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Zigi Ben-Haim: Catalog of Works and Images
No full textZigi Ben-Haim was five years old when his family fled his birthplace of Baghdad, Iraq, and immigrated to Israel via Iran. It was Tel-Aviv where he spent his adolescence and graduated from the Institute of Fine Arts in 1970.
Following a solo exhibition as a young artist, the America Israel Cultural Foundation awarded him a scholarship to study abroad. Zigi arrived in California and enrolled in California College of Art in Oakland and San Francisco State University. After graduating and receiving his MFA, Zigi set off for the East Coast and have been living and working in SoHo, New York City since 1975.
In the 70's, various materials such as discarded papers, ropes, concrete, and branches, which Zigi was surrounded with in his SoHo neighborhood, were the tools to express his ideas. This period shaped the foundation of his work and Zigi still continues to use materials found in the streets in his work to this day. However, he added aluminum, canvas and steel mesh to better emphasize his concept of bringing contradictory worlds together.
Zigi Ben-Haim's artworks walk on a very thin line between abstraction and representation and are the footprints of identity as seen through his multi-cultural experience. He received awards from the National Endowment for the Arts, German Academic Exchange Service (DAAD) and Pollock-Krasner Foundation among others. His works are included in museum collections such as the Guggenheim Museum, Brooklyn Museum, Israel Museum and Tel-Aviv Museum.
Types of work: painting, sculpture, drawing
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From Germany to Palestine: a Comparison of Two Choral Works by Paul Ben-haim – “Joram” and “Kabbalat Shabbat”
Get PDFThe choral music of Israeli composer Paul Ben-Haim (1897-1984) falls clearly into two distinct compositional periods. Born in Munich, Germany as Paul Frankenburger, the composer received formal, classical training at the Munich Academy of Music. His compositions from this period are an amalgamation of many styles, and they include influences of Bach, Handel, Mahler, Debussy, and Strauss. In 1933, Ben-Haim, along with other trained artists and composers, immigrated to Palestine as part of the Fifth Aliyah. Prior to this wave of immigration, Palestine had not yet received any serious composers, and musically, was still in its infancy. Eager to divorce themselves from the West and identify with their new home in the East, Ben-Haim and his fellow transplant composers sought a new musical language and a unique voice for Israel. Enamored with the exotic sounds of his new environment, Ben-Haim began to absorb elements of Eastern Mediterranean music into his compositions. As a Westerner, he was not familiar with these Eastern traditional folk song melodies, modes, and scales, and he required outside source materials from which to draw. This document examines two choral works, one from each of Paul Ben-Haim’s style periods, Joram (1933) and Kabbalat Shabbat (1968), and identifies the compositional source materials that yielded a significant change in the character and style of his work
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Zigi Ben Haim - ART CART Oral Histories
No full textThe interview with New York City artist Zigi Ben-Haim, focusing on the back stories behind his works from the 1970s until the present, is a journey that leads through different cultures and life experiences. The artist’s work in the ‘70s registers his first step to balance the differences between his Israeli cultural tradition and his new life in the US when he first moved to the country. It was from that time on that the urban landscape of SoHo and his travelling experiences became his primary sources of inspiration, and that “surface,” “materials from the outside of the art world,” “the old and the new,” and “culture and nature” became the key notions he has been painstakingly exploring through his entire career trajectory. When it came to his projects in the ‘80s and ‘90s, the ants carrying leaves in the rain forest of Costa Rica, the various figurines of gods in a Russian Church, and the tire of the Columbia Shuttle he got from NASA all added layers to Zigi’s art that he considers as the footprints of his life. This interview reveals how art has played an important role in maintaining a consistent and purposeful life for the artist, during which he has always reflected on the old but simultaneously adopted the new
Basman Ben-Haim, Rivka. The Thirteenth Hour: Poems. Translated by Zelda Kahan Newman. Woodstock, NY: Mayapple Press, 2016.
No full textReview of Basman Ben-Haim, Rivka. The Thirteenth Hour: Poems. Translated by Zelda Kahan Newman. Woodstock, NY: Mayapple Press, 2016
Review of Carmel Quartet, with Shuli Waterman, viola. Paul Ben-Haim: Chamber Music for Strings. Toccata Classics (TOCC 0214).
No full textReview of a CD of string music by Paul Ben-Haim. Touches on issues of identity, diaspora, and reception
Travailler la déchirure : Pli (2021), une création aérienne de Inbal Ben Haim, Domitille Martin et Alexis Mérat
No full textInternational audienceThrough the acrobatic movement of the body in the air, aerial practices in circus expose practitioners and artists to great vulnerability through the risk of falling. In contemporary circus where technical prowess is no longer a fundamental principle, the danger exposure is not only a consequence of aerial spatiality, it can also become a motif used by artists who assume and show fragility of their human condition. This article aims to analyze the treatment of fragility in contemporary French aerial circus based on the observation of the creative process of Pli (2021), an encounter between circus and paper orchestrated by rope artist Inbal Ben Haim, visual artist and scenographer Domitille Martin, and engineer and folder-creaser Alexis Mérat. We will observe in particular how the aerialist’ s experience of injury and empirical knowledge of paper led to the development of an aerial practice of attention to the apparatus. Furthermore, the creation highlights the instability of paper apparatus through their crafting and destruction on stage, thus disrupting the pejorative dimension of fragility towards an opportunity for transformation. The analytical description of Inbal Ben Haim’ s aerial work within the creation of Pli will illustrate the acrobatic possibilities offered by a fragile material while challenging the figure of the aerial artist mastering her body and dominating the apparatus.Par l’évolution acrobatique du corps dans l’air, les pratiques aériennes dans le cirque exposent les praticien·ne·s et les artistes à une grande vulnérabilité par le risque de chute. Dans un cirque contemporain qui n’emploie plus la prouesse technique comme principe et moteur de son existence, l’exposition au danger n’est plus seulement une conséquence des configurations spatiales de l’aérien, elle peut devenir un motif employé par des artistes qui assument et donnent à voir la fragilité de leur condition humaine. Cet article a pour objectif d’analyser le traitement de la fragilité dans le cirque aérien contemporain français à partir de l’observation du processus de création de Pli (2021), une rencontre entre cirque et papier orchestrée par la cordéliste Inbal Ben Haim, la plasticienne et scénographe Domitille Martin et l’ingénieur et plieur-froisseur Alexis Mérat. Nous observerons notamment comment l’expérience de la blessure chez la circassienne et la connaissance empirique du papier ont conduit au développement d’une pratique aérienne de l’attention envers l’agrès. Par ailleurs, le spectacle met en avant l’instabilité des agrès de papier par leur fabrication et leur destruction à vue, nous forçant ainsi à bousculer la dimension péjorative de la fragilité vers une opportunité de transformation. La description analytique du travail aérien d’Inbal Ben Haim au sein de la création de Pli illustrera les possibilités acrobatiques offertes par un matériau fragile tout en remettant en cause la figure de l’artiste aérienne maîtrisant son corps et dominant l’agrès
Faculty Recital, Gila Goldstein, September 16, 2013
Get PDFThis is the concert program of the Faculty Recital, Gila Goldstein performance on Monday, September 16, 2013 at 8:00 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Partita no. 6 in E minor by Johann Sebastian Bach; Polonaise op. 26 no. 1 in C# minor, Nocturne op. 62 no. 1 in G major, and Barcarolle op. 60 in F# major by Frédéric Chopin; Vallée d'Obermann by Franz Liszt; and Five Pieces op. 34 by Paul Ben-Haim. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund
Home bias in financial markets: robust satisficing with info gaps
Get PDFThe observed patterns of equity portfolio allocation around the world are at odds with predictions from a capital asset pricing model (CAPM). What has come to be called the “home-bias” phenomenon is that investors tend to hold a disproportionately large share of their equity portfolio in home country stocks as compared with predictions of the CAPM. This paper provides an explanation of the home-bias phenomenon based on information-gap decision theory. The decision concept that is used here is that profit is satisficed and robustness to uncertainty is maximized rather than expected profit being maximized. Furthermore, uncertainty is modeled nonprobabilistically with info-gap models of uncertainty, which can be viewed as a possible quantification of Knightian uncertainty.
Managing uncertainty through robust-satisficing monetary policy
Get PDFWe employ information-gap decision theory to derive a robust monetary policy response to Knightian parameter uncertainty. This approach provides a quantitative answer to the question: For a specified policy, how much can our models and data err or vary, without rendering the outcome of that policy unacceptable to a policymaker? For a given acceptable level of performance, the policymaker selects the policy that delivers acceptable performance under the greatest range of uncertainty. We show that such information-gap robustness is a proxy for probability of policy success. Hence, policies that are likely to succeed can be identified without knowing the probability distribution. We adopt this approach to investigate empirically the robust monetary policy response to a supply shock with an uncertain degree of persistence.Knightian uncertainty, Monetary policy, Info-gap decision theory.
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