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contradictory position—the artist as laborious maker of objects empty of any functional, social or aesthetic value—becomes even more acute when the result carries a monumental and architectural tone; this is particularly visible in two cases: the first is a series of black lines through which the artist took control of the peculiar shape of the exhibition space hosting her solo show at the
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In her practice, Arad works to undermine structures of power and authority. Her installations are a result of an ongoing examination and interest in architectural environments and domestic objects. Using the language of the bureaucratic secretarial action, Arad converts architectural structures and
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Arad's conceptually artisanal and time consuming tasks are never immediately showing the amount of energy that the artist invested in their making; quite the opposite they are presented with a degree of nonchalance and carelessness that is deeply organic to Arad’s position as an artist. This
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foundations into everyday office materials. With an apparatus that is traditionally coded as feminine, she builds and then deconstructs images of masculine power.
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In 2016 Arad's work was included as part of the exhibit, "Father
Figures Are Hard to Find" at the
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sculptor and installation artist born in 1985. She lives and works in
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2015: Table
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62:(2010), and a Masters from the School of the art Institute of
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2017: Love
Handles, Dortmunder Kunstverein, Dortmund, Germany
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54:. Arad gained her bachelor's degree in visual art from the
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361:"Naama Arad - love handles - Dortmunder Kunstverein"
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Israeli sculptor and installation artist (born 1985)
347:"Exhibitions – Sommer Gallery For Contemporary Art"
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153:2016: Falling Water, Four A.M., New York, USA
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123:Student Exchange Program, Vienna, Austria
116:Bachelor of Fine Arts, Jerusalem, Israel
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60:Jerusalem
91:Exhibits
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66:(2014).
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30:) is an
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