Home Page - English Site-Map Contact Us Images Gallery To Hebrwe Version - לגירסה העברית
About "The New Gallery" Exhibition Running Now In The Gallery Exhibitions Archive Online Artists Art Studios Inkwell Links

Boiling Point - The Exhibition, Joshua Neustein (4.12.03)

 

 

The mapped view suggests an encompassing of the world without asserting the order based on human measure that is offered by perspective pictures. This tradition of picture making has it's roots in Dutch art of the 17th Century. Dispensing with the positioned viewer allows for a multiplicity of habituations & a pluralism which transforms the mapped view into a variety of perspective modalities of collective national or individual narratives.
We find easily read cartographic texts which in their very corporeality signal fundamental absences and challenge the conventions of the systematized relations among perception verification and representation.

If these textural and tonal suggestions with which Neustein covers his maps are not the significations of geographical realities what are they? Perhaps they are atmospheric qualities, contributing a dimension of individuation to continents whose interiors are undefined. It is these playful dualities which are constantly enacted on the surface of the work., and which make their close observation so rewarding. The interiors are fluid open to limitless redefinition suspending the rules and conventions of transmitting knowledge visually, while substituting some nebulous notion of atmosphere for all the unnamed entities that filled those boundaries ..
They can be read instead as meditations on the issues of boundaries and definitions ..
.for all its expression through easily recognized conventions of knowledge, the mapped view in picture making nevertheless recognizes that " the geography of the mind is in the last resort, the geography of the mind."

Dr. Irit Rogoff

Semiologically, the map is pluralistic in meaning. It relates to reality by means of analogy and representation. It is a picture of the geographical world, but from the point of view of decipherment, it is schematic and sometimes abstract. The map is a rational sign, impersonal mechanistic and has a character of a poster. At the same time, it is an image politically and emotionally charged, a documentation of geography, history and politics-
A "picture of the world".
."the wild and emotional maps of Joshua Neustein expresses ambivalence towards Israeli-ness. On the one hand he paints the country, the Sinai Desert and the Middle East compulsively, as if to say," I am in the West but my heart is in the East", on the other hand he does not paint the landscape of the place but rather its map. His outlook is objective, remote, the view of a satellite.. The maps do not reflect an emotional and rooted contact to place. "Neustein is a refugee par excellence ."
."this was expressed both in the principle of removal and transfer that characterized his work in the past and, in the concentration on the question of defining the identity of an art object. Geography and the de-limiting of territories were essential to the refugee artist."

Yigal Zalmona


 

In the history of art, images of maps and cartography are a metaphor for cultural signs of presence in the regions (both geographical and epistemological) which exists beyond the familiar and structured living-sphere" "Maps and cartographic elements have been prominent motifs in the works of Joshua Neustein during the past decade"'
The placement of the bodies defines them as liminal as lacking defined identity, as a
de-territorialization of the structured territories around them."

Sarit Shapira

Neustein's engagement with hard valuable crystals (on chandeliers and by themselves) props up a material and conceptual tension with the transparent, sparkling, elastic bubble nylon. Essentially, the subject is a synthetic wrapping material lacking any presence (attendance) The protuberant (bulge) pointillism is nothing more than spheres of air (gas) encased in thin light weight nylon that exhausts quickly. An easy pressure on the surface immediately sounds the pop -pop of the stuff. Pop fart that leaves you with naught.

Duchamp "painted" on a big glass. Neustein, more radically, paints on non-material. More precisely: When he chose to paint in acrylic on the obverse side of nylon bubbles surface (in the tradition of glass painting) he cancelled from the nylon the status of pictorial surface and allowed it's facet of transparency that protects and wraps.. In actual fact the drawing painting is bereft of any surface, the image of the map floats behind nonmaterial. Is there a more radical collusion possible between the practice of painting and concept --than the idea of imagery hypothetically free of all material realization? As is his way, Neustein is spurred by the immanence of pictorial components of the painting practices. He takes them apart and puts them together again. His Bubble wrap is catalyzed by glassy painting, that has undergone a material transformation to a material of exchange value of capitalist society. Salutations from "Pop Art", that is embedded also in Grid tradition, as in the mechanical infinite of bubble structures.

Gideon Ofrat

"Action is the key word here. One cannot just 'see' a work of art, one has to perform an act, or a number of acts -acts of 'aspecting' the work of art fr most of which we lack names . And this is true not only in the case of the traditional visual arts of painting and sculpture, but even more in the case of Joshua Neustein's installations, carbon paper creations, drawings, and sculptural works

Hilary Putnam

The opposite of our own vision is another
person's view of the same thing. You can only
see another's point of view if you shift or adjust
your visual perspective. Metaphorically we can
look beyond our position and attempt to
understand something outside of ourselves. Axis
Mundi defines a person's boundaries while
Axis Mundi requires diligent observation of one's
location and scrupulous respect of observing the
location of the "other". It is a definition and
obliteration at once : a momentary erasure of
on e's self by confirmation and deference to the
defying them simultaneously.
other".

Wendy Shafir

..."Maps trace the physical and mental contours of a
landscape; forming, as it were, a palimpset of borders,
of boundaries created by politics, economics and culture;
recording natural and social phenomena; tracing the
fault lines of natural and political history, indicating
erosion and resources and their concomitant
To mold a landscape in ashes, instead of soil and rock,
hints at borders that stir and disperse in the slightest
breeze: in the region where Joshua Neustein has
located his fifth map of ash es, border erasures are
demographics.
imminent"...

Wendy Shafir

..."The concept of contractual living, its mystery, and
its infinite variety of human manifestations is the
powerful and driving source of Neusteins art. The
interconnection between secular and religious
constructs is frequently present in his oeuvre although
in very subtle and significant ways"...

Kristine Stiles

..."Regardless of the medium, Neustein has been
consistent about one concern: the power and authority
of mapping-both in terms of cartography and the literal
shape of spaces, as well as in terms of the visual signs
that distribute meaning by metaphorically mapping
relationships. His art constructs visual parallels to
relationships of authority, the contexts within which
that authority is exercised, the boundaries demarcated
by sovereignty and the objects, architecture, and
social positions that fix power and establish dominions
But while he questions the relationship between authority
and meaning in his work, as one critic has noted, he
stacks up his layers of visual information to scramble all
their claims of authority never entirely obscur(ing) or
of control.
eras(ing) any of their possibilities."

Kristine Stiles

 

To Top Page Home Page - English Site-Map Contact Us Images Gallery To Hebrwe Version - לגירסה העברית