the book "israel - photography paths"

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A photography book by Chanan Getraide, about Israeli landscapes and peopleאלה רק כמה דוגמאות מתוך 30 פרקי הספר ומתוך 416 עמודיו. כל פרק של טקסט ממשיך עם 8-15 צילומים מאותו נושא. הספר מסכם 3 עשורי צילום שלי, שהתפתח במקביל להתפתחות הצילום הישראלי באותה תקופה. השקת הספר תהיה ב3 לאוקטובר בבית סוקולובMy book Israel – Photography Paths encapsulates three decades of my photography works in all subject areas. In the texts that accompany the images, I describe the development of my art during the decades in which Israeli photography gained wide recognition as an artistic entity in its own right. Personally, photography took me on a journey to magnificent natural as well as manmade landscapes, and between them, to an encounter with the ubiquitous and all-embracing human element. I would not have arrived at all those places or met all those people without the camera acting as the bridge between me and the sights unfolding before my eyes. This book invites you, too, to visit places where you've never been. These are some samples out of the 30 chapters of this book, which contains 416 pages. Each chapter opens with a written text follows with 6-15 images.

TRANSCRIPT

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  • Chanan Getraide

    Israel - Photography Paths How Sweet is the Light (Ecclesiastes 11:7)

    It is with a deep sense of gratitude and appreciation that I dedicate this bookTo my dear wife Sofia for her patience, support and constructive comments,To my wonderful grandchildren who were kind enough to force me off the computer from time to time, And to my beloved children and family, who came on time to put me back to work. All of you were constantly on my mind as I was working on this book

    To see a world in a grain of sandAnd a heaven in a wild flower,Hold infinity in the palm of your handAnd eternity in an hour.

    Fragments from Auguries of Innocence by William Blake

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  • Editors: Moni Blech, Chanan Getraide

    Graphic Design and Editing: Studio Moni Blech

    Hebrew Text Editing: Orna Frimerman

    English Translation: Ami Asher

    English Text Editing: Deena Reved

    English Translation of Prof. Zukerman's Introduction: Aya Breuer

    Negative & Positive Scanning: Ofek Digital Print, Moadon Zilum Rehovot

    Legal Adviser: Attorney Gilad Corinaldi

    Production: Eliezer Sacks, Cordinata

    No aerial photography or image processing in this book.Most of images were taken with Hasselblad format 6X6cm. Other images with Nikon F2 and Nikon D300.

    Printed in Israel 2013Keter Printing House, Jerusalem

    All Rights for Text & Photographs Reserved to Chanan Getraide 972 -52-3992321 chanan@shiller.org.il

    No part of this book may be reproduced, stored in a retrieval information system, scanned, duplicated, photocopied or recorded in any current or future format without permission in writing from the Publisher.

    Chanan Getraide

    Israel - Photography PathsHow Sweet is the Light (Ecclesiastes 11:7)

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  • Content

    Introduction Prof. Moshe Zukerman

    The photography of Chanan Getraide David Rubinger

    Foreword Chanan Getraide

    Early Beginnings

    The Photography Department

    Like Fire in a Dry Forest

    New Exhibition Venues

    The Decisive Moment

    Learning Any Which Way

    Black and White and my Uncle Julian

    Landscape Photography

    The Israeli of all Landscapes

    Landscapes Begin at Home

    Landscape is North, Landscape is South

    A Picture Book Morning

    Industrial Environment Photography

    People in Their Workplace

    British Military Cemeteries in Israel

    Royal British Legion Pilgrimage to Israel December 1994

    Israeli Space: People and Walks of Life

    When an Elephant Becomes Environmental Art

    Fire! And What Is Left

    Association of Professional Photographers

    The Haifa Oil Refineries

    Portraits are People

    With Joy Shall Ye Draw Water

    Electricity and Power Stations

    The Villagers of Drijat

    The Color of Salt

    Jerusalem

    Closer to Home

    The Poetry of Photography

    The Last Sunset of the Millennium

    My Scenic Mural in New York

    Epilogue

    I

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  • IIntroduction

    Prof. Moshe Zukerman

    Writing about photography is by no means a small feat. Since photography, or at least conven-tional photography, documents a segment of existing reality, writing about it stands the risk of slipping into narrative portrayal of its objects, and thereby into thematization of the reality it records. What is the status of a photograph the purpose of which is reduced to a mere stimulus for an act extraneous to its essence as such, namely, to a pretext for talking about it instead of looking at it?

    Writing about documentary photography made by someone conscious of the artistic prac-tice he is immersed in as well as articulates himself whatever he has to say about his craft is even harder. What is the use of writing about a work of art whose maker has already clarified in writing what motivated him to make it, and has commented on and deciphered it, as well as reflected generally on the artistic act and its historical and cultural contexts?

    Writing about Chanan Getraides body of photographic work is especially hard: not only has he shared with us his thoughts about his own photographs, motivations and passion for the photographic act; he has also presented his historical and sociological critique of the field of Israeli photography. Moreover, in his book May Photography In Israel, he has also classified and cataloged the various genres of his photographic practice, and expounded the logic behind their intertwining and fusion.

    The classification and cataloging of Getraides body of work is anchored, primarily, in his biography or, rather, in his extra-photographic living reality, which of course is also reflected in his photography. Although it may seem so, this statement is far from self-evident. As a rule, one should try to separate the creator from his or her creation, if only in the basic sense that the in-ner logic of a work of art, its autonomy as a system of compositional organization of materials, is constituted as something immune to what is external or extrinsic to it. It abides only by that which is necessarily inferred by the logic guiding its intrinsic dialectical relation between form and content. This, undoubtedly, is also true as far as Chanan Getraides photographic enterprise is concerned. Nevertheless, mentioning the fact that the artist is a member of Kvutzat Shiller )a kibbutz in central Israel) seems merited in this case. For years, his photography has been dedi-cated to the documentation of kibbutz people and their life in particular, and of Israeli natural, industrial and agricultural landscapes in general. His is essentially a photography of people in their work environment, of Israeli families ways of life, and also, as a deflection from these genres, of mandatory Palestinian British military cemeteries. The connection between these aspects is quite obvious: Chanan Getraide is an Israeli photographer/artist, Israeli of a certain species, of a certain generation, who epitomizes, as it were, a certain way of life in Israel.Does this make Chanan Getraide an ideological artist? The answer to this question is contingent

  • II

    on ones concept of ideology. If one perceives it as related to a gamut of values, beliefs, and stances, then the answer must be yes. Chanan Getraides photographs certainly reflect such a gamut. Thus, for example, we can assume that his documentation of kibbutz people and their life is biographically inspired: it derives from his sympathy for the reality and contexts in which he himse