Naama Arad’s ‘Har Hazofim’ quotes the view from the window of the fictional Frank Lloyd Wright creation from Alfred Hitchcock’s classic ‘North by Northwest.’ A peach-toned silken curtain intervenes between our gaze and the Xerox copies pasted to the opposite wall on which landscapes can be seen. The paternalistic presidential visages of Mount Rushmore and the modernist architecture both see their material and ideological texture inverted in the most tender of feminist veilings. The title of the work refers to the mountain of the same name, and Israeli enclave in East Jerusalem that houses the Bezalel Academy of Art founded in 1906.
Egle Otto’s painting is at once an homage and an appropriation of painterly role models. The front of the canvas shows halos that the artist has taken from the pictures of her male predecessors. She completes these to full circle and transforms them into an independent, abstract composition. Otto grapples with the authenticity, authority, and artistic ego of the artists she quotes on two levels: on the one hand by literally copying their handwriting she places all twelve signatures of the painters on the back of the picture. On the other, the completed painting is redolent of a further potential father figure: the painter Hilma af Klint.