Menashe Kadishman

The Herd 1995-1999

Ulrich Schneider

Alongside his creations as a sculptor, Menashe Kadishman has also been working with equal intensity as a painter since the late seventies, without drawing distinctions between the two. Again, the "sheep" and the "flock" are the metaphor of life.
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From art to nature-as-art

Amnon Barzel

Within the accelerated development to which the conception of art has been subjected, mainly in the wake of the activities of the avantguarde streams at the beginning of the century, and parallel to the open-mindedness of contemporary socio-cultural definitions - the artist's turning towards nature itself, while applying on it art concepts and adapting concepts of nature as art concepts, apparently constitutes the remarkable contribution of the art at the end of the seventies:
A flock of sheep is a work of art and its behaviour is a process of art.
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Venice Biennale

Amnon Barzel

The Sacrifice sculptures were born with Kadishman's live sheep project at the 1978 Venice Biennale. Now, in1999, countless heads of youths are laid out before us.
Hundreds of thousands who fell in battle, millions who were massacred.
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'Draw Me a Sheep'

Sara Breitberg-Semel

Something predictable has happened to painting. During the last fifteen years it has been regarded as the unnecessary, heavy-handed, impure art form-the flesh that covers the skeleton. The interest lay in the skeleton, not in the flesh.
It was Conceptual Art that left painting out,
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The Herd

Iris Kritzman

Menashe Kadishman's paintings of sheep are a handwriting, and form an integral part of his vocabulary of images, to the point of becoming an icon. Kadishman uses the sheep as a means of exploring two aspects of his art language,
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Morning Light (Sheep and Sheep)

1991-1999
Ulrich Schneider

Morning Light (Sheep and Sheep) is one of Menashe Kadishman's lyrical installations: a flock of twenty animals huddles together in the first warming rays of a summer's morning and shakes the morning dew from its fleece. A peaceful pastoral scene.
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