CV

Dr. Ruth Markus

Academic Education
1985-1997 
 Tel-Aviv University, History of Art
1998  Ph.D.
Title of Doctoral Dissertation: “Linear Sculpture between the Two World Wars”,  supervised by: Prof. G. Ballas.
1977-1984  Tel-Aviv University, History of Art
1984  M. A. (with distinction)
Title of Master’s Thesis: “The Aspiration to Abolish the Mass: Towards Linear Sculpture: Cubism, Futurism, Constructivism”, supervised by: Prof. M. Omer
1972-1977  Tel-Aviv University, Theatre Studies
1977  B. A. (with distinction)

Academic and Professional awards
2008  Grant from the Israel Science Foundation (ISF) for publishing the book: Ruth
Markus (ed) Women Artist in Israel, 1920-1970, Tel Aviv: Migdarin
(genders) Series, Hakibbutz Hamehuchad Publishing House, 2008 (Hebrew).
1976  Dean’s award

Academic and Professional Experience
Tel Aviv University, Faculty of the Arts
2000-2012
 History of Art, Tel Aviv University, Lecturer
2000-2003  Women and Gender Studies Program, Teacher
1999  History of Art, Tel Aviv University, Visiting Lecture
1996-1999  The Multi-disciplinary Program in the Arts, Tel Aviv University
Instructor
1990-1998  The Multi-disciplinary Program in the Arts, Tel Aviv University
Students’ Advisor
1987-1999  History of Art, Tel Aviv University, Teacher
1985-2000  Theatre Studies, Tel Aviv University, Teacher

Additional main teaching posts
2004-2007 Tel Aviv Academic College, Teacher
1985-1990  Art School “Camera Obscura”, Studies Coordinator and Teacher
1976-1987  Teacher’s Seminary Talpioth, Teacher

Professional Experience
1984-1991  Sound and Light Show in Massada, Designer, Producer and Director
1969-1984  Arnon Adar Office – Stage and Lighting Designer, Designer and producer

Academic Activities
2001-2008  Member of the Council of Higher Education’s committee for granting academic degree to the program of arts and digital media, in the Technological Teaching College.
2000-2004  Member and Chairman of the grants committee of the Gender Studies
Forum, Tel Aviv Uni.
2000-2004  Member of the grants committee of the Faculty of the Arts, Tel Aviv Uni.
2000-2004  Member of the library academic committee, as representative of the Arts Faculty, Tel Aviv Uni.
2000 Avni  School of Art: planning 3 alternative program for future academic degree.
1999-2004  Participant in founding the Program of Women and Gender Studies, Tel Aviv Uni., and member of the studies committee, as representative of the Arts Faculty, Tel Aviv Uni.
1991 Founding and planning, together with Prof. G. Ballas, the academic concept of The Multi-disciplinary Program in the Arts in Tel Aviv Uni.

Organizing Academic Conferences and Meetings
2010  Conference on the book: Ayelet Zohar (ed.), PostGender: Gender, Sexuality and  Performativity in Japanese Culture, Cambridge Scholars Publishing: UK, 2009.                History of Art Dept., Faculty of the Arts, Tel Aviv University
2008  Conference on Women Visual Artists in Israel from the Beginning of the                Twentieth Century to the End of the 1960s, November 2008, History of Art                  Dept., Faculty of the Arts; Porter Inst. and Program of Women Studies,                Humanities, Tel Aviv University
1993  Organizing Series of 4 meeting: Moliere and the Arts in the court of Louis IV, The Multi-disciplinary Program in the Arts and History of the Theatre Dept, Tel Aviv University.
1993  Organizing Series of 3 meeting: Futurism as Interdisciplinary Art, The Multi-disciplinary Program in the Arts and History of the Theatre Dept.

Active Participation in Scientific Meetings
2009  “Creative Women, Creations of Women”, Schechter Institute of Jewish Studies, Jerusalem: The place of women artists in the History of the Israeli art.
2008  “Women Visual Artists in Israel from the Beginning of the Twentieth Century to the End of the 1960s'”, History of Art Dept., Tel Aviv University: Women Artists in Israel.
2000  Annual Conference of the Forum for Feminist and Gender Studies”, Tel-Aviv  University: Three Models on Trance-Gender in Modern Art.
2000  “Vision as Reality in Gauguin’s Paintings”, Motar Conference, Tel Aviv              University: Vision and  Reality.
1998  “Annual Conference of the   Forum for Feminist and Gender Studies”, Tel-Aviv Universit: Sex and Gender in Giacometti’s Couples.
1997  “Word and Image”, Motar Conference , Tel-Aviv University: From Word to Image-Theory and Practice of the Futuristic Manifestos.
1997  “The Theatre and Alfred Jarry”, Tel-Aviv University: The Futirist Performance.  1995   “Women in the Arts”, Motar Conference, Tel-Aviv University: Praying Mantis and  the Castrating Woman in Surrealist Art.
1994  “Architecture in the Arts”, Motar Conference Tel-Aviv University,  Sculpture as Architecture: Giacometti’s ‘The Palace at 4 a.m.’ 1932-33
1993  “Futurism as Interdisciplinary Art”, The Multi- disciplinary Program in the Arts, Tel-Aviv University: The Futurist Stage.

Participation in international academic conferences
2004  Scenography International, Loughborough University, England, 2-4.7.04: Giacometti and Stage Design.
2000  FIRT Annual Conference “Theatre: Sound Space, Visual Space”, 2000  Lyon 18-23.9.00: Light and Dynamism in Futurist Art and Scenography.
1999  International Conference “Revolution and Institutionalzation in the Theatre”, The Goethe Institute and Tel-Aviv University, 27-28.6.99: Futurist PerformancesFrom Revolutionary theory to Institutionalized Practice.
1999  International Conference “The Metamorphosis of Marginal Images”, Tel-Aviv            University, 20-21.1.99: What Does the Mask Cover in Alberto Giacometti’s ‘The Invisible Object’ (1934-35).
1996  “Iconografia del Teatro”, Convegno Internazionale di Studi, Prato.

Membership in Professional Societies
1995-2005   ICOM – International Council of Museums
1997-2005   CAA – College Art Association
1998-2005  IAWIS – International Association of Word and Image Studies
1998-2005  The Israeli Association of Feminist and Gender Studies
1997;2000  IFTR – International Federation for Theatre Research

Doctoral Students
Dalia Bachar, “Deconstruction of ‘Feminine Beauty’ Images in Feminist Art, 1970s – 2000s”. with Prof. Hanna Nave, Submitted in 2013.

M.A. Students
Nira Dafni, “The Artist and her Kinship: Israeli Women Artists in the First Half of the 20th Century”. Submitted in 2011 (97)
Anat Danon, “The Origin of the Biodegradable Sculpture in the 2nd Half of the 20th Century”. Submitted in 2011 (93)
Shiri Lev-Ari, “Connections and Influences between French Surrealism and North and South American’s Surrealism”. Submitted in 2007 (88)
Mor Presiado, “Modern City in German Expressionism“. Submitted in 2007 (92)
Gil Nir, “Body and Flesh in the Works of F. Bacon, L. Freud, and G. Saville”. Submitted in 2007 (98)
Hannah Korpel, “Louise Bourgeois: Early Representations of the Body in the Forties and Fifties”. Submitted in 2007 (95)
Dalia Bachar, “Women Artists Represent Feminine Pain Through Their  Bodies”. Submitted in 2005 (98)
Galit Stadler, Master thesis: “The Female Body as a Container in Surrealist Art”.              Submitted in 2003 (95)
Regina Shafir, MFA thesis: “Orientalisme in the Stage Design of the ‘Ballets Russes” (together with Prof. Miriam Guretzki, The Theatre Department). Submitted in 2002 (90) 

Publications
Books and Monographs
2008 Ruth Markus (ed.), G. Trajtenberg, R. Sela, E. Meyer-Maril, and Y. Guilat,  Women Artist in Israel, 1920-1970, Tel Aviv: Migdarin (genders) Series, Hakibbutz Hamehuchad Publishing House, 2008 (Hebrew). Published with the support of the Israel Science Foundation (ISF)
2003 Ruth Markus, Sculpting with Line and Space, Tel Aviv: Hakibbutz Hamehuchad Publishing House, 2003 (Hebrew). 

Book in preparation
Sex and Gender in Giacometti’s Couples

Refereed Articles in Hebrew
2011  Ruth Markus, “Three Models of Androgen in Modern Art”, Pestschrift to Haim Fimkelstein, Editors R. E. Iskun, K. Kogman-Apple, H. Maor, Jerusalem: Magnes Press, The Hebrew University, 2011, (3-28). (Hebrew).
2006 Ruth Markus, “Femme Fatale at the Turn of the 20th Century”, Femme Fatale, Tel Aviv: Museum Tel-Aviv, 2006, (188-179). (Hebrew & English).
2006 Ruth Markus, “Clair Yaniv – The Woman and the Bird”, Clair Yaniv, the Woman  and the Soul Bird,  Exh. Cat., Ein Hod: Janco-Dada Nuseum, 2006, (82-76) (Hebrew & English).
2004 Ruth Markus, “Constantin Brancusi”, Introduction, Tartei Poleolog, Conversations with Brancusi, Tel Aviv: Hakibbutz Hamehuchad Publishing House, 2004. (Hebrew).
2001 Ruth Markus, “Vision as Reality in Gauguin’s Paintings”, Motar9, Tel Aviv University, 2001; (75-82). (Hebrew).
1998 Ruth Markus, “From Word to Image – Theory and Practice of the Futurist      Manifestos”, Motar 6, Tel Aviv University, 1998; (57-64). (Hebrew).
1996 Ruth Markus, “The Praying Mantis and the Castrating Woman in Surrealist Art”,  Motar 4, Tel Aviv University, 1996; (91-100). (Hebrew).
1994 Ruth Markus, “Sculpture as Architecture: Giacometti’s ‘The Palace at 4 a.m.’   1932-3”, Motar2, Tel Aviv University, 1994; (134-40). (Hebrew). 

Refereed Articles in English
2006 Ruth Markus, “Retour à l’ordre and the Classical Language of French Modern Architecture after the First World War”, Kalathos: Studies in honour of Prof. Asher Ovadiah, Assaph, Studies in Art History, 10-11, Tel Aviv University, 2005-2006, (171-186).
2006 Ruth Markus, “Line and Space as New Artistic Language in Modern Sculpture”, Pictorial Languages and Their Meaning, ed. by ChristineB. Verzar and G. Pishhof, Tel Aviv University, 2006, (305-320).
2006 Ruth Markus, “Femme Fatale at the Turn of the 20th Century”, Femme Fatale, Tel Aviv: Museum Tel-Aviv, 2006, (188-179). (Hebrew & English).
2006 Ruth Markus, “Clair Yaniv – The Woman and the Bird”, Clair Yaniv, the Woman  and the Soul Bird,  Exh. Cat., Ein Hod: Janco-Dada Nuseum, 2006, (82-76) (Hebrew & English).
2005 Ruth Markus, “Light and Dynamism in Futurist Art and Scenography”, Assaph, Studies in Art History, 9, TelAvivUniversity, 2005. First version was puiblished in Scenography International, no 5, “Tradition and innovation” (2002).
2004 Ruth Markus, “Giacometti’s ‘The Palace at 4 A.M.’ (1932-22) as a Stage Design”, Scenography International, no. 8, 2004.
2001 Ruth Markus, “What Does the Mask Cover? Giacometti’s ‘The Invisible Object’ (1934)”. The Metamorphosis of Marginal Images: From Antiquity to Present Time, Tel-Aviv University, 2001; (213-224).
2001 Ruth Markus, “Sex and Gender in Giacometti’s Couples”, Assaph, Studies in Art History, 5, Tel-Aviv University, 2001; (81-102).
2000 Ruth Markus, “Surrealism’s Praying Mantis and Castrating Woman”, Woman’s Art Journal, vol. 21;1, Spring/Summer, 2000; (33-39).
2000 Ruth Markus, “Futurist Scenography: From Revolutionary Theory to Practice”, Assaph, Studies in the Theatre 15, Tel Aviv University, 2000; (153-163)
1996  Ruth Markus, “Picasso’s Guitar, 1912: The Transition from Analytical to               Synthetic Cubism”, Assaph, Studies in Art History 2, Tel Aviv University, 1996; (233-246).
1990  Ruth Markus, “The Contribution of Arnon Adar to The Israeli Theatre”, Assaph, Studies in the Theatre 6, Tel Aviv University, 1990; (141-158) (invited paper). 

Other Publications
Ruth Markus, “Artists: Yishuv and Israel, 1920 – 1970”, Jewish Women, a Comprehensive Historical Encyclopedia, ed. By E. Hayman and D. Ofer, Shalvi Publishing Ltd., Jerusalem, 2006. (DVD) http://jwa.org/encyclopedia