Protfolio tomer

Tomer Itzhak Portfolio

Hello, My name is Tomer Itzhak from Rishon Le Syion, Israel. I am currently pursuing my 3rd year of design studies in Visual Communication Department at Holon Institute of Technology, Israel. My favorite classes are Typography and Photography.

Often creating art and design in socio political identity is my forte. Being very influenced by the changes in the society of Israel, allows me to express design through a conceptual medium.

I am very curious in learning new ways of thinking and approach which would allow me to see a different perspective of design. I would aspire to learn through sharing of knowledge which will open my thoughts to a varied extent of learning by broadening my horizon as much as possible, because the more I know, the more I will experience. So... here are few of my works, I hope you will like them.

Thank you for your attention Tomer Itzhak

“Mom: All right?

Me: Of course, what a question ?!

We make jokes”

White Lies

Event design: Scarred Design and development of a fictitious event………..

My personal expressions. The pain of combat troops lost from sight of society and fighters dragging images are etched into the soul of their own. They are in the grey area that has no answer.

Event included: Scars, what the soldiers unload, tell, sing, and recite in front of the audience, segments they realized to the community what they are going through in their hearts.

The project includes: Poster, booklet, songs, website, and video.

Series of events : Video to convey the feeling of being in war Scars - Warriors, unload

Series of events : Soldiers expressing through unloading Scars - Warriors, unload

Series of events : Takeaway cards - notes and poems from anonymous soldiers Scars - Warriors, unload

Tools in the event - war of inspiration

‫לוחמימ פורקימ ‪ -‬ערב הקראת שירה‬ ‫‪ 10‬למאי ‪ ,19:00 2016‬בית י ד לבנימ‪ ,‬שדרות קוגל ‪ ,11‬חולונ‬

‫‪Poster for the event:‬‬ ‫‪Scars - Warriors, unload‬‬ ‫‪70cm X 100cm‬‬

Booklet for the event: The booklet contains poems and visuals of various incidences faced by soldiers during their serve in the military 15cm X 15cm

Artist Ed Ruscha’s hard-edged brand of

Utility Modern. Inspired by the truncated edges of

California Pop is as singular as it is evocative

the Hollywood sign, the typeface is transformed

of contemporary Americana. But along with the

as letters take the place of characters on a

highway iconography and gauzy California light

stage, hovering in middle distance with a three-

that characterize much of his work, there’s another

dimensionality all their own. The result? Images

element at the core of the artist’s oeuvre: text.

that land somewhere between clarity and mystery, symbol and signifier, art and poetry.

Ruscha’s first brush with artworld acclaim came in 1960s

In the lithograph Mark Twain Quote from 2012, Ruscha takes his ongoing relationship with text

with a series of paintings of single words rendered in polished logo-like typography.

Set against plain colored

and image to an even more meta dimension. Here,

backgrounds, the text stood out like enigmatic messages the words themselves easy

of the shadow cast by the letters—the image holds

he “borrows” from an artistic predecessor, while casting doubt on the very idea of the ownership of ideas with his dubious citation. Regardless, as the viewer reads English—or German, as in the case fast as a visual statement. Layers of meaning are wrapped up in a sleek visual package as language dissolves into form.

to read, but their meanings entirely ambiguous. That intersection between text and image has been a recurring theme of Ruscha’s artistic output ever since.

By superimposing quotations and other deadpan sayings over landscapes, starkly lit backdrops, or flat fields of color, like title cards from film, Ruscha elevated words to the status of subject.

Since 1980, he has delved deeper into this uneasy relationship with the introduction of the (now-iconic) self-designed font he calls Boy Scout The Mountaim, 1998. 193x182.9 cm

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Catalogue design: Text and Image Typography project Design of a catalogue, a fictive exhibition of art and language of 20th century.

Idea of art and language inside conceptual art into different levels of typography.

The artists are: Barbara Kruger , Ed Rusha, John Baldessari , Joseph Kosuth , On kawara This is the first student book displayed in the library of the college.

Original size: 19.5 x 24.5 cm.

Current number of pages: 169

I was getting tired of hearing the complaint,

I’m curious about your longtime interest in language.

Were you always fascinated by words?

Interview by Susan Sollins

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“ WE DON’T GET IT. WHAT’S MODERN ART? “ John Baldessari

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he wrote: “Dear Karlyn, I’ll be in touch with On and get back to you as soon as possible.

He will say no most probably, and of course that will signify he is still alive.

With best wishes, Jonathan” I appreciated his support very much and was full of hope. Would there still be a chance to hear from On Kawara? Two days later, on 24 March 2011, Watkins wrote again: “Dear Karlyn, It’s a ‘no’ I’m afraid.

With best wishes, Jonathan” At first, I was thrilled about the email. But did this ‘no’ come directly from On Kawara himself?

I asked Watkins kindly for a confirmation. Until today, I did not hear from him anymore.

No answer.

January 16, 2009

Dear On Kawara, Do you think the meaning of your work will change essentially after your death?

Daniel Marzona Director, Konrad Fischer Gallery, Berlin, Germany

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Just an

Artist

I think I wanted to be a social worker. My father was Catholic and my mother was Lutheran. We went to a local Methodist church and I

John Baldessari discusses language and communication, and how many years of teaching, from preschool to college level, influenced his work in the studio.

[Interview]

certainly got a love of literature reading the King James Version of the Bible. I got a real sense of moral obligation and I think that’s why I was a late starter in art because art didn’t seem to do anybody any good that I could see. It didn’t heal bones; it didn’t help people find shelter. Teaching juvenile delinquents was a real eye-opener for me, because they had a stronger need for art than I did. And they were criminals. We had no other shared values, but they cared more about art then I did. It dawned on me that it must provide some sort of spiritual nourishment—as terrible as that sounds—but it must.

I’m curious about your longtime

exactly how this happened—it seemed

words. That’s a description that seems

two years of living in Los Angeles. I

aware of all of the art around me and I

San Diego Fine Arts Gallery. Then I

interest in language. Were you always

to me that a word could be an image

to make me feel comfortable. And I

needed a job, so I started teaching

probably would have been laughed at.

got a job teaching in San Diego public

fascinated by words? It might have

or an image could be a word. They

still have the idea that an image and

in San Diego public schools. That put

In fact, when I tried to show my work

high schools. And then I taught at the

started back when I was painting, this

could be interchangeable. I couldn’t

a word could be interchangeable.How

me back in National City, where I was

around galleries in Los Angeles, that

La Jolla Museum for preschoolers,

idea, which wasn’t unique to me, that

in my mind prioritize one over the

do you feel about people applying the

born. At the time I felt pretty isolated,

was pretty much the result. I’m glad I

a program that was funded by Ted

language could also be art. I never

other. For a lot of early work, I would

term “conceptualism” to your work?

but looking back on it, it was very

stayed in National City because I was

Geisel, Dr. Seuss. Then I taught junior

quite understood categories. Words

have files of photographs that I would

if you asked any artist that you might

valuable. I had the idea that I would

able to find out what was bedrock for

high in a ghetto district. And I taught

are a way we communicate, images

take off TV and then I would have an

think of as conceptual now, if he or

just lead a normal life in National City.

me about art. So what was bedrock?

juvenile delinquents for the California

are a way we communicate, and I

assistant attach on the back of the

she would use that term, the answer

You know, I’d get married and have

That art making is essentially about

Youth Authority. I taught adult school

couldn’t figure out why they had to be

image a word that she thought could

would be, “No, I’m not a conceptual

kids, paint on weekends, teach high

making a choice. I felt that was

and community college prior to

in different baskets. I was getting tired

be its surrogate. And then I played:

artist.” Once I said to Claes Oldenberg,

school, and that would be it. But my life

fundamental. My guess is that when

teaching at the University of California,

of hearing the complaint, “My kid could

I would make a sentence out of the

“You’re a pop artist.” He said, “No, I’m

began to change after I moved back.

you were a teacher you did a lot of

San Diego. Then I was asked to teach

do this,” and “We don’t get it. What’s

words. And then for that sentence, I

not; I’m an artist.” And Roy Lichtenstein

I thought no one was looking or

provoking, provoking students to

at CalArts. In the mid-1980s, I got

modern art? Blah, blah, blah.” And I

would use the images instead of the

said the same. I have the same feeling.

listening at that point, so I decided to

think and to look. What age groups

a Guggenheim grant and left for a

wondered what would really happen

actual words, kind of flip-flopping. In

Conceptualism doesn’t really describe

use text and never touch a canvas. I

did you work with? I’ve taught every

while. I started to miss teaching, so I

if you gave people what they wanted,

my multiple image pieces, I probably

what I do. If somebody wants to use

hired a sign painter to paint the text

level imaginable. I got my B.A. degree

called up friends at the University of

something they always look at. They

had the idea that there was a word

that term, it’s fine, but I’d prefer a word

for me and I’d purposely say to the

at San Diego State University and I

California, Los Angeles and said, “I’ll

look at magazines and newspapers,

behind them and I was building blocks

that’s broader and better. I’m really just

sign painter, “I don’t want it to look

began teaching right away because

teach half time.” They said, “Fine.” And

so why not give them photographs or

or frames. I don’t do this so much

an artist. Tell me about growing up in

decorative in any way but more like

one of my instructors got ill and

I quit working there about four years

text? That was the motivation and

anymore, but some parts of my work

a small town and moving back there

‘keep out’ or ‘no trespassing’ signs.”

asked me to take over his classes.

agocurriculum. Students about in the

when I moved in that direction, thinking

are multiple frames that I’m probably

after college? I was going to Otis Art

I don’t think I could have gotten away

My second experience was teaching

classroom and vice versa and they’re

about language—and I don’t know

building like a writer or poet builds with

Institute and I got tired of that after

with it in Los Angeles, because I’d be

a Saturday life drawing class at the

interchangeable. work.

Interview by Susan Sollins at the artist’s studio in Los Angeles, California, July 2008. Published: June 2013.

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© Art21, Inc.

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if you happen to be in London, Skarstedt Gallery revisits the early works of the conceptual artist Barbara Kruger, from the 10th of February until April 11. The exhibition features her seminal early works of the 1980s, the characteristic large-scale black and white photographs in an equally characteristic red enamel frame overlaid with

whole world. Her chosen method is the overlaying of images she gathers from newspapers and magazines and small sentences, sort of slogans.

quite provocative captions in bold Futura type;

Barbara Kruger This is her story in her own words

The artist communicates all these messages with an

this body of works consists of the captions in her choice of font, though the artist has said that as far as the type of captions is concerned, whatever works!

economy and consistency of typography and means. Her critique on society and culture is very dense and direct, both very important elements, especially in a time when the attention span of people is extremely limited. The observer simply cannot neglect Kruger’s work. Some emblematic captions such as “I shop therefore I am”, “Love for sale”,

On how she perceives art making

“Your body is a battleground”, challenge the sensitive

“It is about objectifying your experience of the world,

Born in Newark, New Jersey in 1945, she studied in

themes of consumerism, identity, feminism and are open

transforming the flow of moments into something visual, or

Parsons instructed by Diane Arbus, whom she considers

to multiple interpretations. Barbara Kruger unfolds in a

textual, whatever. Art creates a kind of commentary.”

to have been a great influence. After leaving Parsons,

very laconic way hypocrisies and puts the observer in the

she started working as a graphic designer at Condé

position of the sinner and the saint, the criminal and the

On the letterforms she uses

On culture and American cities

Nast Publications, where she learned how illustrations,

victim through her bold messages.

“I’ve done pieces that don’t have Futura. Actually, when

“If most American cities are about the consumption

I need type that has to be set very tightly I always use

of culture, Los Angeles and New York are about the

messaging and mass media semiotics work but decided that this career was not for her so she transitioned and

What is so powerful about her oeuvre is that it has proved

Helvetica Extra Bold caps because it sets tighter than

production of culture, not only national culture but global

pursued a career in art. So far, Barbara Kruger created

to be timeless as she keeps expanding her work according

Futura. It cuts through the grease. That’s why I like it. I don’t

culture. You can make good art anywhere. But these two

a very consistent body of works, an art form with an

to the changes of today maintaining their high criticality. The

like to talk about my influences, but certainly they include

towns have an incredible density of cultural producers:

undeniably recognizable aesthetic.

artist is always present, she observes the contemporary

30 years of New York tabloid newspapers, plus the films of

people who migrate to them in order to define themselves

society and continues to form a critique with her own

Sam Fuller, that black and white stuff.”

through their work that they do.”

On fame and recognition

Her background resulted in the continuous exploring of

signature style taking into consideration the explosion of

the themes of power, control, body, money, consumerism,

social media in the highly digital environment we live in.

On her artistic vocabulary

identity, Barbara Kruger believe.

Kruger’s work still influences a lot of young artists and

“The so-called language of Barbara Kruger is vernacular

“It’s good to keep in mind that prominence is always a mix

serves as food for thought every single time. There is one

language. Obviously, I pick through bits and pieces of it and

of hard work, eloquence in your practice, good timing and

tiny concern though; the artist has undoubtedly created a

figure out to some degree how to objectify my experience

fortuitous social relations. Everything can’t be personalized.

group of works that is effective, powerful and emblematic.

of the world, using pictures and words that construct and

Prominence is cool, but when the delusion kicks in it can be

a bit apathetic towards well-meaning provocation and

contain me as artist and as person.”

a drag. Especially if you surround yourself with friends.”

Barbara Kruger keeps challenging the American culture and society which has strongly influenced the

criticism. But as she says,Talk is cheap.

Words by Dimitra Nikolou, Art historian and Lawyer at art

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Branding : 223 cocktail bar Designing for a bar - brand identity To develop a visual language by designing 5 elements for the brand which includes - logo, menu, website, accessory and standee.

The idea is find the right balance between classic and american art decor.

Photography design: Israeli Jewish Arab Design in the context of Freedom of expression The Project talks about expressing self- identity and racism through the medium of photography and typography – interpreting the ironical existence of discrimination.

Display of these expressions in the gallery, appreciated by people with similar thoughts.

The project includes: Poster photograph and type Size: 100cm X 70cm

Logo Design: For Wine by wine Designing a simple wine bottle opener. The logo was designed from wine.

The smaller logos are sketches, the large one is the final logo.

The Cat - A mixed media art from oil ink and water.

Application Design: Coll Haitzuv To design tools of application for accessing to the requirements of the students in the college.

The idea to connect students within college to the informative environment and better accessibility to the facilities, events, art and design exhibitions within.

The application is brought by Holon Institute of Technology, Israel.

Commercial Art design: Brain Wash This piece of conceptual art design shows the intensity of media penetration into the minds of people influencing the decision making in a larger picture.

“GOLDEN� Tel Aviv This painting represents the socio mass centralization in Tel Aviv faking the charmness and ignoring the reality