Gérard Allon: The doorbell (image for a Matti Caspi album cover), 1976..
(photo credit: COURTESY ASHDOD ART MUSEUM)
WHEN YUVAL Beaton, curator of the Ashdod Art Museum, recently opened the exhibit “Drive-In – Israeli Photography in the 1980s,” the overwhelmingly positive response confused him. He compares it to when two people break up, and one asks the other, “What did I do?” and the other says, “If you don’t know what you did, I’m not going tell you.” Beaton appreciates the praise the exhibit has received from artists, curators and critics. It’s just that no one will tell him what he did.Beaton’s confusion arises in part from the fact that he did not set out to “define a key turning point in Israeli culture” or “fill a curatorial and historical vacuum in Israeli art” – both of which the exhibit, nevertheless, does. He set out on this project because the topic was close to his heart and somewhat neglected by museums and critics alike.
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