This article reviews works of contemporary female artists of Ethiopian origin active in the Israeli art field. I analyse the subjects in their work and argue these artists are presenting their attitudes towards the ‘white gaze’. Though constantly subjected to it by the Israeli hegemony and the Western masculine discourse, they are notably decreasing their consideration of it. They broaden the restricted field of action that seems designated for them and alter its boundaries. Drawing on theorists of gender, postcolonial theory and theory of art, I demonstrate how these artists are promoting an agenda that reflects their lives as black women in Israel. Influenced by recent socio-political changes and a decline in representations of black women on TV and in visual arts, these artworks were increasingly exhibited in solo and group exhibitions.
Contemporary British Jewish Theatre and Shakespeare’s The Merchant of Venice
Jeanette R. Malkin and Eckart Voigts
the Human , where he writes that ‘it would be better for the Jewish people had Shakespeare never written the play’. 32 In a further effect of the framing device, the play opens on today’s visible minorities. The African actors Olalekan Lawal and
addition, belonging to a visible minority increased girls’ and young women's insecurity on public transport ( Tuominen et al. 2014 ). Reading Veera's notion of becoming the target of the metro guards together with other girls’ commentaries, it becomes clear
Coverage of the 2017 Bundestag Election
Alexander Beyer and Steven Weldon
to do with how migration patterns have changed, and the reality is that today many more migrants are visible minorities while the native populations are overwhelmingly white across Europe. Like racial differences in the United States, race typically