I'm a photographer and digital media artist whose practice examines the politics of image-making in contested geographies, particularly Israel/Palestine. I work across 3D modeling, mapping, drone photography, and archival research to examine photography's entanglements with colonial and territorial politics.
I'm an Assistant Professor of Photography at Parsons School of Design, The New School.
On the Optics of Mount Scopus presents an imaginary commencement speech at the theater of the Hebrew University Mount Scopus Campus. Since the inauguration of the Hebrew University’s campus on the top of Mount Scopus in 1925, the theater and its scenery have been the backdrop of major events in the history of Zionism and Israel. Since 1990 it has also been the scenery looked upon by the Bezalel Academy of Arts and Design, ever since it moved to its new Mount Scopus campus. This landscape has been a subject of numerous paintings and photographs throughout the last century, and their number greatly increased since Bezalel’s relocation to the site.
The repeated subjection of the landscape as an artistic subject has been just one of the excuses made by the Israel Nature and Parks Authority in creating the Mount Scopus Slopes National Park. The National Park is part of a chain of parks surrounding Jerusalem, that have been purposely designed to limit the expansion of Palestinian neighborhoods and to deny Palestinian livelihood in the city.
The video work is an exploration of the history of photography at the site, using a three-dimensional model to reconstruct the theater as a photographic apparatus and to discuss the role of landscape image-making in the context of the Zionist colonial project as a whole.
While I recognize the importance and impact of direct action against Israeli cultural institutions, I see my role in working to mobilize shame from within. I feel compelled to remain in conversation with that place and those who must reckon with it, even as each opportunity involves its own shame.
In this article, Noam Gal pays tribute to Allan Sekula’s essay “The Body and the Archive” (1986), analyzing the creative practice of two contemporary camera artists, Tomoko Sawada and Shabtai Pinchevsky, and the various social concerns their works evoke.
Can a Self-Driving Car Navigate an Apatheid Road will be screened at the Artport Artist Film Festival in Tel Aviv and Jerusalem.
The First Trail will be exhibited as part of Counter Landscape, curated by Karmit Galili, at Magasin III in Jaffa.