0017 Landscape Painting

Rewriting Painting in the Postmedium Condition

  • Nissim Gal (Author)
    Zagreb, Institute of Art History

    Nissim Gal is Lecturer on modern and contemporary art at the Department of Art History, University of Haifa, Israel. His PhD dissertation, The Fictitious Unity of the Subject: Investigating the Question of the Subject in American Art after World War II, was approved with distinction. He is the author of Ilana Salama Ortar: La plage tranquille (Montpellier 2007) and of The Portrait of the Artist as a Facial Design (Tel Aviv 2010). His articles have been published in various academic specialized journals. He is the co-editor of The Beauty of Japheth in the Tents of Shem: Studies in Honour of Mordechai Omer (Tel-Aviv 2010, with Hana Taragan) and currently editing Observing the Work of Dorothy Robbins (forthcoming, Haifa 2011).

Identifiers (Article)


Is landscape painting still relevant today? To answer this question the article examines the work of the contemporary artist Yehudit Sasportas. Sasporas offers a unique kind of written-drawn landscape painting that moves between the manual and the mechanical. The theoretical perspectives from which it is approached are taken, among others, from Plato, Heidegger and Derrida on the issue of writing. Sasportas painting, which may be characterized as "painting under erasure" or "Landscape Painting", serves as a key to understanding the status of painting as a relevant medium, not because it defines medium according to the modernist Greenbergian formula, but because it enables an understanding of painting as a field that exists in a variety of media. Painting as a field, in Sasportas's art, works and lives within various techniques and materials, even when it includes within itself a melancholic mark indicating doubt about its own relevance.


Yehudit Sasportas, Landscape painting, Medium, Writing, Martin Heidegger, Jacques Derrida, Jay M. Bernstein, Rosalind Krauss, Landschaftsmalerei