Dr. Rotem Rozental is a photo-historian, writer and curator based in Los Angeles, where she serves as Chief Curator and Senior Director of Arts and Culture at American Jewish University. Her texts and scholarly research about contemporary Israeli and Jewisbh art, photographic archives and the image of nationality have been published in various outlets, among them Tablet, Artforum.com, Photographies and Philosophy of Photography. Between 2015-2016 she was the Dr. Sophie Bookhalter Research Fellow in Jewish Culture at the Center for Jewish History.
Rotem Rozental looks at the work of artists Zoya Cherkassky, Yevgeniy Fiks, Katia Grokhovsky, and Jenny Yurshansky, raising questions about the existence of a Soviet-Jewish narrative and offering new insights into the culture that has shaped daily life in the Soviet Union, the Soviet-Jewish narrative, and the possibility of the existence of such a narrative.
Why is black skin perceived as a threat in American public spaces? How come a 17-year-old boy is portrayed in the American media as a thug? And how do a sandwich, a bible, or a bunch of keys get identified wrongfully as weapons and lead to the shooting of innocent passersby? Rotem Rozental writes about artist Cara Levine's project "This Is Not a Gun," which reacts to dozens of incidents of police shooting at citizens – mostly black men – as a result of misidentification.
Writing about Josh T. Franco’s work “In Tlilli, In Tlapalli: Three Tejanos in Red and Black,” Rotem Rozental follows the migration and reincarnation of individuals, colors, ideas, and legacies between New York City and Marfa, TX.
In Eyal Weizman’s new book, the reader joins the author as he hovers over contested territories in the Middle East, follows him as he traces the histories, ideologies, slippery borders, technologies, and narratives involved in the State-inflicted marginalization and displacement of the Bedouin inhabitants of the Negev desert, in Southern Israel. Rotem Rozental reviews “The Conflict Shoreline,” as well as Weizman’s methodology of forensic visual culture research.
Early in the summer of 2015, Robert Irwin returned to Dia:Beacon to erect an installation he has created in 1998, in a location where he himself designed both the building and its surroundings. However, the new reincarnation of his installation, Excursus, reveals more than Irwin’s long history of visual exploration.