Michal Rovner

Michal Rovner, also known as Michal Rovner Hammer (born 1957),[1] is an Israeli contemporary artist, she is known for her video, photo and cinema artwork. Rovner is an internationally-known with exhibitions at major museums, including the Louvre (2011) and the Whitney Museum of American Art (2002).[2] She lives between New York City and outside of Jerusalem, Israel, where she has a small farm.[3]

Michal Rovner
Michal Rovner, 1991
Born1957 (age 62–63)
Tel Aviv, Israel
NationalityIsraeli
Other namesMichal Rovner Hammer
EducationTel Aviv University,
Bezalel Academy of Arts and Design

Biography

Michal Rovner was born 1957 in Tel Aviv, Israel.[4] She studied Cinema/Television, and Philosophy at Tel Aviv University, and subsequently at the Bezalel Academy of Arts and Design in Jerusalem in 1981, receiving a BFA degree in Photography and Art in 1985.[4]

In 1978, with artist Arie Hammer, she co-founded the private art school Camera Obscura School of Art in Tel Aviv,[5] the city’s first school for photographers. In 2005, the Camera Obscura School of Art closed due to financial reasons.[6]

She moved to New York in 1987.[7][8]

Work

Rovner said about her work in 2016, "my work is not directly related to the Israeli-Palestinian question. I present situations of conflict, tensions, fractures.. vulnerability. (...) I always begin with reality. I record it and subsequently, little by little, I extract the image of reality, which becomes more fuzzy, losing its own definition, and bringing therefore something else."[9]

In the early 1990s, she worked with director Robert Frank on two films, One Hour-C’est Vrai (1990), an experimental film for French television, and Last Supper (1992), which she cowrote.[10][11]

In her early photography series Outside (1990–91), "for two years [Rovner] photographed a Bedouin hut in the Israeli desert, then retouched each photo in order to create a spectral, shifting image of the modest structure isolated in an inhospitable setting."[12] For the Decoy series (1991), she distorted radar and surveillance images to create photographs of indistinct groups of people with blurred features. In One-Person Game Against Nature (1992–93), she again distorted images, this time her own photographs of people floating in the Dead Sea.

In 1996, Rovner began to use film and video, creating works featuring anonymous crowds of people or animals, as in Monoprints of Birds (1998). While she has eschewed direct political commentary in her work, in 1995–96 she produced installations for the Israel-Lebanon border that were situated on electric fences and guard towers in the line of ongoing exchanges of fire. These were complemented by her video Border (1996–97), in which she futilely attempted to demarcate and cross the border from Israel into Lebanon.

Her video Notes (2001) was a collaboration with the composer Philip Glass; Rovner used footage of a group of people walking on an inclined angle, and Glass composed music inspired by this moving image (their collaboration was documented in the 2003 documentary Looking Glass). Time Left (2002), a multichannel-video installation comprising images of endless rows of indistinct beings, was the centerpiece of her mid-career retrospective at the Whitney Museum of American Art in New York in 2002. For the exhibition In Stone, at PaceWildenstein in New York in 2004, she mixed sculpture and video by projecting minute images of crowds onto tablets of stone, blurring the line between image and text.

Rovner represented Israel in the 50th Venice Biennale in 2003 and turned the Israeli pavilion into one of the most interesting one that year. "....Rovner's media art is like no other. She stands alone in the pure and artful way she blends digital technology to suit her own vision. Her use of fine materials tools makes it look like the smoothest of marble or the supplest of paints..."[13][14]

In the film Fields of Fire (2005), Rovner’s images of oilfields in the Republic of Kazakhstan reflect the persistent instability of a region at the epicenter of international scrutiny. Living Landscape (2005), a site-specific video wall at Yad Vashem in Jerusalem, projects a montage of pre-WWII footage of dances, music, and daily lives of European Jews.[7][15]

Her installation in the Louvre in 2011 was called "Histories". The Louvre chose Rovner for its Summer season outdoor display, next to the famous entrance Pyramid. Rovner's idea was to explore the themes of physical and psychological borders and of identity.[16][17] In winter 2012 Rovner presented "Topography" show in Pace Gallery, New York, continuing environment and science theme.[18] Her 2016 series Night takes a step back from some of these social questions and "explores the troubling presence of jackals around her house, a metaphor for the primitive and impenetrable that lies within each of us."[12]

Her works are included in public museum collections around the world including the Los Angeles County Museum of Art (LACMA),[19] San Francisco Museum of Modern Art (SFMoMA),[20] Metropolitan Museum of Art,[21] Museum of Contemporary Art, Chicago (MCA Chicago),[22] Museum of Modern Art (MoMA),[23] Tel Aviv Museum of Art,[24] Fine Arts Museums of San Francisco (FAMSF),[25] North Carolina Museum of Art,[26] Whitney Museum of American Art,[27] among others.

Personal life

Rovner was perviously married to Arie Hammer.[28]

Exhibitions

Rovner has had numerous solo exhibitions since her first, at Dizengoff Center in Tel Aviv in 1987.

This is a select list of her exhibitions:

  • 2016 - Night, Pace Gallery, 510 West 25th Street, New York, September 16–October 22, 2016.[29]
  • 2015 - Dislocations, Multimedia Art Museum, Moscow, September 18–November 29, 2015.[30]
  • 2015 - Panorama, Pace London, 6 Burlington Gardens, April 29–June 15, 2015.[31]
  • 2014 - Nofim, Shoshana Wayne Gallery, Santa Monica, May 10–July 12, 2014.[32]
  • 2012 - Topography, Pace Gallery, 508 West 25th Street, New York, November 8–December 22, 2012.[33]
  • 2011 - Histoires, Musée du Louvre, Paris, May 19–October 24.[34]
  • 2011 - Making of Makom, L’Espace Culturel Louis Vuitton, Paris, May 18–29, 2011.[35]
  • 2009 - Frequency, Ivorypress Art + Books Space, Madrid, October 8, 2009 – January 16, 2010.[36]
  • 2009 - Particles of Reality, DHC/ART Foundation for Contemporary Art, Montreal, May 21–September 27, 2009.[37]
  • 2008 - Michal Rovner: Video, Sculpture, Installation, Heckscher Museum of Art, Huntington, New York, June 28–September 28.[38][39]
  • 2008 - Adama, Shoshana Wayne Gallery, Santa Monica, California, April 29–June 14, 2008.[40]
  • 2007 - Michal Rovner, Galerie Haas & Fuchs, Berlin, November 3–December 28, 2007.[41]
  • 2006 - Fields of Fire, PaceWildenstein, 534 West 25th Street, New York, February 16–March 18, 2006.[42]
  • 2005 - Fields, Jeu de Paume in collaboration with Festival d’Automne à Paris, Paris, October 3, 2005 – January 8, 2006. Traveled to: Tel Aviv Museum of Art, Israel, April 6–July 29, 2006.[43]
  • 2005 - Recent Works, Gow Langsford Gallery, Auckland, New Zealand, March 15–April 9, 2005.[44]
  • 2004 - in stone, PaceWildenstein, 534 West 25th Street, New York, April 30–June 5 (extended through July 16), 2004.[45]
  • 2003 - Against Order? Against Disorder? 50th International Art Exhibition, La Biennale di Venezia, Israeli Pavilion, Venice, June 15–November 2, 2003.[46]
  • 2003 - Coexistence, Studio Stefania Miscetti, Rome, May 9–August 17, 2003.[47]
  • 2002 - Michal Rovner: The Space Between, Whitney Museum of American Art, New York City[48]

Published works
  • Ochoa, Elena; Lindon, James; Rovner, Michal (2009). Frequency: Michal Rovner. Madrid, Spain: Ivorypress. ISBN 978-0955961380.
  • Durand, Régis; Lotringer, Sylvère; Omer, Mordechai; Rovner, Michal (2006). Michal Rovner: Fields. London, England: Steidl. ISBN 978-3865212160.
  • Wolf, Sylvia; Rovner, Michal; Golub, Leon (2002). Rush, Michael (ed.). Michal Rovner: The Space Between (exhibition-related book). New York City: Steidl and Whitney Museum of American Art. ISBN 978-3882438284.
gollark: Yes, A implies B does not mean that not B implies not A, probably.
gollark: We've got a big stock of them.
gollark: GTech™ mostly just travels through time by applying some of our rotation matrices to space-time as needed.
gollark: Also, it prioritizes exact *channel* match over actually telling the person.
gollark: ABR doesn't guarantee reminder delivery.

See also

References
  1. "Artists: Michal Rovner (Hammer)". Information Center for Israeli Art, The Israel Museum, Jerusalem. Retrieved 2020-03-10.
  2. "In a Field of Her Own". Haaretz. 2011-05-27. Retrieved 2020-03-10. Michal Rovner is probably the best known Israeli artist in the world, a status set to be enhanced by 'Histories,' a colossal new exhibition at the Louvre.
  3. Moss, Hilary (2018-06-13). "9 Artists on What Helps Them Get Their Work Done". The New York Times. ISSN 0362-4331. Retrieved 2020-03-10.
  4. "Michal Rovner Biography". artnet.com. Retrieved 2020-03-10.
  5. Tumarkin Goodman, Susan; Grundberg, Andy; Perez, Nissan (2007). Dateline : Israel: New Photography and Video Art. Yale University Press. p. 8. ISBN 9780300111569.
  6. Halkin, Talya (2005-10-05). "Tel Aviv arts schools battle over remains of Camera Obscura". The Jerusalem Post | JPost.com. Retrieved 2020-03-10.
  7. "Collection Online, Michal Rovner". Guggenheim Museum. Archived from the original on 2016-03-04. Retrieved 2016-01-20.
  8. "Michal Rovner". Friends of Bezalel. Archived from the original on January 21, 2010. Retrieved July 4, 2013.
  9. "Michal Rovner, Fields / Fields of Fire | Festival d'Automne à Paris". Festival-automne.com. Retrieved 2016-03-15.
  10. "Archived copy". Archived from the original on 2013-07-05. Retrieved 2013-09-05.CS1 maint: archived copy as title (link)
  11. "Last Supper (1992) : Overview". IMDb.com. Retrieved 2016-03-15.
  12. Adler, Laura (2019). The Trouble with Women Artists: Reframing the History of Art. Paris: Flammarion. p. 143. ISBN 978-2-08-020370-0.
  13. "Magazine features - Vindicated at Venice". Artnet.com. Retrieved 2016-03-15.
  14. "Michal Rovner, Against Order? Against Disorder?, 2003 « artintelligence". Artintelligence.net. Retrieved 2016-03-15.
  15. "Transcript of the John Tusa Interview with Michal Rovner". BBC Radio 3. Archived from the original on June 16, 2012. Retrieved July 4, 2013.
  16. "'Histories' at the Louvre". France 24. Archived from the original on July 5, 2013. Retrieved June 21, 2013.
  17. "Contemporary art: Michal Rovner | Louvre Museum | Paris". Louvre.fr. Retrieved 2016-03-15.
  18. Ruiz, Alma. "Michal Rovner Topography". The Brooklyn Rail. Retrieved 2016-03-15.
  19. "Michal Rovner | LACMA Collections". collections.lacma.org. Retrieved 2020-03-10.
  20. "Collection: Michal Rovner". sfmoma.org. Retrieved 2020-03-10.
  21. "Collection: Michal Rovner". The Metropolitan Museum of Art. 2002. Retrieved 2020-03-10.
  22. "Michal Rovner". MCA. Retrieved 2020-03-10.
  23. "Michal Rovner. Outside. 1991 | MoMA". The Museum of Modern Art. Retrieved 2020-03-10.
  24. "Pace/MacGill Gallery | Artist Biography". Pacemacgill.com. Retrieved 2016-03-05.
  25. "Field #2 - Michal Rovner". FAMSF Search the Collections. 2015-05-13. Retrieved 2020-03-11.
  26. "Search collection: Tfila". ncartmuseum.org. Retrieved 2020-03-11.
  27. "Adama (Earth)". whitney.org. Retrieved 2020-03-11.
  28. "New Acquisitions: 2018, One Person Game Against Nature I, #31". National Museum of Asian Art. Smithsonian Institution. 2018. Retrieved 2020-03-10.
  29. "Pace Gallery - Michal Rovner - Documents". Pace Gallery. Retrieved 2018-03-23.
  30. "Exhibitions: Dislocations (Multimedia Art Museum, Moscow)". Multimedia Art Museum, Moscow. Retrieved 2018-03-23.
  31. "Pace Gallery - "Panorama" - Michal Rovner". Pace Gallery. Retrieved 2018-03-23.
  32. "%i — Shoshana Wayne Gallery". Shoshana Wayne Gallery. Retrieved 2018-03-23.
  33. "Pace Gallery - "Topography " - Michal Rovner". Pace Gallery. Retrieved 2018-03-23.
  34. "Contemporary art: Michal Rovner | Louvre Museum | Paris". www.louvre.fr. Retrieved 2018-03-23.
  35. Dazed (2011-05-18). "Espace Culturel Louis Vuitton - Making of Makom". Dazed. Retrieved 2018-03-23.
  36. "Frequency - Ivorypress". Ivorypress. Retrieved 2018-03-23.
  37. "Michal Rovner - Exhibition - DHC/ART | EN". DHC/ART | EN. Retrieved 2018-03-23.
  38. "Art Exhibition at the Heckscher Museum of Art". www.heckscher.org. Retrieved 2018-03-23.
  39. Genocchio, Benjamin (2008-08-08). "Works of Stone With Moving Images". The New York Times. ISSN 0362-4331. Retrieved 2020-03-10.
  40. "Pace Gallery - "Makom II" - Michal Rovner". Pace Gallery. Retrieved 2018-03-23.
  41. "Michael Fuchs Galerie". www.michaelfuchsgalerie.com. Retrieved 2018-03-23.
  42. "Pace Gallery - "Fields of Fire" - Michal Rovner". Pace Gallery. Retrieved 2018-03-23.
  43. "Jeu de Paume". Le Jeu de Paume (in French). Retrieved 2018-03-23.
  44. "Exhibitions: Multimedia | Michal Rovner". Gow Langsford Gallery. 2005. Archived from the original on 2018-03-24. Retrieved 2018-03-23.
  45. "Pace Gallery - "in stone" - Michal Rovner". Pace Gallery. Retrieved 2018-03-23.
  46. "artnet.com Magazine features - Vindicated at Venice". www.artnet.com. Retrieved 2018-03-23.
  47. www.dodek.it, Dodek -. "studiostefaniamiscetti.com | Coexistence". www.studiostefaniamiscetti.com. Retrieved 2018-03-23.
  48. Smith, Roberta (2002-08-16). "ART REVIEW; Technology as a Muse, A Hazard and an Ally". The New York Times. ISSN 0362-4331. Retrieved 2020-03-10.
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