Pamela Levy
1928, Detroit, Michigan, USA - 2015, Tel Aviv, Israel
A Woman Eating a Peach on Tel Aviv Beach, 1997
Original Hand-Signed Woodcut & Oil Painting
Provenance: the artist's estate
Artist Name: Pamela Levy
Title: A woman eating a peach on Tel Aviv beach, 1997
Signature Description: Signed in pencil lower right, Approved "A.P." lower left
Technique: Woodcut and oil on paper
Size: 57 x 50 cm / 22.44" x 19.69" inch
Frame: Unframed
Condition: Very good condition
Artist's Biography:
Pamela Levy, painter. b. 1949, Iowa,
USA. Immigrated to Israel 1976.
Died in December 2004.
Education
1969-72 Northern Iowa University, USA, B.A.
1974 Northern Iowa University, USA, M.B.A.
Awards and Prizes
1980 Stipend, Guggenheim Foundation
1987 Jack Ohana Prize for a Young Israeli Artist, Tel Aviv Museum
1990 Ministry of Education and Culture Prize
1996 Hartland Fund Grant for travel to Berlin.
Pamela Levy (1949-2004) was an
American-born Israeli artist
Biography
Pamela Denman (later Levy) was born in Fairfield, Iowa. She
completed her B.A. at the University of Northern Iowa. In 1972, she moved to
New Mexico and joined an artists’ commune in Santa Fe.
In 1976, she immigrated to Israel after converting to Judaism and marrying
Itamar Levy, a psychologist and art critic.
In 2004, Levy died in Jerusalem of heart failure.
Art career
Levy's early works were hand-sewn textile collages influenced by
the feminist Pattern and Decoration art movement. From the 1980s, she began to
paint large figurative oils based on photographs.
Awards and recognition
In 1980, Levy won a Guggenheim Foundation grant.
In 1987, she won the Jacques and Eugene O'Hana Prize for a young Israeli
artist, and in 1990, she was awarded the Israel Minister of Education and
Culture Prize for Painting and Sculpture.
She participated in group exhibitions at the Israel Museum in Jerusalem, and
held solo exhibitions at the Tel Aviv and Herzliya art museums, as well as art
galleries in the United States, Germany, Australia and Israel.
In 1996 she received a Heitland Foundation Grant, taking her to Hanover,
Germany. The following year she was an Artist in Residence at the Canberra
School of Art in Australia.
Solo exhibitions
1978 Russ Gallery, Tel Aviv, Israel
1979 Debel Gallery, Jerusalem, Israel
1981 American Cultural Center, Jerusalem, Israel
1981 Artists' House, Jerusalem, Israel
1981 Alternate Space Gallery, New York, United States
1982 Ahad Ha'am Gallery, Tel Aviv, Israel
1985 Aika Brown Gallery, Artists' Studios, Jerusalem, Israel
1987 Gimel Gallery, Jerusalem, Israel
1987 Artifact Gallery, Tel Aviv, Israel
1989 Aika Brown Gallery, Artists' Studios, Jerusalem, Israel
1990 Nelly Aman Gallery, Tel Aviv, Israel
1994 "Paintings, 1983-1994", Tel Aviv Museum of Art, Tel
Aviv, Israel
1995 Galerie im b.i.b., Hanover, Germany (catalogue)
1995 Galerie Zonig and Mock, Hanover, Germany (catalogue)
1996 Nelly Aman Gallery, Tel Aviv, Israel
1996 Kunstverein, Holzminden, Germany
1997 Nelly Aman Gallery, Tel Aviv, Israel
1997 "Aquarelle und Olbilder", Kunstverein, Gifhorn,
Germany
1997 Photospace, Canberra School of Art, ANU, Canberra, Australia
1999 "Paintings: Class Picture", Herzliya Museum of Art, Herzliya,
Israel (catalogue)
1999 Nelly Aman Gallery, Tel Aviv, Israel
2001 "Paintings", Golconda Fine Art, Tel Aviv, Israel
(catalogue)
2002 "Woodcuts", Gallery of the David Yelin Teachers
Academy, Jerusalem
2003 "Pamela's Zoo", Golconda Fine Art, Tel Aviv, Israel
(catalogue)
Book illustrations
1998 Monsoon: Poems by Media by Dahlia Ravikovitch, with woodcuts
by Pamela Levy, Even Hoshen, Ra'anana
Additional Information:
Peeling Back the Layers
In
the din of criticism about artist Pamela Levy's work, no one said her paintings
broke taboos about discussing sexual violence and pedophilia.
Galia Yahav / Nov 05, 2012 /
Haaratz
In one interview, Pamela Levy was
asked whom she photographed in the street as a basis for her paintings. "I
identify with simple people, not too beautiful or too rich or too healthy. I
photograph people of all ages, shapes and sizes," the artist answered.
Levy enlarged these antiheroes into enormous proportions in her paintings. The
current exhibition of her work, curated by her son, Yuval Levy, at the Zaritsky
Artists House in Tel Aviv (until November 25), features prints by Levy never
before exhibited. Her prints and photographs were an integral component of her
painting, serving as its foundation and background, at times for abstract
patterns and at times for figurative characters. But in this exhibition they
are presented as separate, independent works of art.
Levy, who died of heart failure eight years ago,
painted the biblical Hagar, Lot's daughters, Macbeth's witches and many
bathers, and many others from art history, as threatened figures. She created a
feminine world of representation of individuals, grouped together, like an
alternative lineage of father-less, husband-less women, exploited and expelled.
In her 1985 painting "The Rapist," for
example, she used a photograph of teenage boys throwing a teenage girl into a
pool, turning the scene into an annihilating sight of gang rape of a naked girl
dragged into a black hole, the cave of terror. "Palestine, the Birth of a
Nation" (1988), shows a naked girl in the midst of an attempt to flee, her
arms behind her and chin held high, a kind of nightmare version of Delacroix's
"Liberty Leading the People."
"Man Pushing a Cart with an Angel" (1999)
is a split canvas. The right-hand side depicts a man pushing a cart filled with
white boxes and a black garbage bag, while the left-hand side shows a naked
girl, twisted in fear, against the background of a black print of shadowy,
devilish figures lying down. One figure faces the right-hand side of the
painting, the other the left-hand one, as if repelling one another like the
antimagnetism of similar objects.
In "Veronica" (2000), a little girl in
braids spreads her arms as if crucified, the towel that had covered her now
revealing a childish, prepubescent body. Her gaze is turned sideways as if
against her will. "The vulnerability of young girls is unique," Levy
said in a 1993 interview. "That's something I know from deep down, from
being a little girl, on the one hand, and a little bitch and a flirt, on the
other."
In other paintings, too, bodies run, panicked, in
compressed, multidirectional flurries, detached from one another, always not
yet mature or too mature, torn from their context, featuring in a unique form
of layered collage, alien to themselves, to one another and to the place. The
places are vacation spots such as the seashore and amusement parks, or garbage
dumps and abandoned junkyards, garages and warehouse lots. They serve to
represent mental or emotional facades, sites outside the law, of the suspension
of seemingly happy, innocent times or of being left on the fringes, rejected
and abandoned.
"It started when I was a cocktail waitress in
Santa Fe," Levy recalled in that same interview. "That's where I got
all the ideas for my painting: The place was crawling with scummy people. The
bar was located among office buildings. All these creeps would come there,
wearing their business suits and, once night fell, they'd turn into animals. We
were under constant police protection, but to get rid of the cops wasn't any
less complicated. New drugs would come in, cheap and unprocessed, directly from
Mexico. People were flying high."
Rejection in Israel
Levy, born in Fairfield, Iowa, completed her
undergraduate degree at the University of Northern Iowa, and made a living in
different jobs, working at one point as an assistant to a carver of wooden
signs. In 1972, she moved to New Mexico and lived in an artists commune in
Santa Fe. "She must have had good reason to leave Iowa," curator
Naomi Tannhauser Kedar told the Jerusalem local weekly Kol Ha'ir after Levy's
death at the end of 2004. "I had the sense something happened there.
Something made her flee, perhaps the thing that made her deal with the subjects
that concerned her."
In the mid-1970s, by which time Levy had moved to
Israel, feminism was a foreign word whose meaning was still unclear, even in
the world of Israeli art. But feminism in the United States was in full swing.
Levy's early works - textile collages held together by hand-sewing - were made
under the influence of artists like Miriam Schapiro, Judy Chicago and others
from the feminist Pattern and Decoration art movement. The movement wanted to
revive an interest in needlepoint, knitting, crocheting and sewing, which were
connected, historically and politically, to women's work, and which were
downgraded to the level of craft and considered inferior for many years. This
movement emerged at a time when many "others" (African-Americans,
gays, Asians, ecologists ) crashed through the gates of high art that had been
closed to them. In Israel, it was called - with rude simplicity - "women's
art," when it wasn't being ignored altogether.
Levy immigrated to Israel in 1976 because of her
marriage to psychologist and art critic Itamar Levy. Here she started to
collected carved, decorative wooden bowls and used them to create her early
prints. At the beginning of the 1980s, she attended an artists workshop on silk
screening and became an expert in her own right. She then made printing an
integral part of her painting, creating a dialogue between printed
monochromatic stick figures and blob-like figures painted on top of them with
warm colors, building a relationship of domination and an attempted erasure,
always characterized by national and gender tensions.
After she and Itamar Levy divorced, he moved to the
United States with their oldest child, Samantha. Pamela Levy remained in Israel
where, according to art historian and gender scholar Dr. Tal Dekel, she
suffered as a convert to Judaism, as someone who hadn't mastered Hebrew, and as
a woman in a militant, macho society. "I'm attracted to all sorts of
weird, impossible guys who don't love me, and I stay attached to them for years
afterwards," Levy said in an interview. The fact that she lived in
Jerusalem and her non-Eurocentric artistic influences certainly didn't help her
become accepted as an artist right away.
After being able to make art in the context of a
fruitful feminist dialogue in Santa Fe with the other female artists, activists
and intellectuals who gathered and worked there, it's easy to understand the
sense of alienation Levy felt in Israel of the 1970s. The local art scene was
dominated by another kind of conceptual politics, and Levy's works were seen as
too soft and domestic, narrow in scope, marginal and criminally decorative. The
use of an anti-canonical medium wasn't viewed as a significant political
statement. "The bitter attitude she encountered evoked bitterness in
her," wrote Dekel in her essay "Quilting the Soul in a Multicultural
World: The Art of Pamela Levy," published in Hebrew in the magazine Mutar
in 2010, feelings that "didn't pass even after she started gaining greater
recognition as an artist in Israel."
'Unambitious excitement'
In the early 1980s, Levy made a sharp shift in styles
and media, and started to paint her large figurative oils based on photographs.
The works were constructed of three layers: illegible diary entries peeking
through to the surface, a photograph or print, and painting. Some of the
photographs were decontextualized and repainted against the backdrop of a
landscape. In the art scene of the time, which was used to other kinds of
collage, like those of Raffi Lavie and Michal Neeman, it was specifically the
painterly fusion that represented something new and different.
"The paintings strike you at once because of
their odd, unclear atmosphere, one that arouses unpleasant sensations in the
viewer," claimed Dekel. "The human figures are estranged from their
location, and often from themselves. The strange, unnatural connection between
the figures and their environment creates a sense of detachment, artificiality,
a type of unresolved tension, which causes the viewer a sense of confusion and
embarrassment because of the discrepancy and discord."
The major curator to exhibit Levy as a feminist
artist, and not in a derogatory or superficial way, was Ellen Ginton. In 1999,
Ginton curated a large exhibition of Levy's work, summarizing a decade-long
climax in her creative output (1983-1994). The exhibition got a
cold-to-lukewarm reception. "One must say it in the simplest and clearest
way," wrote one of the critics. "It would have been better for the
Pamela Levy exhibition not to have seen the light of day."
"Levy's preoccupation with sex often seems
capricious," wrote another. "The sexuality presented by Levy is
hesitant and lacking in vitality"; "At times, the intellectual
allusion becomes annoying"; "Artificial, unfounded, glued
together"; "A suspect choice of figures"; and "Free, even
naive realism, not faithful to details." These are just some of the
reactions she received.
Even those who wrote of her work with enthusiasm
stressed the erotic and sexual aspects in her paintings as uncomplicated joy, a
pulse of life. "Strong, simple existential excitement," wrote Michael
Segen-Cohen, "a credible, unambitious excitement." Once it was
declared that the naked body in Levy's works represented nature while the
garbage dumps represented culture, she was excoriated for the dichotomy.
Final acclaim
Levy's later works finally won acclaim. "The
fortified wall of opposition to female discourse," as Ginton called it,
was finally breached. Her personal and political syntax was finally identified.
But the disparaging, dismissive attitude to her work left its mark. Pamela Levy
became a success in the Israeli art world. She found her place. But her story
was never told in a way that didn't transcribe the ideologies that were
dominant at the time. Her story was told as if it were a detour, whether as
representing the politics of another place (American feminism attributing
importance to needlework ), as the painter of bohemian nudity, almost
Matisse-like in spirit, or as a representative of a loose, postmodern joining
of the high and the low. Her paintings were never examined as focusing on
sexual trauma or as interpretable though it.
Levy's distorted, chaotic, disconnected world was
attributed solely to influences by David Salle, Edward Hopper, Erik Fischl and
the American photorealism of the 1970s. The body and the grief, the sex and the
pain, were seen as two separate themes in her work, two distinct and parallel
fields of interest. Thus it was also possible to discuss her work as a
therapeutic postmodern symbolism, without saying what the therapy was for.
When Levy was asked about it directly, she avoided
giving an answer. "Someone recently asked me if I'd been sexually
exploited as a child, and if it was making me paint this way," she said.
"I tried to explain that because I was with Itamar, who is a psychologist,
I encountered psychotherapy long before my thirties, something that cleared my
head out of all possible sexual taboos."
People wrote about feeling suffocated, anxious, becoming stuck, confused about Levy's work. No one said that her thematic project was in painting women as they are before or after an attack, women whose calm is that of the prey or the survivor, that their immense, fractured silence discloses a refusal to participate in exploitation, humiliation and shame. And no one said that Levy contributed one of the painting projects that most greatly expanded the discussion of sexual violence, that her paintings broke a little bit the taboo of talking about pedophilia. No one said that Levy excelled at painting the culture of rape.