Israeli Painter Yigal Ozeri Discusses Global Success and Post-Oct. 7th Art World

Israeli painter Yigal Ozeri, who has lived and worked in New York for 35 years, is set to exhibit his new collection, "Road Trip," at the ZIMAK Gallery in Tel Aviv on October 22nd. The exhibition, inspired by his cross-country journey in the US, features themes of highways, diners, cars, and women in cowboy boots, embodying freedom and the American dream. Ozeri, known for his hyperrealistic style that makes oil paintings appear like photographs, has works in major international collections, with prices ranging from tens of thousands to hundreds of thousands of dollars.

Ozeri, 68, who left Israel in 1991 without formal art training, has become a prominent figure in photorealism, represented by ten galleries worldwide. His career began with a successful exhibition in New York in 1991, where all his works sold for $35,000, a sum equivalent to the price of a single painting today. He openly discusses his financial success, stating he earns well and that his prices range from $20,000 for smaller pieces to $100,000 for larger ones, with a record sale of $350,000 for two paintings commissioned by a collector.

Addressing criticism of photorealism as merely technical, Ozeri argues it's a misunderstanding of the genre, emphasizing the artistic choices in selecting, deconstructing, and reinterpreting photographic imagery. He draws parallels to virtuoso musicians, stating high technical skill does not negate artistry. Ozeri also notes the surprising engagement of younger audiences with his realistic style, attributing it to his consistent participation in art fairs globally, which facilitates direct interaction with collectors.

In response to the October 7th attacks, Ozeri created a special project for his new exhibition featuring portraits of artists murdered that day, including Haim Peri and Anar Shapira, alongside their original works. This project stemmed from a request to connect with 9/11 memorial site personnel for insights on preserving artifacts from the Gaza envelope communities. Ozeri is also planning to visit the Gaza envelope to see collected items and hopes for a museum dedicated to documenting the disaster.

Ozeri describes a noticeable shift in the New York art world since October 7th, citing increased antisemitism and hostility towards Israelis. He recounts an incident at a recent exhibition where armed guards were present due to protests, and another where pro-Palestinian demonstrators disrupted an exhibition of Israeli artist Michal Rovner's work. Ozeri believes his apolitical subject matter has helped him avoid more severe confrontations, but he criticizes Israel's self-branding efforts, stating, "We don't know how to brand ourselves."