Yael Guilat Ph.D.
17a Hanuriot St., Kiriat Tivon
Tel. 972-4-9835714
Mobile 972-525376464
Fax 972-4-9532092
Email: yguilat@gmail.com
yael_g@oranim.ac.il
Languages:
Spanish
Hebrew
English
Dr. Yael Guilat, Associate Professor of Art History and Visual Culture , teaches at Oranim Academic College of Education. She was the Head of the Art Institute and currently the Head of the interdisciplinary Program in Humanities and Arts in the Faculty of Graduate Studies at the same college.
She approaches the study of art and visual culture from multiple perspectives, with a particular concern regarding the topics of place and public space, identities and national identity, memory and memorial, ritual, feminism, gender and Jewish identity in contemporary art.
Yael Guilat, Ph. D.
Curriculum Vitae
A.
1.Personal information
Born: La Plata, Argentina, March 11, 1954
Married + 3.
17a Hanuriot St., KiryatTivon, Israel
Tel. 9724–9835714
Mobile 97252-5376464
Fax 9724–9532092
Email: yguilat@gmail. com, yael_g@oranim. ac. il
2.Academic Studies
| 2003 | Tel Aviv University, Ph. D. Dissertation: Yemenite-Jewish Silvercraft in the Israeli “Melting Pot”: Its Role and Meaning in Israel’s Visual Culture 1906–1960, under the supervision of Prof. Nurit Kenaan-Kedar and Prof. Yehuda Niny, Tel Aviv University, Faculty of Art, Art History Department, 2003. |
| 1996–1998 | Tel Aviv University Faculty of Art, Art History Department, M. A. cum laude, distinguished students program. Research project: The Synagogue that Was Never Built: The Barnett Newman Project |
| 1995–1996 | Tel Aviv University Faculty of Art, Art History Department— complementary studies |
| 1989–1993 | Open University of Israel, Humanities Department, B. A. cum laude |
3. Academic degrees and tenure in higher educationinstitutions
| Department | Institution | Rank | Date and scope |
| Humanities and Arts Multidisciplinary Degree studies (Advance Studies Faculty) | | Associate Professor (High Education Council) | 2020 |
| Art and Art Education Department | Oranim Academic College of Education | Senior Lecturer | 2005 |
| Art and Art Education Dep.& Multidisciplinary Degree studies (Advance Studies Faculty) | Tenure | 2004-2008 - 50 % 2008-2015 - 75% 2015- 100% |
4.Details of the professional training and background in the areas of education (teaching and training)
| 1984 | Teaching License Western Valley Regional High School, Kibutz Y'ifat |
| 1978 - 1981 | Teaching certificate, Hamidrasha- School of Art and Art Education, Ramat Hasharon |
5. Rolesin Academic Administration- Oranim Academic College of Education
| 2020-21 | *Head of Research Group- DAROM - Oranim Academic College of Education |
| October 2020 | *Co- organizer with Proffesor Shmuel Refael, Salti Institute -Bar Ilan University of the DAROM International Conference, 12-15/10/2020 Israel Postponed for a year due to Covic 19 pandemic |
| May 2019 | *Curator of the Art-video Exhibition: Dystopia? What Remains of the Great Utopias? Sala Conde de Gavia -Granada, Spain (Granada University) |
| January 2019 | *Curator of the Art-video Exhibition: ABR’s creators from Oranim Interdisciplinary Studies in Humanities: Oranim Annual Research Conference |
| June 2018 | *Curator of the Oranim’s exhibition: “A/R/Tographic projects crossing countries and cultures” – Ultramar festival of video- art, Cordoba, Spain |
| May 2018 | *Coordinator and Academic curator of the video-art exhibition “International Video-Art Exhibition: A/R/Tographic projects crossing countries and cultures” with the participation of six Oranim's Artist-Teacher graduates- Sala Conde de Gavia -Granada, Spain in the context of academic exchange with university of Granada |
| 2017 | *Committee member of the Encuentros Interculturales en Sociedades Multiculturales: Inmigraci?n, Multiling?ismo y Multiculturalidad, workshop organized by Oranim Academic College of Education and the IPAZ - University of Granada |
| 2017 | *Coordinator and Academic curator of the exhibition "Our Own Rites" with the participation of nine Oranim's Artist-Teacher graduates, Museum Casa de los Tiros, Granada |
| 2016-2018 | *Member of Teaching Committee – Oranim Academic College of Education |
| 2016-2021 | *Head of M.Ed. program of Interdisciplinary Studies in Humanities and Arts - Oranim Academic College of Education |
| 2015 | *Coordinator ad hoc of the emerging program- Artist Teacher, M.Ed. Interdisciplinary Studies - Oranim Academic College of Education |
| 2014 | *Promoter of the academic cooperation agreement with the University of Granada, Spain. Committee member of the Conference "Jews in Spain and Spain in Israel: Images and representations celebrating Oranim and Granada University collaboration" |
| 2013-2014 | *Head of the Art Department |
| 2012 | *Member of Editorial Board of Dvarim, an interdisciplinary academic journal |
| 2011 | *Co-founder with Tali Gil, The Engagement Art Space |
| 2010- | *Board Member of the Oranim Research Commission |
| 2010- | *Board member of the Oranim Annual Conference committee |
| 2010 -2012 | *Board member of the Faculty of Humanities |
| 2008-2012 | *Head of Art Department, Oranim Academic College of Education |
| 2008-2011 | *Coordinator of the Curational and Museum Education specialization program – M.Ed. Interdisciplinary Graduate Studies |
| 2006-2008 | *Member of the College Teaching Commission |
| 2007 | *Co- founder with Shuli Nachson, The New Media Gallery |
| 2006 | *Co-founder with Shir Yamaguchi, the Museum Education Center - Kesher Ayin |
| 2004-2012, 2013-2014 | *Member of Oranim Permanent Managing Committee |
| 2004–2008 | *Head of Art Department, Oranim Academic College of Education |
| 2002-4 | Member of Art Gallery Committee |
6.Academic Roles and Activities (not Oranim College based)
| 2021-2022 | *(Elected) Head of Association of Women's Art and Gender Research in Israel |
| 2020-2021 | *Invited to be co-advisor of Ph.D. disertations, Granada University, Doctorado en Artes Visuales y Educaci?n: Un enfoque constructivista |
| 2020-2021 | *Invited to be a member of the Organizer Committee - The National Digital Collection in Architecture, Dance, Design and Theater |
| 2020-2021 | *Invited to teach, College Tel Aviv Yaffo: The eighties in the Israeli field of Art. |
| 2019 | *Editorial adviser of DAROM, academic journal of Institute Darom and the Granada University |
| 2019 | *Reviewer of The Open University Publishing |
| 2018 | *Reviewer of Art and Visual Culture's MOFET publishing |
| 2018 | *Member of InSEA - International Association of Art Education |
| 2018 | *Member of Academic Research Sapir Forum: Gender, Visual Culture and Memory artifacts |
| 2017-2018 | *Reviewer of Linguistic Landscape Journal |
| 2017 | *Invited to teach at Tel Aviv University- The department of Art History. Course title: "The Art in Israel since the 80's turning point" |
| 2016-2017 | *Member, The Academic Committee of the Yemenite Jewry Heritage Center and World Jewish Communities- Rehovot |
| 2015 | *Member of Van Leer forum: Visualizing Multilingualism in Israel Society |
| 2015 | *Member of the Association of Jewish Studies AJS |
| 2015 | *Founder/Member of the Association of Art Studies on Feminism and Gender in Israel |
| 2014 - to present | *Member of Artivism forum, MOFET |
| 2013 | *Reviewer Hagar Academic Journal of Gender Studies- Sapir College |
| 2012-2013 | *Board member of the conference, 29TH ANNUAL MEETING OF THE ASSOCIATION FOR ISRAEL STUDIES AT UCLA, Israel in the International Arena: Scholarship, Imagery, Discourse and Public Policy (Art Studies Section) |
| 2012 | *Member of Culture studies forum – Sapir College |
| 2012 - to present | *Member of Visual Sociology Work Group |
| 2012 -2015 | *Member of Visual Culture's studies forum- Seminar hakibutzim |
| 2012 - to present | *Member of the Mandatory studies research forum, Haifa University, Herzl Center, Weizman Institute, Tel Aviv University |
| 2012 - to present | *Reviewer of grant applications in Israeli Art and the Jew's Yemenite Culture, Art& Crafts to ISF |
| 2012 - to present | *Book's reviewer of academic journals: Cathedra, Mehckarei Yerushalaim in Israeli Art and the Jew's Yemenite Culture, Art & Crafts |
| 2008 - to present | *Member of the Association of Israel Studies - AIS |
| 2006 - to present | *Peer lector of academic journals: Israel & Iyunim on Israel Studies |
| 2006-2010 | *Academic Member of Repertoire Board of Petah Tivka Museum of Art and Artist Prize Committee |
| 2002- to present | *Member of the Research Forum of Chaim Weizman Institute to the Zionist Studies, Tel Aviv University |
| 2000-2002 | Member of Young Researcher's Forum of Rabin Center |
7.Educational Roles
| 2013- 2017 | *Head of the Art Education Committee, Ministry of Education |
| 2014 | *Reviewer of non- standard program's curriculum in Arts (Ministry of Education) |
| 2013 | *Visiting lecturer at Granada University, Spain |
| 2012-2015 | *Board Member of the Ministry of Education Committee for writing the elementary school art education curriculum (tochnit- libah) |
| 2012 | *Reviewer of Art and Visual Culture's curriculum for the High Council of Academic Studies, Israel |
| 2010 | * Member of certification committee for college programs in Art—High Council of Academic Studies, Israel |
| 2009 | *Academic advisor, Open University of Israel, Art History Department |
| 2009 | *Reviewer of non- standard program's curriculum in Arts (Ministry of Education) |
| 2006–2010 | *Chairperson of the Ministry of Education Committee for writing the high school art education curriculum |
| 2006-2009 | *Board Member of the Ministry of Education Committee for writing the junior high school art education curriculum |
| 2005-2007 | *Chairperson of the Art Education Prize Committee (Ministry of Education) |
| 1998–2000 | Regional instructor of art education, Israel Ministry of Education |
| 1986 | Founder and first curator of the Art Gallery- Center of commemoration Kiryat Tivon |
| 1983 | Member of Israel Artists Association |
| 1975 | Member of Kibbutz Artists Association. |
8.Participation in Academic Conferences (since 2000)
| Title of the Lecture | Place | Conference | Date |
| Curatorial Activism in Geo-social Peripheries: Art Based Participatory Action Research About Zumu "A Museum On The Way" As A Case Study. | Lisbon (Virtual Conference) | Thirteenth International Conference on The Inclusive Museum | · 5-7September 2020 |
| With Dr. Shoshi Waksman: Alive and Kicking: AMIA’s memorialization practices in Buenos Aires public space. accepted | University of Gothenburg, Sweden | 12th Linguistic Landscape International Workshop | *9-11 September 2020 Postponed for a year due to Covic 19 pandemic |
| A Visual Culture Examination of the Unsolved Terrorist Attack against Argentinian Jewry and its Implications for Israel-Argentinian Jewry Relations accepted | Tulane University New Orleans USA | 36th AIS Meeting: American Jewry and Israel: Intersections and Connections between Homelands and Diasporas | June 28-July 1 2020* Postponed for a year due to Covic 19 pandemic |
| *"We are creating a reality and it changes us": mentoring agency in ABR higher education in an (unequal) multicultured society | Vancouver, BC University | Making, INSEA world Congress | *July 2019 |
| *Israeli-ness or Israeli-less? Transnationalism issues through the lens of Israeli Women photographers from FSU | Kineret College, Israel | AIS Annual Conference | *June 2019 |
| *LL’s multiple intermedia transitions in art projects With Dr. Shoshi Waksman | Bangkok, Bangkok University | XI scape 2019 Linguistic Landscape workshop | *June 2019 |
| *Border landscapes and the boundaries of the landscape in Eli Shamir's work. | Museum Israel, Jerusalem | Academic Seminar: Mutual portrait in the landscape: A tribute to Eli Shamir and his students, artists of the North | *March 2019 |
| *Feminist Ethics in the Context of Inequality: An Auto-Ethnographic Study of Mentor’s role in Art Based Research Studies | Tel Aviv University, The TIF Israeli Art Cathedra and The Department of the History of Art | The second conference of Women Art and Gender studies on Art | *February 2019 |
| *Exhibition Essay: About Three Art Based Research Video projects | Oranim Academic College of Education, Israel | Oranim Research Conference | *January 2019 |
| *Loss and Gender in the Contemporary Israeli Art | Oranim Academic College of Education, Israel | Oranim Research Forum: Questioning memory and memorization | *December 2018 |
| *Knitting the Urban Space: Is Yarn Bombing in Israel a 'Granny craft' or a subversive Urban Craftivism? | Toronto, Canada | ISA Conference: "Power, Violence and Justice" | *July 15-21, 2018 |
| *The Reception of Yemenite jewelry in Israel: the alliance between research, creativity and discourse of identity. | New York, USA | “Shared Cultural Values of Jews and Muslims in Yemen”, International Yemen Studies Conference | *June 4-5, 2018 Invited |
| *i “Ceci n'est pas une LL: About Representations of LL in Contemporary Art” With Dr. Shosh Waksman | Bern, Swiss | The 10 workshop of LL, X-SCAPES | *May 2-5, 2018 |
| *Acquiring New Knowledge and a Multidisciplinary Language in Arts-Based Research-A/R/T ographic Research With Sigal Arie | Tate Liverpool, UK | The 5 ABR European Congress | *March 13-15, 2018 |
| *Alterity, Gender and Solidarity in the Context of Inequality: An Auto-Ethnographic Study of My Work as a Jewish- Israeli Curator of Palestinian Women Artists, Graduates of Oranim College | Tel-Hay College | “On the Margin”, Visual Culture Workshop | * January 18-19, 2018 |
| *A Bereaved daughter: Loss and Gender in the Contemporary Israeli Art | Bar Ilan University | M.A. Seminar – The Jewish Art Department | *December, 12. 2017 Invited |
| *Memoria e identidad a trav?s del paisaje ling??stico: el caso de Granada With Dr. Antonio Bernardo Espinosa | Universidad Complutense de Madrid, Spain | VIII Jornadas Internacionales Arte y Ciudad | *November 22-2017 accepted |
| "*A womb of living water ": A gender-based examination of video artworks about Tevilah in the context of Jewish expression in Israeli Art | The Hebrew University, Jerusalem | The 17th World Congress of Jewish Studies | *August 6-10, 2017. |
| *Home Sweet Home: The Domestic sphere in the contemporary Israeli Art as a space of intercultural encounters and conflicts | University of Granada, Spain | “Multiculturalismo Inter-cultural encounters and migration: Us and Them”. Workshop organized by the Instituto Universitario de Investigaci?n de la Paz y los Conflictos Dept. of Semitic Studies | *May, 22-24 Invited |
| *Yarn Bombing in Israel: 'Granny craft' or subversive street art? With Dr. Shoshi Waksman, | Tel Aviv University | The International annual conference of the Art History department at Tel Aviv University- "(Dis)Place: New Directions in the History of Art in Israel" | *May, 17-18 |
| *The Male Artisan and the Female Researcher: An intercultural encounter | Yad Ben Tzvi and the Ovadia Ben Shalom’s Center of Research in Yemen Jewry and its culture, Jerusalem | Between Yemen and Israel: About Jewish -Yemeni Silversmithing.
A symposium in honor of Dr. Yael Guilat's book: A Portrait of Pure Exactitude-
The life and work of Moshe Ben David from Behan to the Israeli melting pot. | *May, 9.2017 |
| *Knitting the LL: Meanings of Yarn Traces in the Israeli Public Space With Dr. Shoshi Waksman | Luxemburg University, Esh- Belval Campus | The 9th International workshop of Linguistic landscape | *March,29-31 2017 |
| *Motherhood and Mothering in the Israeli Contemporary Art: status, ethnicity and gender | Yad Ben Zvi, Jerusalem | Schechter College of Jewish Studies: Conference Ha Yidishe Mame: The Jewish Mother between East and West | *March,16. 2017 Invited |
| *Gender and bereavement in art in Israel: "A bereaved daughter," from a forced status to a model of artistic action | Tel Aviv University, The TIF Israeli Art Cathedra and The Department of the History of Art | The first conference of Women Art and Gender studies on Art Board Member of the Conference Committee | *February,1-2, 2017 |
| *From Typological Research to Cultural Criticism: Gender Aspects in the Study of Jewish-Yemenite Jewelry in Israel | Open University, Raanana | Middle Eastern and Israeli societies: a cultural, social and historical perspective, Conference in honor to Prof. Bat Zion Eraqi-Klorman | *December, 4, 2016 Invited |
| *About The Abu Roomi´s art works made hair embroidery With Fatima Abu Roomi | The Islamic Museum, Jerusalem | Jerusalem Art Conference | *September, 18-19 |
| * Bayhan silver-smithing in Israel: Tradition, Innovation and Inter-generational (and gender-based) discourse | - The Center of Yemen Studies -Yad Ben Zvi Jerusalem | International Conference - The Yemen Jews: Social and Cultural Changing processes | *September, 4-5, 2016 Invited |
| *The 60's in the field of Art in Israel: The birth of the new? | Tel Aviv University | The "short" Israel sixties" Conference Haim Weizmann Zionist Research Institute. | *June 8, 2016 Invited |
| *Representations of Place, Displacement, and Re-placement in the Field of Israeli Art: Three Case Studies Chair of Panel and lecturer | Jerusalem | AIS 32nd Annual Meeting Association for Israel Studies - "A Western or Eastern Nation? The Case of Israel" | *June 20-22, 2016 |
| *Exploring the Archaeological Strata of Granada’s Linguistic Landscape: An Examination of Street Signage Transformation during the Transition to Democracy (1978–1985)" | Liverpool University, England | The 8th LL international workshop | *25-17 April 2016 |
| *Gender, Nationality & Class: A intersectional analysis of the Craft field" | Beit Byniami- Tel Aviv- | Annual Conference of Israel Creators Association- "Old Craft and New Craft" | *February, 2, 2016 Invited |
| *Bio-Art & the Hybrid Body | Faculty of the Arts, Tel Aviv University. | Motar Conference. | *January 26, 2016 |
| *Representations of Loss and Bereavement in the constructed landscape of Military Cemeteries and in the Israeli Art in the last decades | David Yalin College Jerusalem | Israel Association Applied Linguistics IAAL Annual Conference | October 6, 2015 Invited |
| *The 80's Generation in the Art In Israel. | Tel Aviv University | Forum Researchers of the Chaim Weiztman Institute of Zionist Studies | *May, 22 2015 |
| *The Historical Memory Law and its role in the re-design of the Semiotic Cityscapes in Spain: the Granada case study | Berkeley University | "Linguistic Landscape 7: Questioning Boundaries, Opening Spaces," | *May 7-9, 2015 |
| *Multilingualism as a Hidden and Evident Motif in Contemporary Visual Arts: Hermeneutic analysis | Van Leer Institute Jerusalem | Workshop of the Forum of Multilingualism in the Public Space | *May, 5 2015 Invited |
| From the Face of the War (1924) to the Faces Of the Fallen (2007) | Oranim Academic College of Education | Annual Conference of the History Department- WWI and its influence in the 20th Century | *April 4 2015 Invited |
| Gentrification and the Arts | Mofet Institute | Forum Artivism | February 4, 2015 |
| Artists as Art Teacher: Liquid Identities or Dual-heads entities? | Seminar Hakibutzim College, | Annual Conference: Graduate studies in the Arts | January, 27 2015- |
| *From Back Yard to Living Room: Representations of Living Rooms in Contemporary Israeli Art as Mirrors of Intercultural Conflicts between Hegemonic and Marginal Identities | Beit Berl & Oranim Academic College of Education , Israel | "Not in My Back Yard (NIMBY)”: Inter-cultural Inclusion in Educational Systems and in Society- Beit Berl College, Rhode Island College and Oranim College | *January 7-8, 2015 |
| *Redefining The Public Space Through Art and Culture Events | Yokohama University , Japan | the XVIII ISA World Congress of Sociology | *July 13-19, 2014 |
| *The "Other leadership": Women and power on the Israeli Art Field since the 1980's to the present | Ben Gurion University, Sede-Boqer Campus, Israel | AIS 31 Annual Conference | June 23-15 2014 |
| "Maskit"(1954-1970) on the light of gender, class and ethnicity" | History and Theory Department, Department of Industrial Design and the Department of Ceramic Design, Bezalel Academy & the Benyamini - Contemporary Ceramics Center | "Craft and New-Craft" Academic Conference on memory of Professor Ami Drach | * May, 21-22 2014 Invited |
| *Precarious optimism: Linguistic Landscape as an artistic motif at time of precarity | Cape Town University , South Africa | Linguistic Landscapes 6 Conference | *April 9-11 2014 |
| *Solidarity in the age of Precarity: Contemporary Art strategies in the public space about the "others" and their rights. | Oranim Academic College | Oranim Annual Conference : Research and Creativity | *February, 10, 2014 |
| *"he Imagery of Israel and the Israeli Field of Art at the 54th International Biennale of Venice: The Case of the Israel and the Polish Pavilions | UCLA | The 29th Annual Meeting of the Association for Israel Studies Board Member of the Conference Committee | *24-26.6.2013 |
| *Reflecting Testimony Discourse and Testimony as a Theme with Dorit Ringart | MOFET Institute of Research, Israel | 6th International Conference on Teacher Education. | *June 2–4, 2013 |
| *Redefining the Public Space and Its Linguistic Landscape through Art and Culture Events—The Case Study of Bat Yam, Israel. Chapter II | University of Namur, Belgium | The 5th workshop of Linguistic Landscape | *April 23–26, 2013 |
| *Redefining the Public Space and Its Linguistic Landscape through Art and Culture Events, The case of the Festival of Street Theatre in Bat-Yam, Israel | Universidad de Granada, Spain | Facultad de Comunicacion y Documentacion | *April 16, 2013 Invited |
| *Fatima, Merwat, Fatma y Yael | Universidad de Granada, Spain | Ciclo Israel Palestina-Israel, Instituto de Paz y Conflictos | April 11.2013* Invited |
| Jewels, Identity and Gender | Bar Ilan University, Israel | Invited lecture at the Department Seminar, Anthropology Department | December.2012 Invited * |
| Beyond the Halacha: Gender, Ritual and Video Art in Israel | Bar Ilan University, Israel | Traditions and Perspectives in History of Jewish Art, the Arts Judaica International Conference | *September 11,2012 |
| *A "silence" field of struggle: a visual interpretation of the current memorial landscape of military cemeteries in Israel with Dr. Shoshi Waksman | Buenos Aires, Argentina | The Second ISA Forum of Sociology | *August, 1-4, 2012 |
| *From Collective Memory to Collected Memories: A Visual Interpretation of the Current Memorial Landscape of Military Cemeteries in Israel with Dr. Shoshi Waksman | Haifa University, Israel | AIS—Association for Israel Studies 28th Annual International Conference | *June 25–27, 2012 |
| *The Protest in the field of Art or the art of protest: re-the autonomy of art on Boris Groys wake | Sapir College | Forum Sapir to Culture's Studies | *June 8, 2012 Invited |
| Making Jewelry in the "Melting Pot” | The Hebrew University of Jerusalem | Zionism between East and West, Cherick Forum (invited lecture) | *March 15, 2012 Invited |
| Place and Identity, the Case of Bar’am–Bir’am | Safed Academic College. | Conference on Space and Identity in Literature and Art, (invited lecture). | *March 13, 2012 Invited |
| Bat-Yam Biennale of Landscape Urbanism: Top-Down, Power and Reactions | Addis Ababa, Ethiopia | 4th Workshop of Linguistic Landscape | * February 21–24, 2011 |
| Popular Bereavement Patterns in Military Cemeteries with Dr. Shoshi Waksman | Tel Aviv University | Inter-University Folklore Conference | *February 18, 2012). |
| “I deck thee also with ornaments, and I put bracelets upon thy hands, and a chain on thy neck” (Ezekiel, 16, 11): Identity and Gender in Yemenite-Jewish Jewelry Making in Israel | Tel Aviv University and Beit Ariela. | Theater, Dance, and Cultural Identity Conference, marking the centenary of the birth of Sarah Levi-Tanai | *December 25, 2011 Invited |
| Art Education, Art in Public Education | Art Department, Bezalel, Jerusalem. | Workshop: The Individual and the Group. | *November 21, 2011 Invited |
| The Linguistic Landscape of Military Cemeteries in Israel as a Field of Symbolic Contestation with Dr. Shoshi Waksman | University of Greifswald, Germany | The Third Conference on Language Contact in Times of Globalization | *June 30–July 2, 2011 |
| Memorial Objects in the Contemporary Landscape of Military Cemeteries and Their Affinity to the Work of Bianca Eshel-Gershuni with Dr. Shoshi Waksman | Faculty of the Arts, Tel Aviv University | Motar Conference | *February 2, 2011 |
| *The Glory of Mirage cigarettes in every mouth: "Text- Image" as a unit of signification on the Six days War's advertisements and board-games with Dr. Irit Zeevi | Oranim Academic College of Education | 12th Annual Research Conference | *January, 31, 2011 |
| The Landscape of Military Cemeteries in Israel as a Multimodal Text with Dr. Shoshi Waksman | Limassol, Cyprus | Visual Literacy in the 21st Century: Trends, Demands and Capacities, 42nd Annual Conference of the International Visual Literacy Association | *September 20–October 3, 2010 |
| Military Cemeteries in the City Landscape: Changes in the Socio-Semiotic Structure with Dr. Shoshi Waksman | Tel Aviv University and Kibbutz Dalia | Researchers’ Forum—The Chaim Weizmann Zionist Research Institute | * June 5, 2010. |
| Fissures in Stone: Linguistic Landscape in Military Cemeteries and Its Reflections in Art | University of Strasbourg | The third International Workshop Linguistic Landscape. | * May 2–5, 2010 |
| Between Gush Halav and Bir’am, Between Bar’am and Bir’im: On Place, Identity and Memory | Oranim Academic College of Education | The Galilee as a Multicultural Place Conference, Oranim College | *February, 2010 |
| The Military Headstone as a Space of Meanings with Dr. Shoshi Waksman | Oranim Academic College of Education | The 20th Ivrit Safa Haya Conference | *February 1, 2010 |
| Kibbutz Merhavia in the Works of Idit Levavi-Gabbai and Drora Domini | Jezreel Valley College. | Academic Conference in Honor of International Women’s Day | *March, 2010 Invited |
| ‘An Artist in Long Johns: Childhood in the Kibbutz and the Question of Intimacy,’ Idit Levavi Gabbai’s Oeuvre | Tel Aviv University | "Family and Childhood on the Kibbutz" Conference, Yad Tabenkin, Yad Ya’ari, Haim Weizmann Zionist Research Institute | *September 8, 2009 Invited |
| Memorials and Counter-memorials: Gender, Motherhood and Art in Israeli Contemporary Art | Lisbon, Portugal | The 9th Conference of the European Association of Sociology ESA | *September 3–5, 2009 |
| “The 1980s Generation in Art in Israel” Board Member of the Conference Committee | Oranim Academic College of Education | The 10th Oranim Academic Conference | * June, 2009 |
| Geographical Maps in Israeli and Palestinian Art: From the Conflict of Representation to Representation of the Conflict” | Haifa University | Workshop on Conflictual art, Art History Department | *June 10, 2009 |
| Motherhood and Nationality: The Voices of Women Artists in the Bereavement and Memorization | Jezreel Valley College | “Israeli Democracy between East and West,” Annual conference of the Israeli Political Science Society | *May 21, 2009 Invited |
| From the Hebrew Room of Boris Shatz to the Israeli Room of the 1960s | Tel Aviv University | Conference—The Israeli House, Betzal’el and Haim Weizmann Zionist Research Institute | *May 4–5, 2009 |
| "The Ark in the Street”: Sacred and Secular Painting in the Public Space on Electric Boxes in Migdal Haemek | University of Siena, Italy | The 2th International Linguistic Landscape Workshop | *January, 15–17, 2009 |
| Making Jewelry in a Melting Pot – Questions of Cultural Identity. | Ra’anana | Academic Workshop: Changes and Cultures of Yemenite Jews. The Open University | *January 5, 2009 Invited |
| The voice of the mother: Women Artists in the Bereavement and Memorization Discourse in the last two decades | Tel Aviv University | “Gender and Nationality, Junctions of a Struggle”, Conference Haim Weizmann Zionist Research Institute. | *November 24, 2008 |
| Making Jewelry in a Melting Pot: A Story of Inclusion and Exclusion | Zalman Shazar Center, Jerusalem | The 32nd annual conference of the Israel Historical Society, Israelization: Society and Culture in Continuous Construction | *July 14–15, 2008 Invited |
| Motherhood and Nationality: Women Artists’ Voices in the Bereavement and Memorialization Discourse | New York University | The24th Annual Conference of the Association for Israel Studies—60 Years after 1948, are the Narratives Converging? | *May 19–22, 2008 |
| Between the Aesthetic and the Political Board | Oranim Academic College of Education | Annual conference of the Program for Interdisciplinary Studies, Oranim College Member of the Conference Committee | *April 2, 2008 |
| “Mapping Landscape”: A New Artistic Genre in Israeli Art? | Tel Aviv University | The Linguistic Landscape Workshop, Tel Aviv University | * January 20–21, 2008 |
| Is an Intercultural Encounter Possible? | Oranim Academic College of Education | Intercultural Encounters – An Interdisciplinary Conference of Identity and Culture. Oranim College Art Institute and Department of Arabic Board Member of the Conference Committee | *June 3, 2007 |
| Between Pulling the Thread and Wielding the Brush: Intercultural Encounters in Art | Ben-Gurion University, Beer- Sheva | Embroidery and Calligraphy in Contemporary Art in Israel. The Gallery & Art Dep. Ben-Gurion University | *April 30, 2007 Invited |
| The Map and the View in Art in Israel | Tel Aviv University | Motar Conference: Constitutive Imagery in Israeli Art | * March, 2007 |
| Memory and Memorialization in the Public Sphere | Oranim Academic College of Education | On Culture, Language and Memory—Annual Conference of the Interdisciplinary Program Board Member of the Conference Committee | *March 22–23, 2007 |
| About Past, Tradition and Memory: ‘Numi Numi’— Shuli Nachshon’s Lullaby Video Art Project as a Case Study | New York University | Symposium: The Arts in Society. New York University | *February 23–25, 2007 |
| The Appearance of God’s Name in the Work of Contemporary Israeli Artists | Oranim Academic College of Education | The 6th Ivrit Safa Haya Conference | *February 6–7, 2007 |
| Landscape as Territory: Mapping and Maps in Contemporary Art in Israel | University of Edinburgh, Scotland | International Conference on Arts in Society—Arts of Engagement | *August 15–18, 2006 |
| Art Teacher Education in Colleges vis-?-vis Changes in the Art World and in the Professional Field | The Yolanda and David Katz Faculty of the Arts, Tel Aviv University | The 5th Academic Conference of Art Education | * May 2006 Invited |
| Homeland Lesson: The Bible in the Works of Michael Sgan-Cohen | Tel Aviv University | Motar Conference: The Bible in the Arts The Yolanda and David Katz Faculty of the Arts | *February 21–22, 2006. |
| When Rami Met Sergei: Painting the Electrical Distribution Boxes in Migdal Ha’emek as an Intercultural Discourse between Immigrants and Nonimmigrants | Tel Aviv University | Academic conference: The Two Large Immigration Waves to Israel: Jews from Muslim Countries and from the Former Soviet Union. Weizmann Zionism Research Institute, Tel Aviv University | *February 14–16, 2006 |
| El Trabajo de la memoria | Generalitat de Catalunya, Barcelona | Workshop “Cultura y Cambio Social” International Congress: El espacio euro-mediterreaneo para el intercambio y la cooperacion cultural | November, 21-24, 2005 Invited |
| The Shrew’s Thread: Embroidery, Gender and Nationality | The Yolanda and David Katz Faculty of the Arts, Tel Aviv University. | the 4th Academic Conference of Art Education: Gender in Art and Art Education | July 2005 |
| So We Shall Do: A Case Study—The Art Gallery at Oranim | The Gallery of Israeli Art, Oranim College | The academic workshop: The 1980s in Art in Israel after two years of 1980's art exhibitions | June 2005 |
| “I Take Thee for a Wife”: Prayershawl and Tefillin as Erotic and Physical Images in Contemporary Israeli and American Art | Oranim Academic College of Education | The 7th Academic Conference at Oranim College | May 2005 |
| Fictional Figures in 20th Century Art | Oranim Academic College of Education | Fictional Figures Conference at Media, Science and Education, Advance Studies, Oranim College | January 2005 |
| "There Was No Melting Pot” - Annual conference on Art Education—Multiculturalism in the Arts, Faculty of the Arts, Tel Aviv University | Faculty of the Arts, Tel Aviv University. | The 3th annual conference on Art Education—Multiculturalism in the Arts, Faculty of the Arts, Tel Aviv University | June 2004 |
| “I Take Thee for a Wife”: Religious Objects as Physical and Erotic Images in the Work of Male and Female Contemporary Jewish Artists | Faculty of the Arts, Tel Aviv University | "Objects and Meanings in Art" Motar Conference | March, 2004 |
| The equestrian monument of Alexander Zaid Myth: Between Identity Construction and Myth Construction | Tel Aviv University | A centenary since the Second Aliya Haim Weizmann Institute conference | February, 2004 |
| Stereotypes, Racism and Representations of the "Other" and the "Different" in the Visual Arts | Tel Yitzhak | Academic Seminar, Massuah Institute for Holocaust Studies | June, 2003 Invited |
| Women’s Voluntary Organizations and Their Role as Patrons of Popular Arts | Oranim Academic College of Education | Annual Research Conference | May 21, 2003 |
| Where Were You and What Have You Done?’— The Ha’aretz Newspaper and Gender-Based Discourse in Israeli Art in the Early 1990's | Tel Aviv University, Beit Hatefutsot | Ha’aretz conference, under the auspices of the research forum at the Chaim Weizmann Zionism Research Institute | May 11–12, 2003 |
| Jewish Identity/Jewish Identities in Israeli Art | Tel Aviv University | Invited Lecture at Jewish identities conference, Department of Jewish History, Tel Aviv University | April 27, 2003 Invited |
| “Where is Your Jewelry, Romia?”—The Jewelry of Yemenite Women in Jerusalem, following Haim Hazaz’s “She, Sitting in the Gardens” | The Yolanda Katz Faculty of the Arts, Tel Aviv University | Invited Lecture at the Z. Hazaz scholarship award ceremony, The Yolanda Katz Faculty of the Arts, Tel Aviv University | March, 2003 Invited |
| Melting Pot? Art and Culture in the Early 1950's | Yad Tabenkin, Ef'al | Conference of the Department of Eastern Jewry Heritage, Yad Tabenkin. | September, 2002 |
| Teaching Art History in the Age of Digital Reproduction | Tel Aviv University | Directions and Trends in Art Education Conference. The Yolanda Katz Faculty of the Arts, Tel Aviv University | July, 2002 |
| Immigration and Mother Tongues in Art in Israel | Ein-Harod Museum and Oranim College. | Workshop—The Mother Tongue in the Space of Art in Israel: Critical Aspects | July, 2002 |
| To Draw Yemenite Men’s Sidelocks: Yemenite Imagery in Israeli Art | Oranim Academic College of Education. | Annual Researcher Conference | May, 2002 |
| A Forgotten Chapter in the Nurturing of Popular Art in Israel: The Issue of Home Industry – The Jewelers’ Colony at Ben-Shemen and the Shani Factory of Yemenite Embroidery | The Yolanda Katz Faculty of the Arts, Tel Aviv University. | The Katedrot Conference: Art and Craft, Affinities and Borders | May 30, 2001 |
| Between Lulu and Pearl: The Yemenite Woman and Her Jewelry in Hebrew Culture: A Chapter in the Relationship between Imagination, Gender and National Revival | Tel Aviv University | The 9th Annual Conference of Women Studies and Feminist Theory: The Feminine Difference—Creating Feminine Identities in Middle Eastern and African Cultures | April, 2001 |
| “Women’s Organizations and the Role in Nurturing Formal-Popular Art in Israel” | The Yolanda Katz Faculty of the Arts, Tel Aviv University | Women Researchers’ Forum | March 14, 2001 |
| Yemenite Jews and their Craft in Israeli Culture: Models and Borders of Acceptance | The Yolanda Katz Faculty of the Arts, Tel Aviv University | Motar Conference: A Model and an Anti-Model and Their Expressions in the Arts | March 13, 2001 |
| The Yemenite Model in Israeli Culture and its Influence on the Place and Role of Yemenite Israelis’ Arts | Ben-Gurion University of the Negev, Sede Boqer. | Researchers’ Seminar, Ben-Gurion Heritage Center | January 2, 2001 |
| Embroidery and Jewelry Making in Yemen: Between Center and Periphery | Haifa University | Research Conference: Center and Periphery in Jews from Muslim Countries | January 1, 2001 |
| The myth of the melting pot in Israeli culture as establishing a false consciousness | Ben-Gurion University of the Negev, Sede Boqer. | The Zionist Century: An Ongoing Controversy, Ben-Gurion Heritage Center Conference | June 21, 2000 |
9.Academic Grants and Awards
| 2016 | 12.000 shekel | *Academic Research Fund, Oranim Academic College of Education, ´Knitting the Urban space’ |
| 2015 | 12.000 shekel | *Academic Research Fund, Oranim Academic College of Education, supporting research grant in order to continue previous research. |
| 2014 | 12.000 shekel | *Academic Research Fund, Oranim Academic College of Education, The activist turning in Visual Art |
| 2013 | 13.000 shekel | *Ben-Zvi Prize for the book Yemenite Jewish Silvercraft in the Israeli “Melting Pot”: Yemenite- Jewish Crafts within the Emerging National Visual Culture in Israel, 1882–1967, published in 2010 |
| 2012 | 10.000 shekel | *M.Ed's Staff grant, Academic Research Fund, Oranim Academic College of Education Bat Yam Biennale of Landscape Urbanism: Top-Down, Power, and Reactions: The Role of the Art in the Public Space |
| 2007 | 4,000 shekel | *MOFET Research Institute—Images of Soldiers in Popular Culture, Semiotic Analysis, with Dr. Irit Zeevi |
| 2005 | 20,000 shekel | MOFET Research Institute—The 1980s Generation in Israeli Art |
| 2002 | 4,000 shekel | MOFET Research Institute – Artist’s Film: A new experimental genre with David Wakstein |
| 2002 | 10,000 shekel | Joseph Ha Levi- Fellowship, A'ale Bbatamar Federation |
| 2002 | 10,000 shekel | The Founder's Found Rehovot |
| 2001 | 5,000 shekel | Rector Grant, University Tel Aviv |
| 2001 | 20,000 shekel | Ben-Gurion Research Center—5000 Fellowship |
| 2000 | 5,000 shekel | The Haim Weizmann Institute, University Tel Aviv |
10.Teaching and Mentoring
Curriculum Writing
| 2016-2017 | *ABR Art Based Research Curriculum for M.Ed. Multidisciplinary program in Humanities - Oranim Academic College of Education |
| 2014-2015 | *Art Curriculum for Primary Schools—Curriculum Division, Pedagogical Secretariat- Ministry of Education (in conjunction with Dr. Sigal Barkai and others) |
| 2013–2014 | *Bi-departmental Curriculum for Academic Studies in Art and Visual Culture, presented to the Council for Higher Education for approval |
| 2013 | *Curriculum for advancement of teachers, Levels 7–8, “The Cooperative Art Studio” (in conjunction with Meirav Golan and Tali Gil) |
| 2011–2012 | *Art Departmental Curriculum (in conjunction with Dorit Ringart) and Art teacher's training program (approved by the Ministry of Education) |
| 2012 | *Art Department curriculum ( approved by Council for Higher Education) |
| 2011 | *Art Curriculum for High School (approved by the Ministry of Education) |
| 2010 | *Art Curriculum for Intermediate School (approved by the Ministry of Education) |
Teaching
| Year | Course title | Type: class, seminar, students’ adviser | Hours (week) |
| 2021 | *The Jewish Yemenite arts and crafts heritage and its role in the work of contemporary artists of Yemenite roots in Israel in The Yemenite Experience - online course for the American Sephardi Organization ( in English) | online course | |
| 2021 | *Curation, Exhibition and Debate | Class Semester B.Ed. | |
| 2021 | *Reconsidering Gender in Post-feminism age | Class Semester M.Ed. | |
| 2020 | *Seminal Art Exhibitions and Curatorial Trends in the 20th Century Art | | |
| 2020 | *Participatory Art Based research: ZUMU as a case study | Seminar B.Ed. | 2 |
| 2019 | *Participatory and Relational Art : Comparative analysis of Models and Practices | Seminar B.Ed. | 2 |
| 2019 | *“Reality-trauma”: the photographic image between testimony and trauma | Class- Semester | 1 |
| 2019 | *Trajectories in in 20th century ‘s art | Class semester | 1 |
| 2018 | *Department Seminar on Multidisciplinary approach | Class semester | 1 |
| 2018 | *The Art in Israel since the 1980s to the present. | Class, Semester | 1 |
| 2017 | *Art Now! Perspectives on Israeli Art in the 1980s and toward the Present | Class, M.A. Tel Aviv University | 1 |
| 2017-2018 | *About Gender-based and Feminist Art | Class, Semester | 1 |
| 2016 | *Participatory and Communal Art | Class, Semester | 1 |
| 2015 | *The 19th century Art and Society in the West | Class, Semester | 1 |
| 2015 - | *ABR (Art Based Research) methodological course toward M.Ed. Thesis writing | M.Ed. full year | 2 |
| 2014 | *Art Teaching Practicum (first step) | Class full year | 2 |
| 2014 | *Introduction to Art and Visual Education | Class full year | 1 |
| 2014 - | *Studio based research (with Farid Abu-Sakra) ABR Research Seminar | M.Ed Seminar based art practice | 2 |
| 2014 | *Women narratives in the Bible, feminist midrash in text and colors with Dr. Liora Goldman | Class, full year | 2 |
| 2014 | *Art in Israel: six decades | Semester | 1 |
| 2013 | *Art in the Public Space in the Postmodern Era | Seminar M.Ed., full year, | 2 |
| 2011 | *Memory in the Public Space with Dr. Galia Bar-Or | Seminar M.Ed., full year, | 2 |
| 2011 | *The role of Testimony in Culture and Art, in conjunction with Dorit Ringart | Class, full year | 2 |
| 2010 - | *Introduction to Modern and Postmodern Art | Class, full year | 2 |
| 2010 | *Critical study of the Public Space, in conjunction with Yochai Avrahami | Class, semester | 1 |
| 2009 | *Sixty Years of Art in Israel: Identities and Narratives | Class, full year | 2 |
| 2009 | *New discourses in Art History: Seminal Exhibitions and in 20th and 21st Century Art M.Ed studies | Seminar M.Ed., full year | 2 |
| 2009 | *Studies in 20th and 21st century art | Class, full year | 2 |
| 2008 | *The 80's: Interdisciplinary perspective | M.Ed. seminar | 2 |
| 2007 | *Nationalism and Visual Culture: The visual "designing" of the social and political forces in a national society | M.Ed. Seminar | 2 |
| 2006 | *Exile, Nomadism, Motherland and Redemption, Interdisciplinary course with Dr. Moshe Ytzhaki | M.Ed. Seminar | 2 |
| 2005 | The emerging Zionist (National) Visual Culture in Palestine ( 1882-1048) | M.Ed. seminar | 2 |
Advising graduate students
| Student’s name | Topic of thesis | Institution | Year completed | In process |
| Einat Sinai | *Iran, my love: Root's recovering process - Multidisciplinary Art based Research | Oranim Academic College of Education | | 2020- |
| Lee Tzabar | *Body and Matter: Art as a lab of physical and poetic transformations Multidisciplinary Art based Research | Oranim Academic College of Education | | 2020- |
| Gilat Kroskin | *Women pioneers " Multidisciplinary Art based Research about marginal narratives: Voice. Matter and Image | Oranim Academic College of Education Supervising together with Shlomit Bauman | 2020 | |
| Neta Kafri | *HALAL: A Multidisciplinary Art based Research about the role and meaning of the word Halal in the Hebrew language and Israeli and Jewish Culture | Oranim Academic College of Education Supervising together with Dr, Aviv Livnat | | 2017- |
| Tali Kayam | *Peripheral art events in Israeli art in the 1980s as a tool for social and symbolic capital production | Bezalel Academy, Theory and Criticism of Art | 2020 | |
| Gefen Stern | *Experiences of freedom of expression, creative action and critical discourse among art and education students in their fourth year at the College of Education | Haifa University Supervised by: Dr. Avihu Shoshana & Dr. Yael Guilat | 2020 | |
| Elah Shamir | *The experience of being present in the painting: A Multidisciplinary Art based Action Research | Oranim Academic College of Education | 2020 | |
| Sigal Arie | *CLASS: Acquiring Integrative Knowledge in Multidisciplinary Art-based Research (Thesis) | Oranim Academic College of Education | 2019 | |
| Adela Mishan | *Creative Curatorship: Curatorship as an alternative approach in High school Art & Fine Art Teaching | Oranim Academic College of Education | 2015 | |
| Einav Yogev | *Explaining Art to non-Art Speakers: How to improve Cultural Accessibility in High School Art Education in the Druze Community | Oranim Academic College of Education | 2014 | |
| Ella Kriger | *The Role of the Everyday in the Works of Jasper Jones, | Tel Aviv University advised in conjunction with Professor Eli Friedlander | 2013 | |
| Neta Haber | *The Museum in the School Environment as an Educational Resource: Between Preservation and Development: Beit Henkin as a Case Study | Oranim Academic College of Education | 2013 | |
| Orit Lapidot | *The "Voice" of the Mother in Memorials to Fallen Soldiers in Israel | Oranim Academic College of Education | 2013 | |
| Michal Tzadik | *The Master-Teacher approach as a model in Training art education and Art Education for grades 10–12 | Oranim Academic College of Education | 2011 | |
| Tamar Livne | *Constructing a Visual Culture in Israel’s Early Years: Baskets and Basket-Weaving | Oranim Academic College of Education | 2011 | |
| Leah Yisraeli | *A Visit to the Museum as a Teaching Resource, Focusing on Examination of the Verbal Element of the Museum Experience: Aaronsohn House in Zichron Yaakov as a Case Study | Oranim Academic College of Education | 2010 | |
| Sharon Hadas | *Dialogue between Motion and Statue: proposal for a teaching unit to be used in senior-high dance lessons at the Tefen Open Museum Statue Garden | Oranim Academic College of Education | 2010 | |
| Diab Salam | *Teaching Art in Tamra, an Palestine-Arab city in Israel: Changes and Challenges to Change | Oranim Academic College of Education | 2010 | |
| Meirav Goren | *Development of an Action Research Model combining Elements from the Process of Creating an Artist | Oranim Academic College of Education | 2008 | |
| Clara Goldstein | *The Teacher’s Room as a Unit of Structure and Action for School Faculty | Oranim Academic College of Education | 2008 | |
| Shifra Aharon | *Investigating the Emotional and Communicational Level of the School Physical Environment and Its Implications for Pupils’ Perception of the School | Oranim Academic College of Education | 2006 | |
B. Publications
1. Ph.D. Dissertation
Guilat, Y. (2003). Yemenite-JewishSilversmithing in the Israeli “Melting Pot”: Its Role and Meaning in Israel’sVisual Culture 1906–1960.
Tel Aviv University, Faculty of Art, ArtHistory Department.
Under the supervision of Prof. NuritKenaan-Kedar and Prof. Yehuda Niny.
2. Research Project in direct program to Ph.D.
Guilat, Y. (1999). The Synagogue that Was Never Built: The BarnettNewman Project. TelAviv University, Faculty of Art (cum laude).
Under the supervision of Dr. Edina Mayer Meril.
3. Books
1. *Guilat, Y. (2009). Yemenite JewishSilvercraft in the Israeli “Melting Pot”: Yemenite-Jewish Crafts within theEmerging National Visual Culture in Israel, 1882–1967. Ben-Gurion ResearchInstitute for the Study of Israel and Zionism, Ben-Gurion University of theNegev (In Hebrew). 473 pp.
The book, belonging to the broad genre ofcultural history, is the product of extensive
archive research (that begun during the PhDdissertation)and continuedafterwards focusing on the artand crafts of Jews of Yemenite origin inIsrael and its interaction with theformative Israeli visual culture considering formal and technological questionsand cultural processes of appropriation,inclusion and exclusion. It also includes discussion of methodological issues,comparisons with similar processes in other countries, and gender andpostcolonial aspects.
2. Guilat, Y. (2016). The Life and Oeuvre of the Silversmith Moshe Ben-David, From Bay??n tothe Israeli Melting Pot. Ben-Zvi Institute for the Study of JewishCommunities in the East, Yad Izhak Ben-Zvi,Jerusalem, 200 pp. (In Hebrew).
The book is devoted to the crafts of MosheBen-David (b. 1927, Al-Aliya, in the Bay??n, southern Yemen). Ben-David’s manyyears of activity and professional curriculum vitae converge at an importantcrossroads in the history of Israeli society and encounter cultural issues thataffected the array of forces in the field of silversmithing. Apart frombiographical writing, the book is based on questions of form, materials, andtechnologies as well as cultural processes of mystification and “invention oftradition,” reversion to identity politics, multiculturalism, and, finally,globalization. Therefore, the book is divided into two distinctly differentsections, almost two different genres that are complementary nevertheless. Part1 presents historical and cultural research based on historical documents, oralhistory, textual analysis, and interpretive analysis of the visual culture.Part 2 is the result of qualitative narrative research that fuses the topicsthat arose in semi-structured interviews that I conducted with Moshe and otherartists and agents who interacted with him.
3. * Guilat, Y. (2019). The Lost Generation: The1980’s generation in Israeli Art. Ben-Gurion Research Institute for theStudy of Israel and Zionism, Ben-Gurion University of the Negev, 352 pp. [InHebrew].
The book presents the multifaceted portrait of theyoung generation of artists in the 1980's, (most born in the 1950's) that, intheir activity, instigated far-reaching changes in the Israeli art field. Thebook reviews Israeli art in the 1980's in a social and historical context and mapsits paths of development in the international sphere, the local art genealogy, thetendencies and the artists and works that gave the 1980's their structure. Theresults of this mapping serve as a basis for investigation of the themes thattypified this young generation who began to exhibit in the early 1980's. Thecollective memory of the 1980's tends to underweight the 1980's generation whenit relates to the decade’s characteristic tendencies in art. In fact, thesewere pivotal years, in which an attempt was made to offer an alternative to acanon that had been sanctified or, alternately, had failed in previous decades.The book deals with the cognitive dissonance that emerged between the turningpoint that this generation produced and the processes of its partial andselective acceptance in the field and its place in the historiography ofIsraeli art.
4. Articles
a. Journal articles in peer review
1. *Guilat,Y. (2020), ART MEMORY the case of AMIA Bombing Buenos Aires- A visual CulturalPerspective, DVARIM 13, 249-289. (in Hebrew)
2. *Guilat, Y. (2019). Israeli-ness orIsraeli-less? How Israeli Women Artists from FSU deal with the Place and Roleof “Israeli-ness” in the Era of Transnationalism. Arts8, 159. doi:10.3390/arts80401 https://www.mdpi.com/2076-0752/8/4/159
3. *Guilat,Y. (2019). The Masada Cycle: Ethos andMyth in the 1980’s Works of Elie Shamir. Darom, Revista de Estudios Jud?os, 2019, 105-124.
4. *Guilat, Y. (2019). Home Sweet Home: TheDomestic sphere in the contemporary Israeli Art as a space of interculturalencounters and conflicts in Encuentros Interculturales en SociedadesMulticulturales: Inmigraci?n, Multiling?ismo y Multiculturalidad. Colecci?n Eirene, 44, 35-80.
5. *Guilat, Y. (Spring 2019).“Living Room” and “Family Gaze” in Contemporary Israeli Art: ComparativePerspectives on Cultural-Identity Representations. Israel Studies, 24 (1),24-53.
6. *Guilat, Y. (2017). Artin times of Precarity. DvarimInterdisciplinary Journal, 10 (Special Issue, Solidarity with the"Other"), 253-282. (In Hebrew).
7. *Guilat,Y., & Espinosa Ramirez, A. (2016). The historical Memory Law and its role in theredesign of the semiotic cityscapes in Spain: The case study of Granada. LinguisticLandscape. An international journal, Special issue Memory and memorialization,2-3, 247- 274.
8. *Guilat, Y. (2015). About the Body:Conversation with Sigalit Landau. Dvarim Interdisciplinary Journal, 8, 281-298. (In Hebrew).
9. *Guilat, Y. (2014). Gender,Ritual and Video Art. Me’ever la-halacha, special edition of Iyunim, 7, Ben-Gurion University of theNegev, 580-611. (In Hebrew).
10. *Guilat, Y., & Waksman, S. (2012). MemorialObjects in the Contemporary Landscape of Military Cemeteries and their Affinityto the Work of Bianca Eshel-Gershuni. Motar, 19–20, 17–30. (In Hebrew).
11. *Guilat, Y. (September 2012). Motherhood andNation: Women Artists in Israel Memorial Discourse. The Journal of IsraeliHistory, 31 (2), 283–318.
12. *Guilat, Y. (2011). ‘Mapping Landscape’:Imagery of Place and Territory in the Works of Israeli-Jewish and PalestinianArtists in Israel in Recent Decades. Oranim Academic Journal of Interdisciplinary Studies, 3, 70–81. (InHebrew).
13. *Guilat, Y. (2011). Motherhood and Nation: TheVoice of the Women Artists in the Bereavement and Memorizing Public Discourse,Israel, 18, 237–268. (In Hebrew).
14. *Guilat, Y. (2010). Designing Culture: TheIsraelization of the Yemenite-Jewish Visual and Material Culture. Zemanin,80–90. (In Hebrew).
15. *Guilat, Y. (2010). ‘The Eyes of the PioneerWomen and the Eyebrows of the Male Leader’, After works of art by Drora Dominiand Idit Levavi-Gabbai. Panim, 49,66–73. (In Hebrew).
16. *Guilat, Y. (2009). The 1980's Generation inIsraeli Art. Oranim AcademicJournal of Interdisciplinary Studies, 2, 62–88. (In Hebrew).
17. *Guilat, Y. (2006). Her Rebellious Thread: thePath of Embroidery from the Realm of Women’s Crafts to the Mainstream ofContemporary Art. Motar, 14,31–41. (In Hebrew).
18. *Guilat, Y. (2006). Where were you when ithappened? About women’s art, gender discourse and art criticism in the Ha’aretz daily newspaper in the 1990's. Israel10, 195–225. (In Hebrew).
19. *Guilat, Y. (2006). Between Lulu and Penina,The Yemenite Woman and Her Jewelry and Embroidery in New Hebrew Culture: AnExchange of Gazes Between Imagination, Gender and the Revival of the Nation. Nashim, 11, 198–223.
20. *Guilat, Y. (2005). The Equestrian Statue ofthe Shomer Alexander Zaid and the Zionist Visual Myths. Israel, 8, 119–144.(In Hebrew).
21. *Guilat,Y. (2005). Where are your jewels, Romia? A gender-based reading of Haim Hazaz’“Thou that dwellest in the gardens”. Motar,13, 43–49. (In Hebrew).
22. Guilat, Y. (2002). The Yemenite Model inIsrael’s Visual Culture: Its Role and Meaning. Motar, 10, 87–96. (InHebrew).
23. Guilat, Y. (2002). Bezalel and Ben Shemen: TheRevival of the ‘Bottega’ and the Guilds. Assaph, 7, 115–138.
24. Guilat, Y. (Fall 2001–3). The Yemenite Model inIsraeli Culture and Arts. Israel Studies, 26-54.
a.1 Articles in peerreading process (for Journal Peer Review)
*Guilat, Y. (Submitted). Halakhathrough Gendered Lenses in Post-Secular times: An Examination of Video-ArtWorks of Jewish Women Artists in Israel. Journal of Modern Judaism (7,000 words).
b. Book Chapters (peer review)
1. .*Guilat, Y., & Espinosa–Ram?rez, A. B. (2020). DiachronicExamination and Interpretation of the Street-Signage Transformation in Granada,Spain, during the Transition to Democracy (1975–1983). In S. Tufi & Malinowski,D. (Eds.), Questioning Boundaries, Opening Spaces: ReterritorialisingLinguistic Landscapes (pp. 325-344). Bloomsbury Academic.
2. * Espinosa –Ram?rez, A. B. & Guilat, Y. (2019).Memoria e identidad a trav?s del paisaje ling??stico: El caso de Granada. InMadrid Ch?vez Mart?n, M. A. (ed.), Narrativas Urbanas (pp. 23-33). UniversidadComplutense. [Spanish].
3. * Guilat, Y. (2018). The"Israelization" of Yemenite-Jewish Silversmithing. In R. Yedid & D.Bar Maoz (Eds.), Ascending the Palm Tree: An Anthology of the Yemenite Jewish Heritage (pp. 221-251).Israel: A’ale Betamar Publishing.
4. *Guilat, Y. (2015). The production andre-production of social space through designing and production of jewelry inMaskit's silversmith workshop (1955-1977). In O. Bar-Tal (ed.), Thoughtsabout Craft (pp. 181-213). Jerusalem and Tel Aviv: Bezalel - Academy ofArts and Design, Jerusalem & Resling Publisher. (In Hebrew).
5. *Guilat, Y. (2015). Redefining the public spaceas a semiotic resource through Institutional Art events: the Bat Yam Biennaleof Landscape Urbanism as a LL case study. In R. Blackwood, E. Lanza & H.Woldemarian (Eds.), Contesting & Negotiating Identities in LL (pp. 163-179).London: Bloomsbury Publishing.
6. * Guilat, Y., & Waksman, S. (2014). TheLinguistic Landscape of Israel’s Military Cemeteries as a Field of SymbolicContestation. In A. Koll-Stobbe & S. Knospe (Eds.), Language Contactaround the Globe (pp. 387–415). Greifswald: Peter Lang.
7. *Guilat, Y. (2012). Between Gush Halav andBir’im: About place, identity and memory. In N. Barzel (ed.), The Galilee asa Multicultural Place (pp. 26–38). Oranim Academic College of Education. (InHebrew).
8. *Guilat,Y. (2009). Painting the public space in Migdal Haemek.In E. Shohamy, E. Ben-Rafael & M. Barni (Eds.), LinguisticLandscape in the City (pp. 37–53). Bristol, Buffalo, Toronto: Multilingual Matters.
9. *Guilat, Y. (2008). Eretz Israel Originality:Yemenite Jewish Silvercraft in the Yishuv. In C. Abdar (ed.), Ma’ase rokem,Dress and Jewelry in the Tradition of the Jews of Yemen (pp. 302–318). TelAviv: A’ale Betamar Publishing (In Hebrew).
10. *Guilat, Y. (2008). Rokmot Umah. In R. Markus (ed.),Women Artists in Israel 1920–1970, (chapter 5, pp. 181–225). Tel Aviv: HakibbutzHameuchad Publishing House. (In Hebrew).
11. *Guilat, Y. (2006). Between Painting andPoetry, Sacred and Secular Realms: Yehudah Amichai and Michael Sgan-Cohen. In C.B. Verzar & G. Fishhof (Eds.), Languages and Their Meanings, TheFestschrift for Nurit Kenaan-Kedar (pp. 295–305). Tel Aviv: Tel AvivUniversity.
12. *Guilat, Y. (2005). What happened to the YemeniSilversmiths in the Israeli ‘New-Old’ Country? Different Stories, SimilarDestiny. In S. Seri (ed.), Halachot Kedem be Mishkenot Teiman: New Studiesin Yemenite Jewish Culture (pp. 306–334). Tel Aviv. (In Hebrew).
13. Guilat, Y. (2003). A Forgotten Chapter in theGrowing of Folk Culture in Israel. In N. Kenaan-Kedar (ed.), Zikot Ugvulot(pp. 127–144). Tel Aviv: Tel Aviv
b.1.Book Chapters (peer review) in editing proccess
1.*Guilat, Y. ( acceptedediting process), Loss, military orphanhood and gender in the field of artin Israel: the work of Michal Shachnai Yaakovi and Asnat Austerlitz as a casestudy in E. Lomsky-Feder and N. Shefi (Eds.) Gender, Memory Objects andVisual Cultural Representations ofMemory construction , Gender Forum, Sapir college (it will be published 2021)(6000 words).in Hebrew
2.*Garc?aRold?n, A. & Y. Guilat, A / R / tography audiovisual narratives andthe Photo Essay Methodology: Interrelation, Re-creation, and Learning on thepath of the Walking Lab in J.Rold?n, R.Mar?n, K.Morimoto and R.Irwin VisualMethods, A/r/tography and Walking.UBC publishing and Granada University ( it will bepublished 2021)3000 words . in Spanish and English
b.1.Book Chapters (peer review) in peer reading process
1. *Guilat, Y. and Sh. Waksman, Art and the LinguisticLandscape: an inevitable encounter in R. Blackwood and A. Wardell (Eds.) Handbookon Linguistic Landscapes, Bloomsbury Publishing.
c. Book's Review
1. *Guilat, Y. (2018). The First “Mizrahi WomanArtist”: Sara Levi- Tanai and Her Presence in the Zionist- Israeli CulturalDiscourse: A review essay on Sara Levi-Tanai, A Life of Creation. HeniaRottenberg and Dina Roginsky (Eds.). Tel Aviv: Resling. Studies inContemporary Jewry, 2018, 271-274.
2. *Guilat, Y. (2014). On Aviva Lansett-Muller andHer Book, Covering and Message: The Clothes of Muslim Country Jews. Jerusalem Studies, 2014, 239-246. (In Hebrew)
3. *Guilat, Y. (2013). 1948 and Its Role in theHistoriographical Discourse of the Field of Israeli Art: A Review of AlecMishory’s book. The Jewish Art Scene inIsrael 1948–1949. Ben-Gurion University Press. Cathedra, 160,180-185. (In Hebrew).
4. Guilat, Y. (March 2007). The First 30 Years inthe Life of Art in Zion. on Dalia Manor’s book, Art in Zion: The Genesis ofModern National Art in Jewish Palestine. London. Journal of IsraeliHistory, 26 (1), 105–111.
d.1 Book Review in process
Guilat, Y. (In Process). About Tamar El Or,Sandals, The anthropology of Local Style for Yiunim on language and Society.(In Hebrew).
e. Proceedings
1. *Guilat, Y., & Abu-Roomi, F. (July 2019). We’recreating a reality and it’s changing us: Mentoring agency in ABR highereducation in an(unequal) multicultured society. full paper, ABR/AR 6thConference. Vancouver: UBC. On-Line at https://docs.wixstatic.com/ugd/b2a653_1299e644b18a49869074601397bfcbf7.pdf
2. *Guilat, Y., & Arie, S. (July 2019).Becoming researcher in-Between: Formation of an Integrated Identity inA/R/Tographic Research. full paper, ABR/AR 6th Conference. Vancouver:UBC. On-Line at https://docs.wixstatic.com/ugd/b2a653_2875de93a57349b8be28be665cacc400.pdf
3. *Guilat, Y. (June 2019). Israeli-ness orIsraeli-less? Transnationalism issues through the lens of Israeli Womenphotographers from FSU. 35th Annual meeting of the AIS: Imagesand Realities: Land of Promise to Startup Nation?. Israel: Kinneret College.On-Line at https://events.eventact.com/AIS/29232/WebSitePage/AIS%202019%20Program%20-%20June%2013,%202019.pdf
4. *Guilat, Y., & Waksman, S. (4-6 June 2019). LL’smultiple intermedia transitions in art project: Diarios del Odio (Journals ofHate as a case study) in Book of Abstracts. X-SCAPES 11th LinguisticLandscape Workshop: East meets West, Social Reflection and Integration (p.31). Bangkok.
5. *Guilat, Y., & Waksman, S. (July 2018). YarnBombing in Israel: 'Granny craft' or subversive street art?. XIX ISA WorldConference of Sociology. Book of Abstracts. Toronto. On-Line at https://isaconf.confex.com/isaconf/wc2018/webprogram/start.html
6. *Guilat,Y., & Waksman, S. (2-4 May 2018). Cecin'est pas une LL: About representations of LL in contemporary art. X-SCAPES10th Linguistic Landscape Workshop (p.6). (Program and Abstracts). Switzerland: Bern.
7. *Guilat, Y., & Arie, S. (March 2018).Acquiring New Knowledge and a Multidisciplinary Language in Arts-BasedResearch–A/r/Tographic Research. full paper, ABR/AR 5thConference. Liverpool. On-Line at https://www.5abr-ar-conference.org/full-papers-projects
8. *Guilat, Y., &Espinosa Ramirez, A. (May 2016). Exploringthe Archaeological Strata of Granada’s Linguistic Landscape: An Examination ofStreet Signage Transformation during the Transition to Democracy (1978–1985). LL8:Regeneration, Revitalization, Reterritorialization. Liverpool.
9. *Guilat, Y., &Espinosa Ramirez, A. (2015). Thehistorical Memory Law and its role in the redesign of the semiotic cityscapesin Spain: The case study of Granada. LL7. UC Berkeley.
10. *Guilat, Y. (2013). The Imagery of Israel andthe Field of Israel; Art at the 54th Venice International Biennale: The Case ofthe Israeli and Polish Pavilions (p. 19). 29th Annual Association for Israel Studies Conference.UCLA.
11. *Guilat, Y., & Ringart, D. (2013).Reflecting Testimony Discourse and Testimony as a theme. Proceedings of the 6th InternationalConference on Teacher Education (p. 260). Atlantis Press.
12. *Guilat, Y. (2013). Redefining the Public Spaceand its LL through Art and Cultural Events. International Workshop on Linguistic Landscapes 5, Protest, Conflict and Change (ChapterII, pp. 16–17). Namur University.
13. *Guilat, Y. (2012). Bat Yam Biennale ofLandscape Urbanism: Top-Down, Power, and Reactions. Linguistic Landscape, 4thInternational Workshop (p.20). Addis Ababa University.
14. *Guilat, Y., & Waksman, S. (2011). The Landscape of MilitaryCemeteries in Israel as a Field of Symbolic Contestation. Language Contact in Times of Globalization(pp. 22–23). University of Greifswald.
15. *Zeevi,I., & Guilat, Y. (2011). ‘The Glory of Mirage Cigarettes in Every Mouth’ OnLinguistic-Visual Images of the Six Day War in Advertisements and Board Games.Proceedings of the 12thAnnual Research Conference at Oranim (p. 23). Oranim AcademicCollege of Education. (In Hebrew).
16. *Guilat,Y., & Waksman, S. (2010). TheLandscape of Military Cemeteries in Israel as a Multimodal Text. Proceedingsof the 42nd AnnualConference of the International Visual Literacy Association, Visual Literacyin the 21st Century: Trends, Demands and Capacities (p. 27). Cyprus:Limassol.
17. *Guilat, Y. (2010). “Fissures in stone”: ASocio-Semiotic Perspective of the Linguistic Landscape of Military Cemeteriesin Israel. Proceedings of the ThirdInternational Linguistic Landscape Workshop, The Many Faces of LL in Contemporary Settings, IUFM (p. 45). Alsace,Strasbourg.
18. *Guilat, Y. (2010). Between Gush Halav and Bir’im, between Bar’amand Bir’im: Questions of Place, Identity and Memory. Proceedings of the “Galilee as a MulticulturalSpace” Conference (p. 11). Oranim Academic College ofEducation. (In Hebrew).
19. *Guilat,Y., & Waksman, S. (2010).The Military Tombstone in Israel as a Symbolic Place of Identity Negotiations. Ivrit Safa Haya, Proceedings of the 20th Conference (p. 12). Oranim Academic College ofEducation. (In Hebrew).
20. *Guilat, Y. (2009). Memorials andCounter-memorials: Gender, Motherhood and Art in Israel Contemporary Art. Proceedings of the 9th Congress of theEuropean Association of Sociology (ESA) (p. 55). Portugal: Lisbon, Universityof Lisbon.
21. *Guilat, Y. (2009). Maps as Landscapes inIsraeli and Palestinian Art: A Conflict of Representation and theRepresentation of the Conflict in Art. Conflictual Art Conference (p. 10). Israel: The Art Department, University of Haifa. (InHebrew).
22. *Guilat, Y. (2009). The 1980's Generation inIsraeli Art. Proceedings of theAnnual Research Conference at Oranim (p. 78). Oranim AcademicCollege of Education. (In Hebrew).
23. *Guilat, Y. (2009). ”The Ark in the Street”:Sacred and Secular Painting in the Public Space on Electric Boxes in MigdalHaemek. Proceedings of the SienaInternational II Linguistic Landscape Workshop (p. 2). Siena.
24. *Guilat, Y. (19–22 May 2008). Motherhood andNationality: Women Artists’ Voices in the Bereavement and MemorializationDiscourse. 24th AnnualAssociation for Israel Studies Conference, Israel 2008, 60 Years after 1948,are the Narratives Converging?. New York University, AIS Website.
25. *Guilat, Y. (February 23–25, 2007). About Past, Tradition and Memory: ‘NumiNumi’— Shuli Nachshon’s Lullaby Video Art Project as a Case Study. International Symposium on the Arts inSociety (p. 30). New York University, Tish School of the Arts.
26. *Guilat, Y. (August 15–18, 2006). Landscape as Territory: Mappingand Maps in Contemporary Art in Israel.International Conference on the Arts in Society (p. 43). Scotland: University of Edinburgh.
27. Guilat, Y. (2005). Eros and JewishRitual in Israeli Contemporary Art. Proceedingsof the Annual Research Conference at Oranim (pp. 75-79). Oranim Academic College of Education. (InHebrew).
28. Guilat, Y. (May 2003). Women’s Organizations in Israel: Their Role inthe Invention of the Traditional Art and Crafts. Proceedings of the Annual Research Conference at Oranim, (pp. 173–176).Oranim Academic College of Education. (InHebrew).
29. Guilat, Y. (May 2002). Drawing the Forelocks ofYemenites: The Image of the Yemenite Jews in Israel’s Visual Culture: ItsTypology, Role and Meaning. Proceedings of the Annual Research Conference atOranim, (pp. 91–93). Oranim Academic College of Education. (In Hebrew).
f. Other Publications (Art Catalogs, Non-Academic/Semi-AcademicJournals, and Others)
1. *Guilat. Y. (2020) Border Landscapes andLandscape Boundaries: On Elie Shamir's Boundary Series in Elie Shamir-Boundaries of Gaze, Herzliya Museum and Mishkan Museum of Art, Ein Harod [Catalogue].(English and Hebrew)
2. * Guilat, Y. (2019). The Keeper of the Thorns:Reflections on the Works of Naomi Zach. In Naomi Zach Hanging fields(pp. 14-19). [Catalogue]. Tivon Gallery. (Hebrew andEnglish).
3. *Guilat, Y. (2019). Tel Hai 80: ContemporaryArt Meeting. In Shaul (Tuli) Bauman Works and life (pp. 21-31). [Catalogue].(In Hebrew). Kibbutz Amir Publishing.
4. *Guilat, Y. (2019). Utopia-Dystopia. In AngelGarc?a Rold?n(editor and curator), UTOPIC METHOD. 6th Muestra Internacional de Videoartographico.Granada. (English and Spanish)
5. *Guilat, Y. (2018). International VideoArt-ographic exhibition, Crossing Countries and cultures. In Angel Garcia Roldan (editor and curator), 5thMuestra de arte contemporaneo La Victoria, ARTESUR (pp. 100-118). [Catalogue].Cordoba. (Spanish).
6. *Guilat, Y. (2017). Body-Space: Boundaries andIdentities in New Works by Fatma Shanan. In Doron Lurie (curator), FatmaShanan- Works 2007-2017 (pp. 8-11). [Catalog]. Tel Aviv: Tel Aviv Museum. (Hebrew,Arabic and English).
7. *Guilat, Y. (2017). Venus Palestina. In YaelGuilat (curator), Fatima Abu Roomi, Venus Palestina, Works 2013-2017 (pp.11-24). [Catalog]. Umm el-Fahem Art Gallery. (Hebrew , English and Arabic).
8. *Guilat, Y. (2017). What does ABR stand for?. InGraduate Exhibition Catalog (pp. 6-9). Multidisciplinary program inHumanities and the Arts, Oranim Academic College of Education. (Hebrew, Arabicand English).
9. *Guilat, Y. (2017). Nuestrosritos. In Yael Guilat y Miguel Angel Espinosa (Eds.), Nuestros propios ritosy rituales: nueve artistas de Israel (pp. 9-20). [Catalog]. Granada: Universidadde Granada, Casa de los Tiros, IPAZ. [Spanish and English].
10. *Guilat, Y. (2017). Troubles in the UrbanSpace: Remarks on Zadok Ben-David’s “People I Saw But Never Met: TrackingHumanity. In Zadok Ben-David Oeuvre (pp. 230-238). Circa, London.
11. *Guilat, Y. (2017). Shadow Sculpture. In ZadokBen-David Oeuvre (pp. 14-19). Circa, London.
12. *Guilat, Y. (2016). About the hanging totems ofNoga Inbar. In Drorit Gur Arie and Raphael Segal (Eds.), Bibliology (pp.172-180). [Catalog]. Petah Tikvah: Petah Tikvah Museum of Contemporary Art.,(Hebrew & English).
13. *Guilat, Y. (2016). Three remarks and oneconclusion about Asnat Austerlitz’ Dictionary. In Asnat Austerlitz.Dictionary, Artist's Book (pp. 9-33). Mipa'l Hapays. (Hebrew & English).
14. *Guilat, Y. (2015). "The Masada Series:Ethos and Myth in the Early Works of Elie Shamir. In Ron Barthos (ed.), EliShamir: early works (pp. 115-125). [Catalog]. Ramat Gan: Ramat Gan Museum. (Hebrew& English).
15. *Guilat, Y. (2015). Carpets as Arenas of Actionand Creation On Fatma Shanan's Work Processes. In Carmit Blumenson (ed.), FatmaShanan, A Single Continuum (pp. 82-88). [Catalog]. Umm el- Fahem ArtGallery. (Hebrew & English).
16. *Guilat, Y. (2014). The letters which were notset on fire. Israel Rabinowitz, In the present (pp. 122-123). [Catalog].Tel Aviv: Beit Haomanin. [In Hebrew].
17. *Guilat, Y. (2014). Biennale of LandscapeUrbanism in Bat Yam: Interventions in the City through the Lens of theLinguistic Landscape. In Dorit Gur -Arie and Hila Cohen Shinderman (Eds.), TheMuseum: Manual of Using (pp. 90-113). Tel Aviv: Petach Tikva Museum of Art& Resling Publisher.
18. *Guilat, Y., & Reichman, A. (2014). Conversation.In Ariel Reichman, 1200 KG Dirt, Solo Exhibition (pp. 5-9). [Catalog].Petah Tikva: Petah Tikva Museum of Art. (Hebrew & English).
19. *Guilat, Y. (2013). Gender, Identity andJewelry in the Context of the Oeuvre of Sarah Levi-Tanai. Teatron—An IsraeliQuarterly of Contemporary Theatre, 3, 122–133. (In Hebrew).
20. *Guilat, Y. (2012). Motherhood in Conflict:Art, Bereavement and Loss in War. In Michal Shachnay, Void and Memory(Halalei Zikaron) (pp. 14-19). [Catalog]. Rishon Letzion. (In Hebrew).
21. *Guilat, Y. (2012). The Journey of DavidWakstein from the Middle East to New Jersey. Middle East Center for the Arts(MECA) 2012 Website. http://www. themeca.org/blog/features/journey-david-wakstein-middle-east-jersey.Retrieved October 20, 2014. (In English).
22. *Guilat, Y. (2012). Fatima Abu Roomi: Defiantand Persistent. In Rachel Hason (ed.), Fatima Abu Roomi: Between Sorrow andBeauty (pp. 4-8). [Catalog].Jerusalem: The L.A.Mayer Museum for Islamic Art. (In Hebrew & English).
23. *Guilat, Y. (August 2011). Inside Outside: OnRuti Helvitz’s exhibition at the Nahum Guttman Museum. Erev Rav, AnInternet magazine for art, society and culture. Retrieved from http://erev-rav.com/archives/tag/%D7%99%D7%A2%D7%9C-%D7%92%D7%99%D7%9C%D7%A2%D7%AA
24. *Guilat, Y. (2011). An Artist in Long Johns:Childhood in the Kibbutz and the Question of Intimacy, Idit Levavi Gabbai’sOeuvre. In Sha’at ha-hitbaharut (Hourof Elucidation), IditLevavi-Gabbai Exhibition Catalog (pp. 126-137). Ein Harod Museum. (InHebrew & English).
25. *Guilat, Y. (2010). Silversmiths and Goldsmithsin the Melting Pot. Tehuda le-heqer Moreshet Yahadut Teiman, 7–19.
26. *Guilat, Y. (2009). Zel Zah: On the Humanism ofZadok Ben David’s Shadow Sculptures. Human Nature—Zadok Ben David ExhibitionCatalog (pp. 25–35). Tel Aviv: Tel Aviv Museum of Art. (In Hebrew &English).
27. *Guilat, Y. (2005). ”Bidding Farewell: IsraeliCulture of the 1980s,” Ilana Tenenbaum, Check-Post Art in Israel in the1980s, Haifa Museum of Art, 2008, pp. 19–24 (in Hebrew( in Hebrew &English).
28. *Guilat, Y. (2007). The Judaica Turning Pointand the Israeli Art Field. Mifne, Forumfor Social Issues, 54, 37–43. (In Hebrew).
29. *Guilat, Y. (2006). Tvila: A Video Installationby Shuli Nachshon. Tvila—Shuli Nachshon(pp. 17-21). [Catalog]. Tel Aviv: Gal-On Art Gallery. (In Hebrew & English).
30. *Guilat, Y. (2006). David’s Botega, Freedom. DavidWakstein, Drawing Team (pp. 10-15). Omanut La’am Publishers.
31. *Guilat, Y. (2006). The Yemenite Silversmithsand Goldsmiths in the Betzal’el Filigree Workshop. Et-mol, 186, 6–9.
32. *Guilat, Y. (2006). In the Wake of Belu-SimionFainaru’s ‘Nuptials—In the Image of God. In David Alexander (ed.), Nuptials—Inthe Image of God (pp. 39–44). [Catalog]. Haifa: WIZO Academy of Design andEducation. (In Hebrew & English).
33. Guilat, Y. (2005). Between Painting and Poetry,Earth and Heaven: Readings of Yehudah Amichai’s and Michael Sgan-Cohen’s Works.Kav Natui, 91–97. (In Hebrew).
34. Guilat, Y. (2003). ‘The Sadness of theFather,’ after Moshe Guershuni in the ‘IMA’ Exhibition. Oranim Gallery ofArt. (In Hebrew).
35. Guilat, Y. (20051995 Menachem—Catalog of Rina Bekin’s Works. Baram Museum. (In Hebrew).
g.Research Report
1. *Guilat, Y. (2008). The 1980's Generationin Israeli Art. Research supported by MOFET Institute, Oranim AcademicCollege of Education. (110 pages). (In Hebrew).
2. *Guilat, Y. (2015). Artivism, comparativeanalysis. Research supported by Research Unity Oranim Academic College ofEducation. (60 pages). (In Hebrew).