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Tami Katz-Freiman born in Israel (1955), is an art historian, curator and critic, based in Miami, Florida, where she works as an independent curator of contemporary art. From 2005-2010 she was the Chief Curator of the HMA (Haifa Museum of Art) in Israel. She started her curatorial practice in 1992 and over the years she has curated numerous group and solo exhibitions in prominent museums in Israel and the US, where she lived and worked also between 1994 and 1999. In the years 2008-2010 she was teaching Feminism and Contemporary Art at the Department of Art History at the Tel Aviv University and curatorial studies at the International Curatorial Program of the Kalisher School of Art and Technology in Tel Aviv. In addition to essays for catalogues and books published in conjunction with the exhibitions she has curated, Katz-Freiman has written numerous articles, essays, and reviews addressing various issues in contemporary art. In 2012 she curated two major exhibitions: Critical Mass: Contemporary Art from India for the new wing of the Tel Aviv Museum of Art and UNNATURAL for the Bass Museum of Art, Miami Beach. She is a board member of AIRIE and a member of IKT and AICA/USA, the International Association of Art Critics.

Exhibitions Curated
2014

Nevet Yitzhak: WarCraft, The Screening Room (TSR), Wynwood Art District, Miami Antonia Wright: You Make Me Sick: I Love You, Spinello Projects, Miami (curatorial advisor) AutoBody: a traveling platform for international women artists working in video, performance, and new media (advisory curatorial committee)

2013

Aziz + Cucher: Time of the Empress (Septet), The Screening Room (TSR), Wynwood Art District, Miami

2012

UNNATURAL, Bass Museum of Art, Miami Beach Critical Mass: Contemporary Art from India (co-curated with Rotem Ruff), Tel Aviv Museum of Art

2011 Nivi Alroy: Food Web, Fresh Paint 3, Tel Aviv

2010 Shelf Life (co-curated with Rotem Ruff), Haifa Museum of Art

2009 Aesthetics of Violence – AES+F, Haifa Museum of Art Aesthetics of Violence – Biljana Ðurdevic: Paintings, Haifa Museum of Art Aesthetics of Violence – Norbert Bisky: Paintings, Haifa Museum of Art Power Games: Contemporary Art from Poland, Haifa Museum of Art Wild Exaggeration: The Grotesque Body in Contemporary Art, Haifa Museum of Art

2008 Prizes in Art and Design from the Ministry of Science, Culture and Sport, 2007 (co-curated with Tal Yahas), Haifa Museum of Art

2007 Kader Attia: Who Cares?, Haifa Museum of Art BoysCraft, Haifa Museum of Art (trilogy, part III)

2006 Mixed Emotions, Haifa Museum of Art (trilogy, part I) Fatamorgana: Illusion and Deception in Contemporary Art, Haifa Museum of Art (trilogy, part II)

2005 Nir Hod: Forever, Tel Aviv Museum of Art

2004 Tal Amitai: (temporary) Happiness, Janco-Dada Museum, Ein Hod, Herzliya Museum of Contemporary Art Love is in the Air – Time for Love: Images of Romantic Love in Contemporary Israeli Art, Time for Art: Israeli Art Center, Tel Aviv

2003 OverCraft: Obsession, Decoration and Biting Beauty, The Art Gallery, Haifa University, Haifa, Artists House, Tel Aviv Time Capsule: Contemporary Art and Archaeology, Art in General, New York City Robert Melee: Bath Time Mommy, Herzliya Museum of Art, Israel

2002 Gal Weinstein: The Valley of Jezreel, Herzliya Museum of Art, Israel Aziz + Cucher: Passage, Herzliya Museum of Art, Israel Nicola Costantino: Boutique, Herzliya Museum of Art, Israel Gil Shachar: Hand Made, Herzliya Museum of Art, Israel LandEscapes: A Multi-sites Project of Contemporary Israeli Art (co-curated with Cheryl Harper), Drexel University; Moore College of Art; The Gershman Y, Philadelphia

2000 Havana Nagila: Cuba-Israel Dialogue, Chelouche Gallery, Noga Gallery of Contemporary Art, Julie M. Gallery, and the Tel Aviv Artists’ Studios Mount Miami: American Artists in Tel Aviv, The Tel Aviv Artists’ Studios

1999 Phantoms: Tsibi Geva and Jose Bedia, ArtFocus, International Biennial in Jerusalem, Teddy Stadium, Jerusalem Currently: Artfocus, Summer 1999 (co-curated with Goran Tomcic), South Florida Art Center, 800 Gallery, South Beach Tsibi Geva: A Site-Specific Project, Espacio Aglutinador, Havana, Cuba Eugenia Vargas: The Abject Body, Miami-Dade Community College, Wolfson Campus, Miami

1998 Nir Hod: Forever Young, Miami-Dade Community College, Wolfson Campus, Miami

1996-1998 Desert Cliché: Israel Now – Local Images (co-curated with Amy Cappellazzo), Arad Museum, Israel (September 1996) Museum of Art, Ein Harod, Israel (November 1996); Bass Museum of Art, Miami Beach, Florida (April 1997); Grey Art Gallery & Study Center of New York University (November 1997); Nexus Contemporary Art Center, Atlanta (May 1998); Yerba Buena Center for the Art, San Francisco (September 1998)

1995 Still(A)LIVE: Regina Frank, Silvia Gruner, Laura Tan, Consuelo Castaneda – Four Interactions with the Past, Black Box, Ground Level Exhibition Space, South Beach, Miami, Florida

1995 Hila Lulu Lin: A Cow, A Turtle and a Goldfish, Ambrosino Gallery, Miami, Florida

1994 Meta-Sex94: Identity, Body and Sexuality, Museum of Art, Ein Harod, Israel

1993 Antipathos: Black Humor, Irony and Cynicism in Contemporary Israeli Art, The Israel Museum, Jerusalem

1992 Postscipts: “End” Representations in Contemporary Israeli Art, The Genia Schreiber University Art Gallery, Tel Aviv University

Lectures
Tami Katz-Freiman lectured at the Department of Art History at the Tel Aviv University as part of a course she gave on Feminism and Contemporary Art. She was also teaching Curatorial Studies at the International Curatorial Studies Program of the Kalisher School of Art and Technology in Tel Aviv. During her stay in the US, she has lectured at many institutions and colleges including FIU Department of Art and Art History, MAWA, Winnipeg, The Berman Center at Lehigh University, Pennsylvania; Golda Meir Center for Political Leadership, Denver, Colorado; and University of Tulsa, Oklahoma. She was also invited to Cuba to present Israeli art at the Wifredo Lam Museum in Havana. The topics of her lectures range from contemporary Israeli art to various feminist and gender-oriented issues, always from a curatorial perspective.

Publications
2010

Master of Concealments: On the Traps of Appropriations in Jasper Johns’ Work in: The Beauty of Japheth in the Tents of Shem: Studies in Honour of Mordechai Omer, Assaph 2010, Studies in Art History, Vols. 13-14, Tel Aviv University, pp. 335-351 Craftsmen in the Factory of Images, from BoysCraft in: The Craft Reader (edited by Glenn Adamson), Berg, Oxford, New York, 2010 pp. 596-605

2003

“Don’t Touch My Holocaust”: Israeli Artists Challenging the Holocaust Taboo, a paper for the International conference: Representing the Holocaust: Practices, Products, Projections, Berman Center of Jewish Studies, Lehigh University, Pennsylvania in: Transforming Memory: Representation, Art, and the Holocaust, New Perspectives on Jewish Studies, New York University Press Bad Girls: The Israeli Version – Contemporary Women Artists in Israel, in:Jewish Feminism in Israel: Some Contemporary Perspectives (edited by Kaplana Misra and Malanie Rich), University Press of New England

Essays for Catalogs
2014

From Skins to Landscape: on Agustina Woodgate’s Rug Collection, an essay for Agustina Woodgate: Rugs, Art and Culture Center of Hollywood Like a Thread in a Storm, an essay for Tal Amitai-Lavi: Light Construction, Chelouche Gallery for Contemporary Art

2012

From Body Politics to Conflict Politics: Aziz + Cucher Come Out of the (Biography) Closet, an essay for Aziz + Cucher: Some People, The Indianapolis Museum of Art Critical Mass: Beyond Aesthetics (written with co-curator Rotem Ruff), an essay for Critical Mass: Contemporary Art from India, Tel Aviv Museum of Art Nature Has No Copyright, an essay for UNNATURAL, Bass Museum of Art

2011

Nivi Alroy: System Collapse, text for Nivi Alroy: Food Web, Recipient of the Most Promising Artist Award at Fresh Paint 3

2010

Collecting is a Form of Uprooting – An Encounter Between Self and Object, an essay for Shelf Life (co-curated with Rotem Ruff), Haifa Museum of Art, Israel

2009

Aesthetics of Violence: AES+F Group, Biljana Ðurdevic and Norbert Bisky, an essay for the brochure of three solo shows, Haifa Museum of Art Power Games: Contemporary Art from Poland, an essay for Power Games, Haifa Museum of Art Exaggeration is Twice as Real, an essay for Wild Exaggeration: The Grotesque Body in Contemporary Art, Haifa Museum of Art

2007

Kader Attia: Who Cares?, an essay for a solo project by Kader Attia, Haifa Museum of Art Craftsmen in the Factory of Images, an essay for BoysCraft, Haifa Museum of Art On the Noise in the Heart: A Chronicle of an Acquaintance with Hila Lulu Lin, an artist book essay for Hila Lulu Lin: She, Ein Harod Museum of Art

2006

The Road to Happiness: On Cultural Conflict, Desire, and Illusion in the Work of Kader Attia, an essay for Kader Attia’s monography, Musee d’art contemporain, Lyon The Industry of Emotions / Or: I Feel, Therefore I Am, an essay for Mixed Emotions, Haifa Museum of Art Fatamorgana: The Magic Lantern of Consciousness, an essay for Fatamorgana: Illusion and Deception in Contemporary Art, Haifa Museum of Art Dancing with Barbed Wire, an essay on Sigalit Landau for Memorials of Identity: New Media from the Rubell Family Collection, Rubell Family Collection, Miami

2005

Nir Hod: An Acrobat of Emotion in The Circus of Illusions, an essay for Nir Hod: Forever, Tel Aviv Museum of Art Kader Attia: Ports of Paradise for Sale: On Fantasies and Brand Names in the Era of Globalization (French), an essay for Kader Attia, Herzliya Museum of Contemporary Art

2004

Tal Amitai: Requiem for a Fantasy of Happiness, an essay for Tal Amitai: (temporary) Happiness, Janco Dada Museum and Herzliya Museum of Contemporary Art Love is in the Air: Quick Introduction to Romantic Love, an essay for Love is in the Air, Time for Art: Israeli Art Center, Tel Aviv

2003

OverCraft: The God of Small Details, an essay for OverCraft, The Art Gallery, Haifa University and Artists House, Tel Aviv Time Capsule: Archaeology in Contemporary Art, an essay for Time Capsule, Art in General, New York Robert Melee: Mommy Dearest, an essay on Robert Melee’s work, Herzliya Museum of Contemporary Art Meirav Heiman: Family Dyes, an essay on Meirav Heiman’s video installation, Herzliya Museum of Contemporary Art

2002

Gal Weinstein: The Valley of Jezreel, in: Chilufim: A Transfer Exchange Project of Artists and Art, 2002/2003, Israel – North Reine-Westphalia, pp. 142, 149 Aziz + Cucher: Passage, a brochure essay for Aziz + Cucher, Herzliya Museum of Contemporary Art A Woman Wearing These Clothes Remains Practically Naked, in Nicola Costantino: Boutique, Herzliya Museum of Contemporary Art What’s Soft, Translucent, Moist and Slimy? On Mediations of Erotic Nature in Hugit Rubinstein’s Work, in Hagit Rubinstein: Soft World, Tal Esther Gallery, Tel Aviv On Paradoxes of Representation, Illusion and Vanity, in: Gil Schachar: Hand Made, Herzliya Museum of Contemporary Art LandEscapes: Mysteries of the Holy Land, in LandEscapes, Drexel University; Moore College of Art; The Gershman Y, Philadelphia

2001

Close to Home, a catalogue essay for Lesli Rubin Kunda: Daily Interactions, Tel Aviv Burning Concerns: Delving into the Heart of the Conflict in Tsibi Geva – Rage, Achshav.now contemporary art Gallery, Berlin (April)

2000

Mount Miami: American Artists in Tel Aviv, a catalogue essay for Mount Miami, Tel Aviv Artists’ Studios 1998-1999 	Between Nature and Culture: Poetics of Materials and Objects – New Work of Florencio Gelabert, a catalogue essay for a traveling solo exhibition at Ambrosino Gallery, April 1998, Museo de Arte Contemporaneo, Panama, August-September 1998, Museo Jacobo Borges, Venezuela, November 1998- January 1999, Museo de Arte y Diseno Contemporaneo, Costa Rica, February-March 1999

1999

Eugenia Vargas – The Abject Body: Notes on Abjection and Prejudice, a catalogue essay for Eugenia Vargas, Miami-Dade Community College, Wolfson Campus, Miami Phantoms: Tsibi Geva and Jose bedia – Notes on an Inter-Cultural Encounter, a catalogue essay for Phantoms, ArtFocus 3, Jerusalem

1998

Nir Hod: The Legend of the Ultimate Narcissist, a catalogue essay for Nir Hod, Miami-Dade Community College, Wolfson Campus, Miami Aziz + Cucher: Beyond the Epidermic Layer, a catalogue essay for Aziz + Cucher, Miami-Dade Community College, Wolfson Campus, Miami

1996

A Matter of Distance, a catalogue essay for Desert Cliché: Israel Now – Local Images I and Thou: Processes of Abandonment and Anorexic Purification in Cesar Trasobares’ New Sculptures, in MAP (Miami Art Paper) An American in the Inferno: Robert Rauschenberg and the Series of Illustrations to Dante, in Rauschenberg, Dante, Botticelli, The Genia Schreiber University Art Gallery, Tel Aviv University

1995

Still(A)LIVE: Regina Frank, Silvia Gruner, Laura Tan, Consuelo Castaneda – Four Interactions with the Past, text for Still(A)Live, Ground Level, South Beach, Miami, Florida Dorit Ya’acoby: To Live with Knives in the Gut at the Gates of Mercy, a catalogue essay for Dorit Ya’acoby, Gallery of the Canadian Embassy, Tokyo, Japan (November 1995); Osaka Contemporary Art Center, Osaka, Japan (January – February 1996) Hila Lulu Lin: A Cow, A Turtle and a Goldfish, text for Hila Lulu Lin, Ambrosino Gallery, Miami, Florida

1994

Meta-Sex 94: Identity, Body and Sexuality, a catalogue essay for Meta-Sex 94, Museum of Art, Ein Harod

1993

Antipathos: Black Humor, Irony and Cynicism in Contemporary Israeli Art, a catalogue essay for Antipathos, The Israel Museum, Jerusalem A Call to Order: Maya Cohen Levy’s Painting – a Proposal for Putting the World Aright, in Maya Cohen Levy, The Israel Museum, Jerusalem

1992

“Hastily the World Hastens to Pass Away…”, a catalogue essay for Postscripts: “End”- Representations in Contemporary Israeli Art, The Genia Schreiber University Art Gallery, Tel Aviv University Michal Shamir: The More Transparent, the Greater the Depth, a catalogue essay for Michal Shamir, Museum of Israeli Art, Ramat Gan; published also in: Studio Art Magazine: 30