This essay looks at Michael Sgan-Cohen’s reception in the Israeli art field over a period of 25 years. It suggests that whereas Sgan-Cohen’s signature style of referencing and reworking Jewish sources did not change much over that time, the Israeli art field did shift in its reception of his work, from an unfavorable stance in 1978, to a somewhat more accepting one in 1994, to recognition of Sgan-Cohen as an artist of merit in 2004. Critical commentaries on his exhibitions and interviews with key personalities within the field shed light on Sgan-Cohen’s reception and elucidate the changes within the field itself. Moreover, by focusing on the emergence of postmodern discourse and its influence on the Israeli art field and framing these findings within the realm of field theory, this study creates a context for understanding these structural shifts in the Israeli art field, as it came face-to-face with postmodern discourse.

中文翻译：

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后现代的蜕变：迈克尔·斯甘-科恩接受以色列艺术领域的过程

这篇文章着眼于迈克尔·斯甘-科恩 (Michael Sgan-Cohen) 25 年来在以色列艺术领域受到的欢迎。这表明，尽管 Sgan-Cohen 的标志性风格引用和修改犹太资料在那个时候没有太大变化，但以色列艺术界确实在接受他的作品时发生了转变，从 1978 年的不利立场，转为在1994 年，到 2004 年，Sgan-Cohen 被授予杰出艺术家的称号。对他的展览的批判性评论和对领域内关键人物的采访揭示了 Sgan-Cohen 的接受程度，并阐明了该领域本身的变化。此外，通过关注后现代话语的出现及其对以色列艺术领域的影响，并将这些发现纳入领域理论领域，