, all the way down to his self-
pieces. The different Untitled (Olya) versions seem development in Ozeri’s work but can also be seen accurately, the latter artists’ treatment of figures, in designed and tailored outfits.)
at first sight to be culled from a photo album from as one of the principles guiding his paintings – even particular the way they introduced the feminine into
a long-forgotten past; each print is subject to a though this can of course be all the better implemented their pictures. Something else that is obvious is the reminiscences
different exposure, a veil or a patina, in blue, grey or using graphic techniques; in repetitions and of other key works from the history of art which are to
green tones. Here, our visual habits are deceived as variations, groups of works which present the same However let us return once more to Shely: Even the be found in many works by Ozeri – here in particular
was already the case with Ozeri’s painting; while the model in different circumstances, using different artist’s earlier work groups such as Desire for Anima Ophelia by John Everett Millais. The Pre-Raphaelite’s
latter had us discovering with surprise that we were means of expression and in differing surroundings. feature the theme of the woman drifting in the water interpretation is admittedly, in keeping with his times,
actually witnessing oil on canvas or paper, we are And it is not automatically the case that a coherent – and here the title alone references the principles of more lavishly presented but the entranced gaze of
now all the more surprised to find that we are viewing narrative develops between the individual images, the anima as described by C. G. Jung. To simplify the female figure is similar to the kind of thing to be
silkscreens. even if they often appear sequential – each one of somewhat the anima should be understood as the found in a number of versions by Ozeri.
them also can stand alone equally well. feminine part of the soul, as the “personification
By realizing the project in the medium of silkscreens of a feminine nature in man’s unconscious” (with Very recently, Ozeri has collected his work (and thus
Ozeri engages, so to speak, in a combination of In all this Ozeri is a virtuoso in the entire repertoire its counterpart – the animus, in woman). At the his women) from the past ten years of his artistic
photography, a medium shaped by technology, and of the succinct stylistic devices of photorealism; same time, the anima serves as a kind of bridge career in a portfolio: My Territory. Does the artist mean
painting: conditioned by the production process, the influence of artists such as Chuck Close, Franz or access to the unconscious in general. If a man his own territory – or that of the women he portrays?
the effect of these prints is, at the end of the day, Gertsch and Gerhard Richter are noticeable. Of loses contact with his anima, with his inner feminine The women are as different as life itself: a soldier with
more “painterly” than are the artist’s actual paintings. course, he has also undergone a development as an side he thus loses contact with his unconscious a fixed gaze, the dark-skinned, mysterious beauty
Fuzziness, smudging and particularly edges that artist, he is interested in all kinds of different styles – with negative repercussions because “in such with her flowing locks, the childlike, vulnerable
look frayed are not only accepted but even intentional and whole panoplies of motifs. An interest in portraits cases the unconscious tends to produce emotions young woman with the wind blowing her hair into
and produce – even more than the paintings – an and in people was discernible even in Ozeri’s early of an unreasonable nature such as irritability, lack of her face. The phenotype of the Madonna has also
iridescence somewhere between reality and fiction. work, although it was not yet distinguished by the control, arrogance, inferiority complexes, moodiness, been included, a woman who enchants the viewer
Who can tell what is going on when an oil painting photorealist stylistic vocabulary that is characteristic fits of depression and suchlike”. In view of the above with her mixture of seductiveness and innocence
12 13
– be it with a silk hood over her head or in front of a uniform blue background. (Blue certainly not by chance, since the color is closely associated with the figure of the virgin Mary and symbolizes virtues such as purity, truth and faithfulness.) Lizzie, Olya, Priscilla – the women previously introduced to us, in earlier works, by name, now anonymized, coalesce into a kind of phenotypical survey of the feminine, of woman herself and also, not least, of beauty itself. In the pictures of Yigal Ozeri she comes to life and will doubtless outlive time – all beauty must die? No, beauty is still alive. 14 15
SILKSCREENS
SERIGRAPHIEN
Gary Lichtenstein Editions 2018
My Territory (Cristal); 66 x 66 cm | Silkscreen on 320 gram Coventry Rag Paper | 2018 | Edition Size: 36
17
18 19
My Territory (Aquabella); 66 x 66 cm | Silkscreen on 320 gram Coventry Rag Paper | 2018 | Edition Size: 36
My Territory (Lizzie in the snow); 66 x 66 cm | Silkscreen on 320 gram Coventry Rag Paper | 2018 | Edition Size: 36 22
My Territory (Kaori); 66 x 66 cm | Silkscreen on 320 gram Coventry Rag Paper | 2018 | Edition Size: 36 My Territory (Tara); 66 x 66 cm | Silkscreen on 320 gram Coventry Rag Paper | 2018 | Edition Size: 36
My Territory (Shely); 66 x 66 cm | Silkscreen on 320 gram Coventry Rag Paper | 2018 | Edition Size: 36 26
My Territory (Priscilla); 66 x 66 cm | Silkscreen on 320 gram Coventry Rag Paper | 2018 | Edition Size: 36
29My Territory (Sonia); 66 x 66 cm | Silkscreen on 320 gram Coventry Rag Paper | 2018 | Edition Size: 36 My Territory (Cristal); 66 x 66 cm | Silkscreen on 320 gram Coventry Rag Paper | 2018 | Edition Size: 36
My Territory (Zuzanna); 66 x 66 cm | Silkscreen on 320 gram Coventry Rag Paper | 2018 | Edition Size: 36 32
My Territory (Olya); 66 x 66 cm | Silkscreen on 320 gram Coventry Rag Paper | 2018 | Edition Size: 36 34
Gary Lichtenstein Editions at Mana Contemporary
37Gary Lichtenstein Editions at Mana Contemporary
39SILKSCREEN MONOTYPES
SERIGRAPHIE-MONOTYPIEN
Gary Lichtenstein Editions 2016-2017
40 41Untitled (Olya); 100 x 141 cm | Silkscreen in unique colour variation on Museum Board | 2014 Untitled (Olya); 100 x 141 cm | Silkscreen in unique colour variation on Museum Board | 2014 42 43
Untitled (Olya); 100 x 141 cm | Silkscreen in unique colour variation on Museum Board | 2014 Untitled (Olya); 100 x 141 cm | Silkscreen in unique colour variation on Museum Board | 2014 44 45
Untitled (Olya); 100 x 141 cm | Silkscreen in unique colour variation on Museum Board | 2014 Untitled (Olya); 100 x 141 cm | Silkscreen in unique colour variation on Museum Board | 2014 46 47
Untitled (Olya); 100 x 141 cm | Silkscreen in unique colour variation on Museum Board | 2014 Untitled (Olya); 100 x 141 cm | Silkscreen in unique colour variation on Museum Board | 2014 48 49
Shely II; 122 x 172 cm | Silkscreen in unique colour variation on Museum Board | 2015 Shely I; 122 x 172 cm | Silkscreen in unique colour variation on Museum Board | 2015 50 51
Shely (Close); 47 x 63,5 cm | Silkscreen on Museum Board | 2015 | Edition Size: 20 Shely (Far); 47 x 63,5 cm | Silkscreen on Museum Board | 2015 | Edition Size: 20 52 53
Gary Lichtenstein installation process at Mana Contemporary
55WATERCOLORS
AQUARELLE
2019-2020
56 57Untitled (Liberated Paper); 50,8 x 76 cm | Gouache and aquarelle on paper | 2020 58
Untitled (Liberated Paper); 30,5 x 40,6 cm | Gouache and aquarelle on paper | 2020
Untitled (Liberated Paper); 30,5 x 35,5 cm | Gouache and aquarelle on paper | 2020
63GOUACHE ON PAPER
GOUACHE AUF PAPIER
2020
64 65Untitled (Liberated Paper); 28 x 38 cm | Gouache on paper | 2020 66
Untitled (Liberated Paper); 28 x 38 cm | Gouache on paper | 2020 Untitled (Liberated Paper); 28 x 38 cm | Gouache on paper | 2020 68 69
Untitled (Liberated Paper); 28 x 38 cm | Gouache on paper | 2020 70
OIL ON PAPER
ÖL AUF PAPIER
2019
72 73Untitled (Liberated Paper); 50,8 x 76 cm | Oil on paper | 2013 74
Untitled (Liberated Paper); 50,8 x 76 cm | Oil on paper | 2013
77Gary Lichtenstein installation at Mana Contemporary, 2015
79Yigal Ozeri
Biography
Born 1958, Israel
Lives and works in New York City
Selected Solo Exhibitions
2020 Liberated Paper, Galerie Edition Raphael, Frankfurt, Germany (Catalogue)
2019 Reality Check, Zemack Contemporary Art, Tel Aviv, Israel
A New York Story, Rutger Brandt Gallery, Amsterdam, Netherlands
2018 A New York Story, Galerie Andreas Binder, Munich, Germany
In Pursuit of the Real, Cermak Eisenkraft Gallery, Prague, Czech Republic
Reflection, Whitestone Gallery, Tokyo, Japan
Painting Through a Lens, Amy Li Gallery, Beijing, China
2017 Daydream, Gallery Seizan, Tokyo, Japan
A New York Story, Louis Meisel Gallery, New York, NY
The Storm, Zemack Contemporary Art, Tel Aviv, Israel
Dual Tones, Galerie Andreas Binder, Munich, Germany
2016 Recent Works, Opera Gallery, London, GB
Villa de Leyva, GE Galería, Monterrey, Mexico
Shadows of Reality, Opera Gallery, Hong Kong, China
2015 Painting Through a Lens, Zemack Contemporary Art, Tel Aviv, Israel
Bear Mountain, Louis K. Meisel Gallery, New York, NY
Monochrome, Galerie Andreas Binder, Munich, Germany
2014 Revolution at Giverny: A Return of Women in Nature, Galerie Dukan, Paris, France
Fiction of Distance, Galería Álvaro Alcázar, Madrid, Spain
Photorealism in the Digital Age, Mana Contemporary, Chicago, IL
2013 Territory, Angell Gallery, Toronto, Canada
Triads, Galerie Brandt, Amsterdam, Netherlands
2012 Territory, Mike Weiss Gallery, New York, NY
Photorealism, Galerie de Bellefeuille, Montreal, Canada (Catalogue)
Olya; 28 x 35,5 cm | Ink on transparent paper | 2020
The Boathouse, Galerie Andreas Binder, Munich, Germany
80Territory, Karen Jenkins Johnson, San Francisco, CA 2002 The Countess De Castiglione, Galerie Heike Curtze, Vienna, Austria Territory, Scott White Contemporary Art, La Jolla, CA Presence of the Absent, Stefan Stux Gallery, New York, NY 2011 Territory, Martin Asbaek Gallery, Copenhagen, Denmark (Catalogue) Presence de L’absence, Galerie Mabel Semmler, Paris, France Territory, Zemack Contemporary Art Gallery, Tel Aviv, Israel (Catalogue) Yigal Ozeri: Full Moon, Galerie Heike Curtze, Salzburg, Austria Garden of the Gods, Mike Weiss Gallery, New York, NY (Catalogue) 2001 Tikkun: The Restoration Series, Stefan Stux Gallery, New York, NY (Catalogue) Luce silenziosa (Silent light), Bologna, Italy (Catalogue) The Countess De Castiglione, Bineth Gallery, Tel Aviv, Israel (Catalogue) 2010 Lizzie Smoking, Galería Senda, Barcelona, Spain The Mark of the Bite, Bineth Gallery, Tel Aviv, Israel (Catalogue) Lizzie in the Snow, Mark Moore Gallery, Santa Monica, CA (Catalogue) Still-Life, Galerie Hafemann, Wiesbaden, Germany (Catalogue) Desire for Anima, Contemporary by Angela Li, Hong Kong, China Tikkun (Restoration), New Gallery/Thom Andriola, Houston, TX Olga in the Park, Galerie Brandt, Amsterdam, Netherlands 1999 Deep Storage, Galerie Heike Curtze, Vienna, Austria (Catalogue) 2009 Desire for Anima, Galerie Andreas Binder, Munich, Germany (Catalogue) Overpass: Painting Beyond History, New Gallery/Thom Andriola, Houston, TX Desire for Anima, Mike Weiss Gallery, New York, NY 1998 Yigal Ozeri: The Grey Series, 1998, Bineth Gallery, Tel Aviv, Israel (Catalogue) Small Death, Galerie Dukan & Hourdequin, Marseille, France (Catalogue) Last Dance with Velazquez, Thom Andriola/New Gallery, Houston, TX Priscilla, Wade Wilson Art, Houston, TX (Catalogue) The Empty Dress, Caesarea Gallery, Boca Raton, FL 2008 Singer Gallery, Mizel Arts and Culture Center, Denver, CO (Catalogue) 1997 Unbuilt America: Tears of Buildings, Z Gallery, New York, NY (Catalogue) The Boathouse, Byron Cohen Gallery, Kansas City, MO Unbuilt America: Fragile Architecture, Galerie ATP, Vienna, Austria Yigal Ozeri, Mike Weiss Gallery, SCOPE Basel 2008, Switzerland Yigal Ozeri, 1994–1997, Tel Aviv Museum of Art, Tel Aviv, Israel, curated by Professor Priscilla in Ecstasy, Charim Galerie, Vienna, Austria Mordechai Omer (Catalogue) Genesis, Mike Weiss Gallery, New York, NY (Catalogue) Atlas – Yigal Ozeri, Galerie Hafemann, Wiesbaden, Germany Genesis, Alon Segev Gallery, Tel Aviv, Israel (Catalogue) Yigal Ozeri, Bineth Gallery, ARCO Art Fair, Madrid, Spain 2007 Priscilla in the Cloud Forest, Mike Weiss Gallery, SCOPE Basel 2007, Switzerland Unbuilt America, Fragile Architecture, Galerie Heike Curtze, Vienna, Austria 2006 The Montfort, New Gallery/Thom Andriola, Houston, TX Dress Structures, Caesarea Gallery, Boca Raton, FL (Catalogue) As Early as New York, Mike Weiss Gallery, New York, NY (Catalogue) 1995 The Mad House of Goya, Z Gallery, New York, NY (Catalogue) Long Island City, Musée de Lodève, Lodève, France (Catalogue) Yigal Ozeri: New Works, Galerie Hafemann, Wiesbaden, Germany Café Hawelka, Galerie Eric Dupont, Paris, France A Lot of White and a Bit of Yellow, Bineth Gallery, Tel Aviv, Israel 2005 Long Island City, Alon Segev Gallery, Tel Aviv, Israel Vessels & Shrines, Yigal Ozeri after Frederick Kiesler, The Israel Museum, Jerusalem, New Paintings, Mike Weiss Gallery, New York, NY Israel, curated by Meira Perry-Lehman (Catalogue) Four Seasons, Tel Aviv Museum of Art, Tel Aviv, Israel (Catalogue) After Velazquez, Caesarea Gallery, Boca Raton, FL 2004 Long Island City, New Gallery/Thom Andriola, Houston, TX 1994 Born-Unborn, Yigal Ozeri & Wenda Gu, Berlin-Shafir Gallery, New York, NY Long Island City, Galerie Heike Curtze, Berlin, Germany The Presence of the Absent: The Empty Chair in the Works of Yigal Ozeri, Haifa 2003 The Watcher Paintings, Mike Weiss Gallery, New York, NY (Catalogue) Museum of Modern Art, Haifa, Israel, curated by Professor Mordechai Omer (Catalogue) Memories from The Last Supper, New Gallery/Thom Andriola, Houston, TX 1993 The Presence of the Absent: The Empty Chair, Bianca Lanza Gallery, Miami, FL Tableau Vivant, Galerie Heike Curtze, Berlin, Germany My Library (The Organic Series), Sala Gaspar Gallery, Barcelona, Spain (Catalogue) The Last Supper, Galerie Hafemann, Wiesbaden, Germany My Library, Galerie Hafemann, Wiesbaden, Germany 82 83
The Chemical Villa & The Hanging Gardens: Yigal Ozeri & William Katavolos, The Eileen S. Kaminsky Family Foundation: New Acquisitions and Prints, Mana Contemporary,
Museum of Israeli Art, Ramat Gan, Israel Jersey City, NJ
Unbuilt, Bineth Gallery, Tel Aviv, Israel 2011 Colorless Green Ideas Sleep Furiously, Galerie Dukan and Hourdequin, Paris France
Yigal Ozeri, Michal Rovner, Betsy Rosenfield Gallery, Chicago, IL Photorealism; Our Own Directions, The Eileen S. Kaminsky Family Foundation, Jersey
1991 Decoy, Yigal Ozeri & Michal Rovner, S. Bitter-Larkin Gallery, New York, NY City, NJ
1990 Interpretation on Fresco Paintings 1989, S. Bitter-Larkin Gallery, New York, NY Eileen S. Kaminsky Family Foundation, Jersey City, NJ
Matter Becomes Light – Light Becomes Matter, Mishkan Le’Omanut Museum of Art, Ein Harod, OPEN, Mark Moore Gallery, Culver City, CA
Israel; Janco-Dada Museum, Ein Hod, Israel (Catalogue) Art Stage Singapore, Contemporary by Angela Li (Hong Kong)
1989 Interpretation on Fresco Paintings 1989, Galerie Hafemann, Wiesbaden, Germany 2010 Group Show, Museum of Biblical Art, Dallas, TX
Yigal Ozeri, Bineth Gallery, Tel Aviv, Israel (Catalogue) I Love You, ARoS Aarhus Kunstmuseum, Denmark (Catalogue)
1987 Yigal Ozeri: Paintings, Meimad Gallery, Tel Aviv, Israel (Catalogue, text: Gideon Ofrat) 2009 Recent Acquisitions: Modern and Contemporary Art, McNay Art Museum, San Antonio,
TX
The Return of the Horse: Painting in the Ambivalent Present, Slought Foundation,
Selected Group Exhibitions Philadelphia, PA (Catalogue)
The Old Masters: Re-Mastered, Fort Collins Museum of Contemporary Art, Fort Collins,
2017 Dual Tone, Galerie Andreas Binder, Munich, Germany CO
2016 Arena, Galerie Ernst Hilger, Vienna, Austria Summertime…, Jenkins Johnson Gallery, San Francisco, CA
2015 Monochrome, Galerie Andreas Binder, Munich, Germany Old Masters Reinterpreted, ROLLO Contemporary Art, London, GB
2013 Photorealism 50 Years of Hyperrealistic Painting, Traveling European Museum Show Art Amsterdam, Amsterdam, Netherlands
Hiperrealismo, Galeria Impakto, Lima, Peru The London Original Print Fair, Royal Academy of Arts, London, GB
Art at The Core: The Intersection of Visual Art, Performance & Technology, HVCCA, Peekskill, 2008 Five Year Anniversary Show, Mike Weiss Gallery, New York, NY
NY 2006 Realm of the Spirit, Mike Weiss Gallery, New York, NY
Obsession, Eileen S Kaminsky Family Foundation, Jersey City, NJ 2005 Entourage, Mike Weiss Gallery, New York, NY
Dennis-Nancy-Emett-Sol, Milton J. Weill Gallery at the 92 Street Y, New York, NY 2004 Tango, Mike Weiss Gallery, New York, NY
2012 Photorealism Revisited, Traveling Exhibition, Oklahoma City Museum of Art, Oklahoma City, 2002 New York – Atlanta, Momus Gallery, Atlanta, GA
OK; Butler Institute of Art, Youngston, OH 2000 The Figure: Another Side of Modernism, Snug Harbor Cultural Center, Staten Island,
Photorealism 50 Years of Hyperrealistic Painting, Traveling Exhibition, Kunsthalle Tübingen, NY, curated by Lilly Wei (Catalogue)
Tübingen, Germany, Thyssen-Bornemisza Museum, Madrid, Spain, Museo de Bellas Artes The End: An Independent Vision of Contemporary Culture, 1982–2000, Exit Art Gallery,
de Bilbao, Bilbao, Spain, Kunsthal Rotterdam, Rotterdam, Netherlands, Birmingham Museum New York, NY, curated by J. Ingberman & P. Colo
and Arts Gallery, Birmingham, GB, Saarland Museum, Saarbrücken, Germany, Tampa Museum Place Mark Person Mark, The Israel Museum, Jerusalem, Israel
of Art, Tampa, FL (2012–2018) 90 Years of Israeli Art: A Selection from the Joseph Hackmey-Israeli Phoenix Collection,
The Originals: Mana Contemporary Resident Artists, ESKFF, Jersey City, NJ Tel Aviv Museum of Art, Tel Aviv, Israel
Two Year Anniversary, Galerie Brandt, Amsterdam, Netherlands Monumental Drawings, Exit Art Gallery, New York
Four by Four: Collector Series, University of Denver Victoria H. Myhren Gallery, Denver, CO The Vera, Silvia and Arturo Schwartz Collection of Contemporary Art, Tel Aviv Museum
84 85of Art, Tel Aviv, Israel Selected Bibliography
1999 Tel Aviv-Yafo, 1909–1999: Contemporary Cityscapes, Israeli and American Artists, Tel
Aviv Museum of Art, Tel Aviv, Israel 2013 Harrison, Skylar. The New Masters, Purple Clover, December 10, 2013
1998 Modular Composite, Central Fine Arts Gallery, New York, NY Hanson, Sarah. Pulse Beats on With Strong Sales at the Middle-Market Satellite Fair, Blouin
Contemporary Israeli Art: Three Generations, University of London; The National Gallery, ARTINFO, December 2013
Alexandros Soutzos Museum, Athens, Greece; Kunstverein Wiesbaden, Germany, organized Meisel, Louis K. Photorealism in the Digital Age. New York: Abrams, October, 2013, p. 217–224
by the Tel Aviv Museum of Art, curated by Mordechai Omer Yerushalmi, Chen. Eye of the Beholder, ESKFF Online, May 2013
Open Salute: Inaugural Exhibition, White Box Gallery, New York, NY Frenkel, Anja. Realisme in HD, Atelier Portret, Summer 2013
1997 La Tradicion – Performing Painting, Exit Art Gallery, New York, NY Ogen-begoochelend, De Telegraaf, May 30, 2013
Codified Desires: Rik Ritchey, Lisa Kokin & Yigal Ozeri, Catherine Clark Gallery, San Francisco, Kozinn, Allan. From a Moving Van to an Arts Complex, The New York Times, May 16, 2013
CA, curated by Anna Novakov (Catalogue) Mendelsohn, John. New Acquisitions and Prints from the Kaminsky Family Foundation: Mana
1996 Painting All-Over, Again, Palacio de Montemuzo, Zaragova, Spain, curated by Saul Ostrow Contemporary in Jersey City, New Jersey. Art International, Fall/Winter 2013
(Catalogue) Hrbacek, Mary. ‘Territory’ is Rich in Allegory, Mythic Power of Beauty, Artes Magazine, January
1995 Construction in Process V: Co-Existence, The Artists’ Museum, Mitzpe Ramon, Israel 3, 2013
1994 Free Falling, Berlin-Shafir Gallery, New York, NY 2012 Hrbacek, Mary. Yigal Ozeri “Territory” at Mike Weiss Gallery, NY Art Beat, December 16, 2012
Business Card: Autumn Exhibition, Bineth Gallery, Tel Aviv, Israel (Catalogue) Wells, Georgina. Women’s Territory Yigal Ozeri paints freedom and love, Modern Painters,
1993 Locus, Fisher Gallery, University of Southern California, Los Angeles, CA December 2012
Construction in Process IV: My Home is Your Home, The Artists’ Museum, Lodz, Poland Silvers, Emma. Artist Tricks the Eye with Lifelike Painting, Jewish News Weekly, May 10, 2012
Ten by Ten by Ten, Frederieke Taylor Gallery, New York, NY 2011 This Is Not A Photograph, Politiken, November 27, 2011
1992 Book, Box, Word, CoCa (Center of Contemporary Arts) North Miami, FL Sonia Marmari, Liberated Woman, Lady Globes, November 2011
1991 The Presence of the Absent: The Empty Chair in Israeli Art, The Genia Schreiber University Art Ginzburg, Hagit. When Ozeri Met Jagger, Maariv Style, November 2011
Gallery, Tel Aviv, Israel, curated by Professor Mordechai Omer Keltner, Daniel Levis. Garden of the Goddess, Precipitate Journal, October 2011
1990 Ornamentika, Galerie Hafemann, Wiesbaden, Germany Peleg-Rotem, Hagit. New Territories, Globes, October 2011
1989 The Israeli Selection to the Aparto, The Museum of Israeli Art, Ramat, Gan, Israel Photorealism Champion Louise Meisel on Bringing His Preeminent Collection to New Jersey,
Sieben Israelische Künstler, Galerie Frederike Taylor, Berlin, Germany ARTINFO, Sept.2011
Architecture on Paper, The Israeli Museum, Jerusalem Hrbacek, Mary. Mike Weiss Gallery, New York, Features Hyperrealist Painter Yigal Ozeri, Artes
Line Against Line: Neun Atelierberichte aus Tel Aviv, Ausstellungshalle im Karmeliterkloster, Magazine, May 24, 2011
Frankfurt am Main, Germany Hrbacek, Mary. Yigal Ozeri: Garden of the Gods at Mike Weiss Gallery, NY Art Beat, May 22,
1988 ArtIsrael 1988, traveling exhibition in the United States, curated by Mary L. Evangelista, Marge 2011
Goldwater, Patterson Sims (Catalogue) Hrbacek, Mary. Maidens and Muses by Yigal Ozeri, Curator’s Choice, May 2011
Fresh Paint: The Younger Generation in Israeli Art, Tel Aviv Museum of Art; The Israel Museum, Lagnado, Caroline. Israeli Art in Chelsea: Past, Present in Dialogue, The Jewish Week, May 17,
Jerusalem 2011
Double Your Pleasure, Art + Auction, January 2011
2010 Ramirez, Loreto. Yigal Ozeri – sensuality and hyperrealism, Arte Al Limite Magazine, December
86 872010 No. 37, p. 94–102 Laster, Paul. A Painter’s Muse, Flavorwire, November 12, 2010 2008 Crossroads Art Map and Monthly Exhibition Guide, The Pitch, September 2008, p. 33–34 Sasha. Artist Interview: Yigal Ozeri,Beautiful/Decay, October 28, 2010 Froyd, Susan. New Views: Two contemporary Israeli artists fill the Singer Gallery, Denver Yigal Ozeri, Artcollector (Japan), October 2010, No. 22 Westword, September 11–17, 2008, p. 26 Ter Braak, Bertjan. Rutger Brandt zoekt het avontuur, De Telegraaf Amsterdam, June 4, 2010 Hellman, Rick. Yigal Ozeri Captures Magic in Realistic Paintings, The Kansas City Jewish Nieuw! Galerie Brandt opent met “Olga in the Park,” nieuwe schilderijen van Yigal Ozeri, Art Chronicle, August 29, 2008, p. 8 ALERT, June 2010 Morgan, Robert. Review, Art Press Paris, June 2008 Conceptueel Realisme in HD, Tableau, Summer 2010 Stemberger, Claudia Marion. In the Thicket of Reality: On Mythical Femininity in Yigal Ozeri, Galerie Brandt nieuw in Amsterdam, COLLECT, Summer 2010 Eikon, Issue 62, 2008 Mura, Giannina. I love you sous multiples formes, Art Actual, May–June 2010 Ayers, Robert. Scope Basel Ups the Ante, ARTINFO, June 2008 Limburg, Dirk. Nieuwe plek voor conceptueel realistisch werk, NRC Handelsblad, May 15, Paintings. Arts, The New York Sun, February 21, 2008 2010 Dickstein, Max J. Seeing realism in a fantasy world, AM New York, Weekend Edition, January Desire for Anima, BVD, Winter 2010, pp. 104–107 18–20, 2008, issue 013, volume 6, p. 24 2009 Wei, Lilly. Yigal Ozeri, ARTnews, December 2009, pp. 106–107 Yigal Ozeri, Genesis, 2008. Essay by Ktzia Alon and Dalia Markowitz (Exhibition Catalogue) Segal, Troy. Romantic Realism, IN New York, October 2009 On the Cover: Yigal Ozeri at Mike Weiss Gallery, Gallery Guide, January 2008, cover illustration Bourbon, Mathew. Yigal Ozeri, ARTFORUM Critic’s Pick, October 7, 2009 & p. 8 Chambers, Christopher Hart. Yigal Ozeri, Mike Weiss Gallery, Flash Art, October 2009 2007 Daniel, Michal. American Painting by an Israeli Painter, Yedioth America, December 28, 2007 Ayers, Robert. I’m not afraid of the word romanticism – Robert Ayers in conversation with Yigal Rosenfeld, Jeannie. Hamptons Heat, Art and Auction, July 2007 Ozeri, ASkyFilledwithShootingStars.com, September 2009 Ayers, Robert. Scope’s All Smiles, www.artinfo.com, June 13, 2007 Mitsios, Apostolos. Yigal Ozeri at Mike Weiss Gallery, NY, Yatzer, September 14, 2009 2006 Yigal Ozeri, As Early As New York: Mike Weiss Editions, 2006. Essay by Michael Amy, Yigal Ozeri: Desire for Anima, City Arts – New York’s Review of Culture, September 15, 2009 (Exhibition Catalogue) Chelsea Show to Start the Season – “Yigal Ozeri: Desire for Anima” at Mike Weiss, ARTINFO, Yigal Ozeri at Thom Andriola/New Gallery, Houston Visual Arts Magazine, August 2006 September 2009 Ramirez, Nicollette. Yigal Ozeri: Mike Weiss Gallery, M Magazine, Summer 2006 On the Cover: Yigal Ozeri at Mike Weiss Gallery, Gallery Guide, September 2009, cover BTN. Yigal Ozeri au Musée de Lodève, l’Art vues, February–March 2006 illustration & p. 8 Géliot, Clara. Lodève Exposition, Le Figaro Magazine, February 18, 2006 Stagemeyer, Suzanna. Art for Investment’s Sake, Portfolio.com, August 26, 2009 Moreau, Virginie. Yigal Ozeri, l’architecture d’un rêve, Hérault, February 16, 2006 Ramirez, Nicollette. Armory Week: A Report on the Art Fairs, The M Magazine, April 2009, p. Latil, Sophie. Yigal Ozeri, perspectives vertigineuses, Le Figaro, February 18, 2006 22–35, illustrated p. 23 Harant, Marie-Christine. A Lodève, Yigal Ozeri peint avec le regard d’un architecteI, Midi Libre, Kampianne, Harry. Art Paris, Art Actuel: Le Magazine des Arts Contemporains, March/April February 10, 2006 2009, p. 62 Caprasse, Marie-Jeanne. Yigal Ozeri ‘Café Hawelka’, Paris Art, February 2006 Petite mort, Yigal Ozeri, Cote Magazine, March 2009, p. 74 Goalia, Janine. Yigal Ozeri, à Paris et à Lodève, L’Arche N. 574, February 2006 Donoghue, Katy. Yigal Ozeri at Mike Weiss Gallery, Whitewall Magazine, March 7, 2009 Omer, Mordechai. Yigal Ozeri: Quatre Saisons/Four Seasons, Tel Aviv Museum of Art and Stoilas Helen. Scope: “new” focus, The Art Newspaper, March 6–9, 2009, p. 9 Museé de Lodève, France (Exhibition Catalogue) Gamand, Gérard. Yigal Ozeri, La poésie d’un nouveau Réalisme, AZART, March/April 2009, 2005 Levine, Angela. Yigal Ozeri, Tel Aviv Museum of Art and Alon Segev, ArtNews, November 2005 88 89
Amy, Michael. Yigal Ozeri at Mike Weiss, Art in America, October 2005 Knafo, Robert. Artists Converse in Poland, Art & Auction, October 1994 Hrbacek, Mary. Yigal Ozeri, The New York Art World, May 2005 1993 Valdes, Karen. Yigal Ozeri, ArtPapers, September–October 1993 2004 Korotkin, Joyce. Yigal Ozeri, The New York Art World, January 2004 Knight, Christopher. The Undernourished Look, Los Angeles Times, September 15, 1993 2003 Seliger, Ralph. Yigal Ozeri: The Watcher Paintings, New York Press, December 2003, p. 17–23 Turner, Elisa. Exhibition Spotlights Schnabel’s Indulgent, Oversized, Miami Herald, May 10, Seliger, Ralph. Yigal Ozeri: An Israeli Artist of Many Places, New Jersey Jewish News, 1993 December 11, 2003 Los senderos ocultos (Hidden Trails), El País, January 25, 1993 Kun, Shay. This Child is Me, The Maariv, November 2003 1992 Hollander, Kurt. The Chemical City, Portable Lower East Side, September 1992, p. 32–37 2002 Wilson, Beth E. Ozeri’s Vanishing Point: Where Worlds Collide,NY Arts, April 2002 1991 Gray, Alice. Decoy, ARTnews, October 1991, p. 132 Levine, Angela. Yigal Ozeri, ARTnews, April 2002, p. 148 1990 Wateman, Daniel. Yigal Ozeri, ARTnews, November 1990, p. 168–169 Gregori, Daniela. Geheimnisvolle Verwandlungen, Frankfurter Allgemeine Zeitung, February Stahl, Johannes. Dem Ornament, Gallerie Hafemann, Kuntsforum, June–July 1990, p. 323–325 2002 Stern, Fred. Yigal Ozeri, Muzue, Autumn 1990, p. 133 Smock, Winter 2002, p. 16–18 1989 Hurlburt, Roger. A Dulled Cutting Edge, Sun Sentinel, January 22, 1989, p. 3G 2001 Schambelan, Elizabeth. Yigal Ozeri at Stefan Stux, Art in America, November 2001, p. 152–153 1988 Bohn, David Chant. ArtIsrael 1988 – Philadelphia Art Alliance, ARTnews, Sept. 1988, p. 174 Slome, Manon & Dominique Nahas. Turning Away: The Work of Yigal Ozeri & Restoration of Aura, NY Arts, March 2001 2000 Nahas, Dominique. Monumental Drawing, Exit Art, Art on Paper, January–February 2000, p. 84–85 1999 Levin, Kim. Monumental Drawing, The Village Voice, November 2, 1999, p. 03 Johnson, Patricia. Gallery Shows Full of Surprises, Houston Chronicle, July 15, 1999 Serant, Claire. Art Colony is Taking Root, Daily News, July 6, 1999 p. QLI-4–5 Der israelische Künstler Yigal Ozeri, Kunstzeitung, April 1999, p. 10 Taudte-Repp, Beate. Diskurs mit Velazquez, Abstraktion und Fluxus, Frankfurter Allgemeine Zeitung, March 5, 1999, p. 54 Mittringer, Markus. Vom Verlust des Inhalts, Standards, March 3, 1999 Turner, Elisa. Art Miami, The Miami Herald, January 8, 1999, p. 24 1998 Schmeler, Sarah. Yigal Ozeri –Z, ARTnews, September 1997, p. 136 1997 Rubinstein, Raphael. On Broadway: Studios without Walls, Art in America, June 1997, p. 27 Levine, Kim. Work in Progress Art & Exhibition in SoHo, The Village Voice, April 22, 1997, p. 22–23 Nahas, Dominique. La Tradicion Performing Painting – Exit Art Gallery, April 15, 1997, p. 15–16 Porges, Maria. San Francisco Fax, Art Issues, March–April 1997, p. 34–35 Cone, Michelle. Yigal Ozeri, Z Gallery, Cover, December 1997, p. 20–30 1994 Sureck, Suzi. New Observation, October–November 1994, p. 36 Morgan, Robert. Doing Art in Poland, Cover, January 1994, p. 14 90
Selected Permanent Collections
Beth Rudin DeWoody Collection, New York, NY
Eileen S. Kaminsky Family Foundation, New York, NY
Herbert F. Johnson Museum of Art, Cornell University, Ithica, NY
Hudson Valley Center for Contemporary Art, Peekskill, NY
Museum of Contemporary Art, San Diego, CA
New York City Public Library, New York, NY
Parrish Art Museum, Watermill, NY
Rema Hort Mann Foundation, New York, NY
Ronald Perelman Art Collection, New York, NY
Tampa Museum of Art, Florida, USA
The Jewish Museum, New York, NY
The Krupp Family Foundation, Boston, MA
The Richard Massey Foundation, New York, NY
The Sydney and Walda Besthoff Collection, New Orleans, LA
The Wayne Yakes Collection, Denver, CO
Whitney Museum of American Art, New York, NY
Flint Institute of Art, Flint, MI
General American Corporation, Houston, TX
Janco Dada Museum, Ein Harod, Israel
Ein Harod Museum, Ein Harod, Israel
Israel Museum, Jerusalem, Israel
Museum of Modern Art, Haifa, Israel
Tel Aviv Museum of Art, Tel Aviv, Israel
Albertina Museum, Vienna, Austria
Kunstverein, Wiesbaden, Germany
The Jewish Museum Vienna, Vienna, Austria
The National Museum, Krakow, Poland
Gary Lichtenstein Studio at Mana Contemporary
92 93A New York Story; 51 x 76 cm | monotype | 2019 | Edition Size: 80
Collection of Eileen S. Kaminsky Family Foundation
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