Society of Commemorative Culture in the Art of Women
*1956 in Tel Aviv, Israel
BFA, The Midrasha - the Art Teachers’ Training College, Ramat Hasharon, Israel
Kabbalah (Jewish Mysticism) Studies, The Institute of Kabbalah Research, Tel Aviv University
Independent study program in the Humanities, Tel Aviv University, (including courses in Art History, Photography, Anthropology, Philosophy, and Italian Language
MFA Program, School of Visual Arts, New York – international studies, Urbino, Italy (instructors: Enzo Cucchi, Jannis Kounellis, Eliseo Mattiacci)
"As a conceptual artist educated in the late 1970s on expanding the boundaries of visual languages to span the expressive possibilities of conceptual art, land art, and body art, I conceived of a praxis that synthesizes these languages. While conceptual art is traditionally characterized by frugal expressive means, I chose to enrich the range of materials and methods of visual expressions. The choice of an expanded metaphoric language merges several fields of meaning to create something new. The new creative process that emerged evolved from one work to the next, through self-quotation and the use of every phase as a readymade (as per Marcel Duchamp's formative notion) incorporated into subsequent photographs to form a series. To my mind, the possible value of photography as art in the digital era is that of perception – correspondence with the cultural space of other creative thinkers in the realms of literature, cutting-edge scientific research, and philosophical texts as sources of conceptual inspiration for my imagery. In the series of photographs on the subject of mapping, I chose to quote ancient prints and etchings of maps by scanning the originals and using them in the concrete space, on the surface and on the photographed depth layers. Moreover, the principle of concise, scientific mapping is discernible in the works; mapping of the human heart, the brain, the eye, and the genome as DNA attest to perusal of reality, indicating personal imprints / seals embodied as formative-transformative images in the works over the years. As a multidisciplinary artist engaging in sculpture, painting, and photography, I chose to emphasize the "depth of the photographic paper." The verbal paradox – as indeed depth cannot be attributed to two-dimensional paper – serves to emphasize the contained potential of digital data. The practice by which the works are created is anchored in the rhizome theory developed by French philosophers Gilles Deleuze and Félix Guattari, which has been central to contemporary cultural discourse. According to this concept, reality is akin to a network structure; a web comprising a series of interconnected objects which intersect at nodes, whose multiplicity, in turn, results in a more intricate network. Rhizomatic thinking is multivalent. It is underlain by infinite changes and metamorphoses, evolutions and expansions. Their homogeneous combination spawns a stratified, documented and symbolic image of the world on a single surface." (Dorit Feldman)
Dorit Feldman, "Name of the Place", Science Poetry, Literature, Art & Science annual, Weizmann Institute of Science, 2016, S. 68-71. [Hebrew]
Adina Mor Haim, "Blessed At Last", Newspaper 77, Art & Literature magazine , vol. 381, February - March 2015. [Hebrew]
Sevilla Sadeh, N., "Divine Love: The Reception of Leda and the Swan Myth in Works by Jewish and Arab Israeli Artists - Contexts and Meanings", Journal of Arts and Humanities, Vol. 3, n. 8, September 2014.
Dorit Feldman, "Delving in to the depth of the photographic paper (Palimpsest) ",Panim 61, Quarterly for Society, Culture and Education, April 2013, S. 22-30.
Yoav Dagon, " Yoav Dagon-Curator, Articles & Essays", 2011,"Forgetting the Words", S.136-137. [Hebrew]
Joanna Nittenberg, "Maris", Illustriete Neue Welt (Austria)June-July 2011. [German]
Gideon Ofrat, "The Return to the Shteitel "Bialik Institute , Jerusalem 2011, S. .27, Foto 60. [Hebrew]
Joanna Nittenberg, Aus der Serie: 'Mapping of Transmutation (Sunrise)' Illustriete Neue Welt (Austria) April 2010. [German]
De'ot 43 July 2009 'The Yaacov Herzog Center ,p. 14,p.30 images from body-art series. [Hebrew]
Joanna Nittenberg, 'Brunnen der Tiefe,' Illustrierte Neue Welt (Austria), January 2009. [German]
Rivka Rass, "Dorit Feldman: Contextual Artist," Terminal – A review of 21st century art 32, Sept. 2007, p. 28.
Joanna Nittenberg, 'Divine In.Tent,' Illustrierte Neue Welt (Austria), Aug.-Sept. 2007 [German].
Angela Levine, "The Sacrifice of Isaac in Israeli Art," Anglo-Israel Magazine 3, Autumn 2006.
Michal Snunit, "Sculptured Words," Terminal – A review of 21st century art 28, summer 2006, pp. 18-19.
Angela Levine, "Seeing the Light," Jewish Renaissance 4, July 2005.
Joanna Nittenberg, reproduction from cat. The Wandering Library 2004, ,Illustrierte Neue Welt (Austria), Feb.-March 2005. [German]
Dorit Feldman, “Thought Conceiving (Virtual) Reality,” Digital Art Magazine 99, July 2003. [Hebrew]
Journal of Culture, Society and Education 22, Milk and Honey? (reproduction), “Women. Consciousness. Power,”, 2002.
Joanna Nittenberg, “Das fünfte Element,” Illustrierte Neue Welt (Austria), Oct.-Nov. 2002. [German]
Journal of Culture, Society and Education 12, “The Future is Already Here” (reproduction), 2000.
Journal of Culture, Society and Education 2. “The Soul of Democracy” (9 images created for the subject), 1997.
Paul Kaniel, “Dorit Feldman and the Cosmic Gordian Knot,” Open Museum: Israeli Belgian Arts and Crafts Association 1 (Belgium), 1996.
Haim Maor, “The Grey Cells: Reconsideration of the 1970s – a conversation," Studio Art Magazine 40, January 1993. [Hebrew]
Studio Art Magazine 20-21, Reproduction, April-May 1991.
Gideon Ofrat, The Artistic Medium (Tel Aviv: Stavit, 1986) [Hebrew] (color image on cover and textual reference). [English]
Essays in Ausstellungskatalogen:
Martin Rosenberg, J. Susan Isaacs, "The past in the present", cat. Visions of Place,(Rutgers University-Camden NJ, Towson University, Maryland USA, 2015-2016) p.18, p. 65, p. 101
Heidi Stecker,"The Library of Babel", line.light.signs. cat. Karlskaserne,Ludwigsburg, Germany, May 2014. P.2,p.5,pp.8-11.[English, German].
Moshe Zuckermann, "Mapping the Sublime", cat. Landwords ,( The Artists' Residence, Herzliya 2012),p.50-53, 59-63, 67-71 [Hebrew, English, German].
Cat. 'Piyyut , Emotion and Thought', Yoel Gillinsky, Curator, (Beit Avi Chai, Jerusalem,2011) p.74-77, [Hebrew, English]
Esti Drori and Doron Polak cat. 'Mosaic Code', (Netanya Gallery, 2011) p.9, 50-51, 80 [Hebrew, English]
Permutazioni "(PaRDeS –Laboratorio di Ricerca ,Mirano –VE, Italy 2010) [Italian, English]
Rivka Bakalash, cat. From Corpus to Light – Dorit Feldman: Three Decades (Tel Aviv: Artists' House, 2009).
David Sperber, Vice Versa (Leiber Center for Jewish Art Exhibitions, Faculty of Jewish Studies, Bar Ilan University, 2008).
Paul Kaniel, "Levels of Ambiguity," cat. Lucid Contexture (Santa Monica: James Gray Gallery, 2007), p.11.
Godfrey Barker, "Ever-Changing Awareness," cat. Lucid Contexture (Santa Monica: James Gray Gallery, 2007), p. 13.
Yael Nevo, "The God of Mystical Thoughts," cat. Mystics Here and Now (Beer Sheva: The Arts Department, Ben Gurion University of the Negev, 2005) [Hebrew].
Shimon Knoll, "From Conception to Contemplation," cat. From Conception to Contemplation (London: Catto Gallery, 2004), pp. 7-15.
Godfrey Barker, "Ever-Changing Awareness," cat. From Conception to Contemplation (London: Catto Gallery, 2004), p. 5.
Gideon Ofrat, cat. Thou Shalt Make…: The Resurgence of Judaism in Israeli Art (Tel Aviv: Time for Art – Israeli Art Center, 2003).
Yoav Dagon, “Forgetting the Words,“ cat. Transparent Channels (Luxembourg: LBLux Gallery, 2001), p.6.
Doron Polak, “An Interplay of Interactions,“ cat. Transparent Channels (Luxembourg: LBLux Gallery, 2001), p. 7.
Doron Polak, “The Common Element in Dorit Feldman’s Memory of the Future,” cat. Future Memory: Dorit Feldman & Igor Sacharow-Ross (Jerusalem: Art Center, 1999).
Shoshana Zimmerman, “Delving Deeper into the Golden Heart,” cat. Golden Heart (Tel Aviv: Julie M. Gallery, 1999).
Ilana Teicher, "Dorit Feldman," cat. Women Artists in Israeli Art, 1948-1998 (Haifa: New Haifa Museum, 1998), pp. 31-32.
Yifat Ben-Natan, cat. Dorit Feldman: Transmutation (Kiryat Tivon: New Art Gallery, 1997).
Henie Westbrook, “Erinnerungsfelder” (Salzburg, Austria: Pavillion im Zwerglgarten, 1997). [German]
Gideon Ofrat, “Flagship: Julie M. Gallery, 1975-1995," gallery book (Tel Aviv: Julie M. Gallery, 1996).
Paul Kaniel, “Dorit Feldman and the Cosmic Gordian Knot,” cat. Encoded Libraries (Graz, Austria: Galerie H.W. Lang, 1995).
Dalia Levin, "Dorit Feldman," cat. Ultima (The Forum of Art Museums in Israel, 1993), pp. 18-19.
Meir Ahronson, “Nature has Built Us a Museum: Artist. Curator. Art,” cat. 2nd Sculpture Biennale (Ein Hod, 1992).
Rachel Sukman, cat. The Spirit of the Time (Arad: Arad Museum, 1991).
Meir Ahronson, “Objective Three Dimensional” (Ramat Gan: The Museum of Israeli Art, 1989).
Gideon Ofrat, “The Creation after Dorit Feldman,” cat. Dorit Feldman (Herzliya Museum of Art, 1986).
Amnon Barzel, “Between the Phenomenon and its Visual Representation,” cat. Dorit Feldman (Herzliya Museum of Art, 1986).
Amnon Barzel, cat. Tel Hai ’83: Contemporary Art Meeting (Tel Hai, 1983).
Sara Breitberg-Semel ,cat. "The Camera as a Pencil " ,Photography as an Art Medium (Omanut La'am, Israel, 1981).