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    <loc>http://www.reuven-israel.com/blog/2015/2/5/domestic-ideals-nostalgia-and-the-home-at-lesley-heller</loc>
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      <image:title>News - Domestic Ideals: Nostalgia and the Home at Lesley Heller workspace</image:title>
      <image:caption>SBM11, 2014  Copper and coated steel rod, painted MDF and wood, 96 x 8 x 8 inches</image:caption>
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    <loc>http://www.reuven-israel.com/blog/2014/11/29/spotlight-reuven-israel-wasserman-projects</loc>
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      <image:title>News - SPOTLIGHT:  Reuven Israel / Wasserman Projects</image:title>
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    <loc>http://www.reuven-israel.com/blog/2014/11/30/artist-in-conversation-with-gregory-volk-fridman-gallery</loc>
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    <loc>http://www.reuven-israel.com/blog/2015/1/19/minimal-standard-model-at-the-tel-aviv-museum-of-art</loc>
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      <image:title>News - Minimal Standard Model at the Tel Aviv Museum of Art</image:title>
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    <lastmod>2015-06-30</lastmod>
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      <image:title>News - Re:Start | Group Exhibition | Braverman Gallery Anniversary Celebration</image:title>
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      <image:title>News - THE MUSEUM IMAGINED</image:title>
      <image:caption>Reuven Israel &amp; Joshua Neustein, The Museum Imagined</image:caption>
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    <lastmod>2016-02-02</lastmod>
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    <loc>http://www.reuven-israel.com/blog/2016/3/174ebk27l2oqn7as4vkqe82wl86g7h4n</loc>
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      <image:title>News - For-Form-Formula: Artist Talk by Reuven Israel</image:title>
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    <loc>http://www.reuven-israel.com/blog/2016/6/13/public-art-commission-city-of-tel-aviv-seter-square-2016</loc>
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    <lastmod>2017-03-20</lastmod>
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      <image:title>News - Public art commission, City of Tel Aviv, Seter Square, 2016</image:title>
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      <image:title>News - As Above, So Below / Opening Sept.14 @ Shulamit Nazarian, L.A.</image:title>
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      <image:title>News - Alien objects: Reuven Israel displays his new sculptures at Shulamit Nazarian</image:title>
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      <image:title>News - Alien objects: Reuven Israel displays his new sculptures at Shulamit Nazarian</image:title>
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      <image:title>News - ARTSY EDITORIAL: The 13 Best Booths at UNTITLED, Miami Beach</image:title>
      <image:caption>Installation view of Shulamit Nazarian’s booth at UNTITLED, Miami Beach, 2016. Photo courtesy of the gallery.</image:caption>
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      <image:title>News - Reuven Israel: As Above, so Below reviewed on ArtAsiaPacific Magazine - art asia pacific reuven israel</image:title>
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      <image:title>News - Arco Lisboa, May 17 - 21, 2017 with Fridman Gallery</image:title>
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      <image:title>News - "Twist" group exhibition @ Fused, Jessica Silverman Gallery, San Francisco</image:title>
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      <image:title>News - “In Four Acts”, Shulamit Nazarian Gallery, LA</image:title>
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      <image:title>News - OFFSHOOT | Braverman Gallery, Tel-Aviv | Nov 29, 2018 - Jan 31, 2019</image:title>
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      <image:title>News - "The Promise: Artists to Benefit CCA Tel Aviv" (open by appointment)</image:title>
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      <image:title>News - Reuven Israel: F.L.O.O.R. (Formulated, Liminal, Oblique, Openable, Rectangles) - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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    <lastmod>2024-01-26</lastmod>
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      <image:title>Works</image:title>
      <image:caption>The Last Judgement (after Buffalmacco), 2013 Watercolor on paper, 270 x 150 cm</image:caption>
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      <image:caption>SBMBOOL, 2013 Copper coated steel rod and painted MDF, 96 x 32 x 32 in</image:caption>
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      <image:title>Works</image:title>
      <image:caption>As Above, So Below Installation view, Shulamit Nazarian Gallery, LA, 2016</image:caption>
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      <image:caption>In Four Acts, installation view. Shulamit Nazarian Gallery, LA, 2018 In Four Acts features a series of new works that occupy the floor and walls of the gallery. Each sculpture originates in a flat, compact state, but is modular and has the potential to expand to form multiple variations of itself. The exhibition title refers to the dynamic state of the exhibition. During the course of the show, the works gradually unfold from minimal configurations into more elaborate adaptations. Each sculpture will change four times over the course of the exhibition, with each modification resulting in a new visual landscape. The sculptures are constructed from multiple segments of precisely-cut oak hinged together with brass hardware. The faces of each segment are coated with paint and lacquer, shifting subtly through spectrums of color. As the viewer moves around the pieces, parts appear to either recede or protrude, while the materials used for these works echo the materials used in the gallery’s architecture, creating a dialogue and a growing tessellation within the space. This new body of work marks a shift in Israel’s practice, emphasizing the idea of sculptures existing in a changeable state. By departing from a fixed form as the basis for his works, Israel proposes sculptures that are the sum of multiple possibilities, creating an evolution—with regards to shape, scale, and pattern—within a single artwork.</image:caption>
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      <image:caption>For his solo exhibition at CCA Tel Aviv, Reuven Israel conceived a new site-specific sculptural installation commissioned and produced by the Center and tailored for its first floor gallery. The work, entitled F.L.O.O.R. (Formulated, Liminal, Oblique, Openable, Rectangles), consists of thousands of wooden segments laminated in different colors. Tiling the exhibition space, these segments create tessellated geometric patterns that crisscross throughout the gallery, covering most of its floor. To physically enter the heart of the installation, to literally go through the work, visitors are obliged to tread on the locking rows of colorful segments. Unfolding from this tiled floor, multiple sculptural structures sprout up, leaving empty gaps in the tessellated wooden surface, where the pieces of wood once lay. Further advancing into the installation, the tiled floor breaks up into groups of segments creating geometric patterns and leaving swathes of bare floor to complete their negative spaces. On the other side of the installation, joint pieces of wood unravel – stretching across the gallery floor and spiraling into a loop, similar to a loose thread – and untie the work, giving a sense of transient temporality.</image:caption>
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      <image:caption>W.A.L.L. (WOODEN ARRANGEABLE LINEAR LAMELLATIONS) 18 SEPTEMBER - 30 OCTOBER 2021 Shulamit Nazarian is pleased to present W.A.L.L. (Wooden Arrangeable Linear Lamellations), a solo exhibition of new sculptures by Israeli-born, Brooklyn-based artist Reuven Israel. This will be the artist’s third solo exhibition with the gallery. W.A.L.L. will be presented concurrently with a solo museum exhibition by the artist at the Center for Contemporary Art, Tel Aviv. Titled F.L.O.O.R. (Formulated, Liminal, Oblique, Openable, Rectangles), this exhibition will feature a new site-specific, room-sized installation. This exhibition will travel to the Museum of Modern Art of Bogotá. Israel’s practice both engages with and challenges the idea of sculpture as a static object. Experimenting with color, form, and kinetic ability, his works are embedded with the possibility of change and a refusal to maintain a fixed shape or scale. In W.A.L.L., the artist presents three distinct parts of his practice: wall sculptures with sliding elements, folding structures, and semi-circular forms. While they appear to be industrially fabricated, each sculpture is the result of a painstaking process of hand-cutting, gluing, laminating, and woodworking of baltic birch plywood and medium density fiberboard or MDF. The final works play a game of visual deception as the handmade simulates the industrially fabricated and forms oscillate between pure abstraction and veiled forms of representation. In Israel’s geometric wall sculptures, the works expand, shift, and slide in various directions. As the components move, dark pigments contrast with subtle colors to reveal a surprising glow once hidden within the object’s interior space. Reminiscent of sacred geometry, the sculptures imagine the possibility of infinite division and reformation. The Unfolding Objects series consists of birchwood hinged together to create a mass that unfolds from the wall, draping out into the space toward the floor or extending upwards to tower over the viewer. An optical illusion through color and patterning deepens the way the work occupies space, creating a figure and ground confusion and simulating movement and flux reminiscent of Op Art. Israel’s semi-circular works, which appear to be separate objects assembled together, are actually realized from one solid piece of laminated MDF. Continuing a thread started from the artist's series, Another Sunset, in which Israel’s sculptures evoked forms that slip above and behind the horizon, these new works suggest lunar cycles and draw inspiration from astronomical events. While Israel’s works might evoke spirituality, symbolism, sacred geometry, or science-fiction for some, at its core, Israel’s practice opposes the impulse to be identified or named. Rather than embodying an ideology or persuasive conceptual meaning, the works aim to be autonomous objects that are self-referential to their making and construct. His series evolved from previous bodies of work, further distancing themselves from the genesis and expression of a particular ideology. The artist shares, “In my practice, I try to build a system that generates objects—like creating a vocabulary and language, and then operating in that language. I am trying to create a world while searching for meaning…. It sounds a bit mystical, but it’s not. It’s very practical.” Through seemingly minimalist shapes and forms, Israel’s works invite intrigue, opening up moments of possibility, dynamism, and wonder.</image:caption>
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      <image:title>Works - Who Tried So Hard to Break Out of Their Little World, 2011</image:title>
      <image:caption>Painted MFD and stainless steel, 73 x 80 x 163 cm</image:caption>
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      <image:title>Works - Seven Years of Turning Things, 2014</image:title>
      <image:caption>Turning works, 2006-2013</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/54775402e4b0780d55b86797/1489284029303-QKYK343HJ5QQC43DIBEQ/Reuven-Israel-as-above-so-below-catalog-cover.jpg</image:loc>
      <image:title>Publications - Reuven Israel As Above, So Below</image:title>
      <image:caption>ShulamitNazarianLosAngeles ARTISTS EXHIBITIONS ART FAIRS NEWS ABOUT   ARTSY 616 N La Brea Avenue Los Angeles, California 90036 310.281.0961 info@shulamitnazarian.com mailing list   Hours Tuesday - Saturday 10am-6pm Reuven Israel: As Above, So Below September 14 - November 11, 2016 Tales of Love and Deception: Essay by Lilly Wei View the full exhibition catalog here. Shulamit Nazarian is pleased to present As Above, So Below, a solo exhibition of new sculptures by Brooklyn-based artist Reuven Israel, marking the artist’s first solo presentation in Los Angeles. In this new body of work, Israel continues his sculptural practice that directly engages with form and color, drawing from myriad cultural references that range from religious monuments to science fiction. These sources amalgamate into autonomous abstract sculptures that simultaneously feel familiar––due to the employment of a rich range of signifiers––yet unhinged to any particular context. The sculptures activate two spatial planes, with components that anchor the ground and others that are suspended in the air. A thin, bare copper rod, originally designed for grounding electricity, serves as a connector for each form. Each piece is meticulously constructed and painted and correspondingly titled to reference colloquial phrases and descriptors for birds or snakes: Yellow Belly, White Collar, Red Neck, Black-and-Blue, etc. The title As Above, So Below is both a reference to the physical construction of the sculptures, with components existing on multiple planes, as well as to the relationship between humanity and the cosmos. While they appear to be industrially fabricated, the sculptures are actually the result of a painstaking process that involves hand-cutting, gluing, laminating, and sanding medium density fibreboard (MDF) that is then coated with industrial paints and lacquers. The resulting sculptures play a game of visual deception as the handmade simulates that which is industrially fabricated: Wood disguises itself as metal and plastic, and sculpture takes the form of a seemingly utilitarian object. Operating within the art historical lineage of Minimalism and Pop Art, but unwilling to be fixed to a particular time or place, Israel’s sculptures lend themselves to a range of associations. The works in As Above, So Below freely allude to industrial objects such as spacecraft, antennas, skyscrapers, and flag poles, and also to ritualized structures and objects of the past—temples, pottery, instruments, and weapons. This visual conundrum inherent in these cultural references empowers the sculptures with a degree of mystery, ritual, and ceremony. While their specific origin or purpose may be unknown, the objects are embedded with a quiet monumentality as they rise up from the ground and nod to the past, present, and future. Reuven Israel (b. 1978, Jerusalem, Israel) received his MFA and BFA from Bezalel Academy of Art and Design, Jerusalem. He has had solo exhibitions at Tel Aviv Museum of Art; Braverman Gallery, Tel-Aviv; Fridman Gallery, New York; and Museo Civico Floriano Bodini, Gemonio, Italy, among others. Selected group exhibitions include The Museum Imagined at Danese Corey, New York; The Museum Presents Itself 2at Tel Aviv Museum of Art; Domestic Ideals at Lesley Heller Workspace, New York; The Readymade Centennial at Haifa Museum of Art; Re:Visiting Rockefeller at the Rockefeller Archaeological Museum, Jerusalem; and Senses of the Mediterranean at Hangar Bicocca, Milan. Reuven has received several awards including the Israeli Ministry of Culture’s Young Artist Award, the Tel Aviv Museum of Art’s Legacy Heritage Fund Prize, and the America-Israel Cultural Foundation Scholarship. In April 2016, the artist completed a permanent public installation at Setter Square, Tel Aviv. Reuven Israel, from the exhibition As Above, So Below, 2016</image:caption>
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      <image:title>Publications - Reuven Israel, Multipolarity</image:title>
      <image:caption>With essays by Gregory Volk, Graham Harman Fridman Gallery, New York, 2014</image:caption>
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