Inspired by Seffi Rachlevsky’s 1998 controversial best-seller, The Messiah’s Donkey (in Hebrew). The book investigates the new creed of Messianic Judaism in Israel, which views the secular Jew as a donkey. To them, the donkey serves as nothing more than the messiah’s vehicle; ride him, then discard him.
In Patkin’s glass sculpture, the bodies of an ark of covenance and a donkey are merged together, and a crowned donkey head takes the place of the Torah.
Palagonia 1990 Inspired by the Villa Palagonia in Sicily and Bernini’s Ectasy of Santa Theresa in Rome.
The show consisted of both a sculpture and its photo representations in an ethereal play of white on white.
A white wax sculpture in the center of the gallery was surrounded by 13 perforated photographs. The photos depicted details of the white wax sculpture, which were photographed against various white lace backgrounds. Portrait of a Bust Text by Edit deAk1989
I love all this gargoyle stuff. The imaging of the spirit world; masks, mirages, shadows, refractions, ghosts, grotesques, grisailles, etc. - - These interfaces of intangibilities get their only chance at existing for real, as an image . . . they better live up to the clouds
wax, gold leaf, wood, and mixed media, 52” x 108” x 72”
“To Whites every Black holds a potential knife behind the back, and to every Black the White is concealing a whip. We were born into this dialogue and to deny it is fatuous. Our responsibility is to overcome the sins and fears of our ancestors and drop the whip, drop the knife. In Izhar Patkin's parable of racial cannibalism we see that when a man with a .45 meets a man with a shotgun I guess the man with the pistol is a dead man.”
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Black and White 1981
40” x 52" photograph, chrome coat paper, enamel private collection
64” x 40” (incorrect) enamel on pleated vinyl, framed private collection
26” x 35” perforated chrome coat paper and photographs collection: Brooklyn Museum