Pesach Slabosky: Olive Tree in Jerusalem 90s/ Israeli American Jewish Watercolor

Description: Pesach Slabosky 1947, Detroit, Michigan, USA - 2019, Jerusalem, Israel An Olive Tree in Jerusalem, 1990s Original Hand-Signed Watercolor and Pencil - circa the 1990s Artist Name: Pesach Slabosky Title: An olive tree in Jerusalem Signature Description: Hand-signed and dedicated in Hebrew lower left Technique: Watercolor and pencil on paper Image Size: 29 x 22 cm / 11.42" x 8.66" inch Frame: The painting is matted and framed Condition: Very good condition. Artist's Biography: Pesach Slabosky, painter, born 1947, Detroit, Michigan, USA. Immigrated to Israel in 1978. 2006 residence in “Midbar”, Mitzpe Ramon, Israel. Lived and worked in Jerusalem. Died in Jerusalem, 2019. Pesach Slabosky (1947- 2019) was an Israeli painter. His work is characterized by free brushstrokes and the use of various objects as a substrate for his paintings.BiographySelbosky was born in Detroi, Michigan, United States. At the age of 15, his right hand was amputated after suffering from bone cancer, and at the age of 30 he underwent surgery to remove a malignant tumor in which his left vocal cord was cut.He studied art at Columbia University, New York, and at the School of the Art Museum in Brooklyn , with teachers from various schools, including the figurative painter Francis Cunningham and conceptual painters such as Jonathan Borofsky or Lucas Samaras. In 1978 he immigrated to Israel and settled in Jerusalem. He was married to the artist Naomi Brickman and the couple had two sons.Alongside his artistic work, he also wrote about art, curated exhibitions and taught in the art department in Bezalel, Kalisher College and Emonah College. Slabosky was also involved in music and was part of the music ensemble "Trinity of the same world". He passed away in 2019 after suffering from cancer once again, and in 2020 a group exhibition was held in his memory at the "Barbur" (Swan) gallery in Jerusalem, curated by Oree Holban and Nomi Tannhauser.His worksSlaboski's works combine abstract painting with three-dimensional sculptural techniques such as assemblage. His paintings are characterized by heavy impasto, free brushstrokes and the use of different substrates that take on the dimension of objects. Among his subjects: still life descriptions and abstract paintings. He was influenced by figurative and conceptual art in the United States, and by his friend the artist Moshe Kupferman whom he met when he immigrated to Israel. He considered himself a" Jewish " artist and throughout his artistic career he wandered between "here" and "there" - his native America.In his 1995 work "Who's Afraid of Red, Yellow and Blue", the influence of American art of the 1950s and 1960s can be discerned. The work is a tribute to the works of Barnett Newman, in which color has a role beyond painting and contains metaphysical properties. This piece consists of fabric stretched over two identical square frames, which were placed on top of each other at a 45-degree angle to obtain an octagonal star, covered with layers of paint marking three complex vertical strips, based on red, yellow and blue. The textures in the painting are thick and the base colors went through a process of mixing with lower layers of paint. This work recalls the work "Star" (1954) by the American artist Jasper Johns. The painting drawn on an unconventional substrate becomes an object with a multi-layered texture that deceives the viewer.In 1996 Slaboski presented the work "An Icon in the Group Exhibition All That Jeans" at Chelouch Gallery in Tel Aviv. In this work, he painted above and below the denim fabric that was unfolded, cut, folded and sliced, while the jeans hardly looked like the original. The jeans are part of Slaboski's memories of home. Slabosky said about this work: "For me, jeans symbolize home, America. Putting jeans in a painting is like I'm inviting the painting home."Slabosky gave importance to the duration of the work in the studio, to the action as well as to the pauses in the action, and this is how he described the creative process: "...(the work) lies in waiting a day before returning and moving the brush on the canvas; every day, except Saturday. I painted one line. Know that as an artist now your work and your times of non-work together give body and shape to time." Many times he signed his name on the work and thus indicated for him that the work was finished.Slabosky's studio was full of many and varied objects, which he used as templates for his work. The objects were full of bumps that challenged the making of the painting, including fragments of wooden furniture, a variety of fabrics, metal parts and dried flowers, on which he applied various manipulations of gluing, cutting, dismantling and sawing.In his work Slabosky used a lot of sentences that he heard randomly in cafes or from his neighbors. These sentences functioned in his work as visual elements, and also as an expression of the musical echo of the word. In the works "This is the third dream I remember" (2017) and "A woman's hand" (after 2010), you can see the use of the word written on the painting. He attached importance to the viewer's interpretation: "It is important that the rights of the viewer, the observer, be equal to those of the artist.In 2019, he won the Mordechai Ish Shalom Award. The jury’s' reasons for the selection state that "Slabosky is an artist of contrasts: his unique work, which he developed over 50 years, does not easily surrender to accepted categories. His works range between sculpture and painting, between an object without a defined shape and a traditional two-dimensional painting. His works testify to connoisseurship, sophistication and knowledge, but at the same time directness, naivety and wildness out of order."WritingSlaboski wrote a lot about art, and published a regular column in the magazine " Studio " under the title "Professional Artist". In 1993 his first book "Inspiration Returns to Repair" was published by the Bezalel Academy of Art and Design, which he addressed to art students. In his introduction to the book, he wrote: "As an inspired artist, something is expressed through you, you give it form and yet it is not you."MusicSlabosky was also active as a musician. Despite the surgery he underwent on his vocal cords, music was central to his life. In his last years, he founded the ensemble "Trio of the same world" together with Avi Sabah and Gabi Kricheli, both artists-musicians. The inspiration he received from jazz music was evident in this ensemble. In concerts in Jerusalem and Tel Aviv, Pesach participated in the ensemble singing, reading, percussion and playing the side flute and saw.Pesach Slabosky was a strange bird in the skies of Israeli art. Schooled in America, he settled in Jerusalem in the late 1970s. He began by engaging in painting that is the opposite of the trend towards realism that is increasingly in evidence among artists of his generation. He is pre-occupied with the confluence between materials and shapes in an amorphous state, and paintings lacking style or form that exist by virtue of some simple, crude action accomplished without any aesthetic intention. Slabosky's paintings look like an utterance of the act of painting in its own right, and can be perceived as meditation, often ironic, on what painting is as image. His ideas are thus capable of being converted into paintings that accommodate personal and very private experiences. "His mixed media paintings are more like expressionist wall reliefs. Never rectangular and rarely flat, his shaped paintings are assembled from two, and sometimes three, stretched canvasses, as the edges stick out in various angular confrontations to each other”. "His works are crude, sassy, and expressively colored."Education 1965-69 Columbia University, New York City 1971-75 Brooklyn Museum Art School, New York Teaching 1998-1999 Margoshilski School of Painting in Tel Aviv (Kalisher Art School), Tel Aviv 2001-2007 Emunah College of Arts & Design, Jerusalem 2002-2003 College for Technical Instruction, Tel Aviv 2003 - onwards, Bezalel Academy of Arts & Design, JerusalemAwards and Prizes 1983 Gelber Prize for an Immigrant Artist, Jerusalem Association of Painters and Sculptors 1987 Oscar Hendler Prize, Kibbutz Lohamei Hagetaot, Israel 1993 George and Janette Jaffin Prize, America-Israel Cultural Foundation 1995 Isracard Prize, The Tel Aviv Museum of Art 1999 Prize, Ministry of Science, Culture and Sport 2000 Sandberg Prize for Israeli Art, Israel Museum, Jerusalem 2008 Prize for the Encouragement of Creative Art, Ministry of Science, Culture and Sport 2014 The Arik Einstein Prize, The Israel Minister of Science, Culture, and Sport.One Person Exhibits 2018 “That’s the Third Dream That I Remember”, Givon Gallery2013 “There is no doubt about the fact that the genitals, in order to be blown clean, often as not, take up lodging in the nostrils“, Givon Gallery 2011 The Glass and Ceramics Department, Bezalel Academy of Art and Design, Jerusalem 2009 Givon Gallery, Tel Aviv 2006 Golconda Fine Art, Tel Aviv 2005 “The Song of the Saw”, Artists House, Tel Aviv 2004 “Elongated Format”, David Yellin College, Jerusalem 2003 “The Continuation of Biological Life II”, Herziliya Museum “Double A Fleet”, Tal Esther Gallery, Tel Aviv Joint Exhibit - Kibbutz Lohamei Hagetaot and Kibbutz Rosh Hanikra 2002 “Monument”, Ellul, Jerusalem 2001 “Using My Talent for the Benefit of Humankind”, Givon Gallery, Tel Aviv 1999 “Works on Paper, 1973-1999”, Kibbutz Nachshon 1998 “The Continuation of Biological Life”, Givon Gallery, Tel Aviv 1997 “In Spite of Ourselves”, The Art Seminary, Beit Berl “Ten in Musrara”, A Cooperative Project of Office in Tel Aviv and the Municipality of Jerusalem “Never Did Anything Hard”, Tel Aviv Museum of Art, 1997, catalogue 1996 “Who’s Afraid of Red, Yellow, and Blue, 1995”, Givon Gallery, Tel Aviv 1995 Kibbutz Lohamei Hagetaot 1993 Bezalel Academy of Art and Design 1990 Bezalel Academy of Art and Design “Iceland in Israel”, Bograshov Gallery, Tel Aviv 1988 The School of Visual Theater, Jerusalem 1987 Kibbutz Lohamei Hagetaot 1986 “The Musician of Light”, Aika Brown Gallery, Jerusalem 1985 Kibbutz Lohamei Hagetaot 1981-1984 Alon Gallery, Jerusalem, five exhibitsTwo Person Exhibits 2010 “Amazing Scenes In Pesach’s Studio,” Mamuta, Jerusalem, with Joel Kantor 2004 The Art Seminary, Beit Berl, with Shai-Li Uziel 2000 Memorial Center, Tivon, with Nomi Bruckmann 1992 Mary Fauzi Gallery, JaffaSelected Group Exhibitions 2019 Keeping at Distance: On Intimacy in Contemporary Painting, Petach Tikva Museum of Art2016 Off the Frame, The Kupferman Collection, Kibbutz Lohamei HaGeta’ot2013 I Can’t Control My Hands, Hanina Gallery 2011 “And What Shall We Do with Painting in the 21st Century”, Haifa Museum of Art 2011 “The Best of the Best”, Givon Galllery, Tel Aviv 2010 “Family Romance”, The Bezalel Gallery, Tel Aviv 2010 “Trip”, The Gallery at Minshar, Tel Aviv 2010 “In the Finest Company”, Barbur, Jerusalem 2009 “Objects”, Barbur, Jerusalem 2008 Art Tel Aviv “The Jerusalem Ghost”, Artists’ Studios, Teddy Stadium, Jerusalem 2007 “Open Park”, Artists House, Tel Aviv “Orthodox Tune”, Brun, Dusseldorf “Canon”, Tel Aviv Museum of Art “Art Ha’Aretz”, Jaffa “The High Command”, Lilienblum 41, Tel Aviv “All the Shades Between Black and White”, Gilit Fischer Gallery, Tel Aviv 2006 “Shameless Painting in 2006”, Barbur, Jerusalem 2005 “Time to See”, Tal Esther Gallery, Tel Aviv 2004-2005 “Alphabet” Stockholm Art Fair and other locations in Sweden 2002 “Focus on Painting”, Haifa Museum “The Height of the Popular”, Tel Aviv Museum of Art 2001 “Hands”, Israel Museum Youth Wing 2000 “Republiche Delle Arte: Israele”, La Palazza delle Papesse, Sienna, Italy, catalogue 1999 “Summer Harvest”, Israel Museum “Tel Aviv-Jaffa, 1909-1999, Contemporary Views”, Tel Aviv Museum of Art, catalogue 1998 “The Small Light”, Israel Museum, Jerusalem “Ninety Years of Israeli Art, a selection from the collection of Joseph Hackmey–The Israeli Phoenix, Tel Aviv Museum of Art, catalogue “Good Children, Bad Children”, Israel Museum, Jerusalem, catalogue 1994 “Subtropical”, Tel Aviv Museum of Art “…Mr. Sweety”, Tel Aviv Museum of Art 1993 “Five Artists from Jerusalem”, Slanka Hall, Moscow; Manzh Hall, Saint Petersburg, catalogue “Those in the Home, Those in the Yard”, Israel Museum, Jerusalem 1992 Foundation, Leipzig, Bonn, Berlin, catalogue 1991 “Israeli Art-An Expanded View”, Tel Aviv Museum of Art “Einblicke-Ausblicke”, Israeli Artists, The Leipzig Opera and the AdenauerGroup Performance 2003 “Innocence” (Tom), Hazira Habinthumit, JerusalemCurating 2010 “In the Finest Company”, Barbur, Jerusalem 2008 “Women”, Barbur, Jerusalem 2008 “For the Fallen” (Works of Gabriel Kricheli) Jerusalem Artists’ House 2006 “Shameless Painting in 2006”, Barbur, Jerusalem 2005 “Time to See”, Tal Esther Gallery, Tel Aviv 1999 “Navigator” (works of Moshe Kupferman) Kalisher Art School, Tel AvivRecording 2006 “Rage at Noon”, singer, with Dj. Blondie, Shoshana, JerusalemArtist’s Book 2000 Mourning Poems, poems by Mordechai Geldman, Har-El Press, JaffaWritings 2009 “The Artist Pesach Slabosky Attempts a Civilized Reply to Galia Yahav’s Article which Appeared in the Previous Edision of Ma’ayan” 1997 “Pesach Comes to Town”, conversation with Moshe Ninio and Uri Tsaig (Hebrew) in the catalogue of “Never Did Anything Hard” 1997 “Hard”, Tel Aviv Museum of Art 1995 to 2004 “Professional Artist”, bimonthly column in Studio, 1995 to 2004 “Living with Chaos” (about the Kandinsky exhibit at the Israel Museum) Studio #109 “Four Very Short Essays about Moshe Kupferman”, Studio #112 “Rembrandt’s Time” (a review of Rembrandt’s Eyes by Simon Schama) Studio #122 All writings in Studio are in Hebrew translation. “For Your Eyes Only” (English) in the catalogue of “Never Did Anything 1994 Special Project for Studio, Studio #58 (November-December) 1989 The Reconditioned Inspiration (book–Hebrew translation), Bezalel Academy of Art and Design, Jerusalem. Additional Information:Pesach Slabosky | Overtly and Covertly | The Third DreamThe Herzliya Museum of Contemporary Art / Oct. 2020 - June 26, 2021 Curator: Yona Fischer Pesach Slabosky (1947–2019) was an artists’ artist. The man and his works, which for many years sparked perplexity and even discomfort for many (including members of his profession, and certainly museum curators), increasingly became, among his fellow artists, objects of curiosity, appreciation, and even admiration. Meanwhile, in his second occupation, as a writer, he will be fondly remembered by those (who are not very many) who were fortunate enough to read the Hebrew translation of his didactic essay, The Reconditioned Inspiration (1989), with its wealth of idiosyncratic, carefully worded and witty maxims and definitions, aimed at art students well before he began teaching at the Bezalel Academy of Arts and Design in Jerusalem. He will be particularly well remembered by regular readers of his Professional Artist column in the art journal Studio, under the editorship of the renowned Sarah Breitberg-Semel.Born in Detroit, capital of the American car industry, Slabosky grew up during the heyday of Minimalism and the birth of Conceptual Art. In his youth, he was captivated by popular music – especially that of African-American gospel, rock-‘n-roll, etc. He studied literature and ancient Greek, and subsequently art, in Manhattan and Brooklyn, where he met Nomi Bruckmann, a young Israeli artist who would become his life partner. He immigrated to Israel in 1978, and settled in Jerusalem, where the dual presence of his past “over there” versus his existence “here” made him more acutely aware of the significance of his Jewish identity. In time, this duality became apparent in his work as an artist. Slabosky would harbor “his” Detroit in his heart throughout his life, and express his nostalgia for it through various explicit and implicit references in his art – and also directly, as a musician thoroughly imbued with the “then and there.”In truth, Slabosky was drawn to music for as long as he had known himself. However, two cruel operations on his body dashed any hopes and illusions he may have had, one leaving him without one arm and shoulder, the other without one of his vocal chords. Even so, he later managed to develop something of a career as a gospel singer – especially as part of the Same World Trio which he established with two fellow artist-musicians, Avi Sabah (whose works are also currently on display at the Herzliya Museum of Contemporary Art) and Gabi Kricheli.The exhibition seeks to present, in broad strokes, Slabosky’s three areas of work in the years following the large survey exhibition of his work (the only one of that scope in his life) at the Tel Aviv Museum of Art in 1997 (curated by Moshe Ninio). In the twenty or so years from that time until his death, his painting gradually evolved: the irregular geometry of the surface became more freeform, and that in turn became a volumetric form – an abstract structure containing an internal space, prompting the question of whether this is sculpted painting, or painted sculpture.But the most interesting transformations that began to emerge in Slabosky’s work concern the principal methods that he developed in producing it. Here is their gist: The first method was the use of only the paints available to him on his palette, and their distribution with a brushstroke (or “gesture,” as he called it) on the surface in front of him, and occasionally on more than one surface. A second method was to move the brush on the surface in predetermined structures, and at times at a predetermined rate, as well (e.g., one band of color a day). Another method – this time at the conceptual level – lay in his notion that the significance of the work derived from the principle of beginning and working toward an estimated completion, which was usually determined not by signature or a date, but by the time at which the work was removed from the studio. Another habit of the artist which might be conceivably regarded as a method was to gather abandoned items as he roamed about – from broken bits of furniture to dried flowers – and bring them back to his studio for potential use in his work.Finally, it is worth noting that Slabosky’s volumetric work and the hidden space within were created by joining together various objects into a tight scaffold. This scaffold fills the space with a sculptural structure, while inviting the artist to address not only the front of the work but also its back, in a bid to shape its topography and prepare it as the groundwork for a painting – which from that point onwards would be irretrievably liberated from its dependence on a uniform surface.Payment Methods: PayPal, Credit Card (Visa, Master Card), Bank Cheque. If you wish to send a personal cheque, please note that the item will not be shipped until the cheque clears. Shipping&Handling: All items are sent through registered mail or by E.M.S. Fast delivery service (up to 3-4 business days), depends on the weight and measures of the purchased item. You may add insurance for the item with an additional fee. Please e-mail us for other shipping methods. In case that the frame includes a glass, the item will be shipped without the glass in order to prevent any damage to the artwork caused by broken glass: be aware that such kind of a damage is not covered by the insurance! Terms of Auction: All sales are final, please only bid if you intend to pay. Refunds will be accepted only if the item is not as described in the auction. ISRAELI BUYERS MUST ADD 17% V.A.T. TO THE FINAL PRICE. Artshik provides full assurance that all items sold are exactly as described! We guarantee all items we sell are 100% authentic! View more great items

Price: 560 USD

Location: Tel Aviv

End Time: 2025-01-10T21:43:18.000Z

Shipping Cost: 52 USD