Miriam Cabessa

Quick Facts

Full Name	Miriam Cabessa
Occupation	Painter
Date Of Birth	Jun 2, 1966(1966-06-02)
Age	58
Birthplace	Casablanca
Country	Morocco
Birth City	Grand Casablanca
Horoscope	Gemini

Miriam Cabessa Biography

Miriam Cabessa is one of the most popular and richest Painter who was born on June 2, 1966 in Casablanca, Grand Casablanca, Morocco. Miriam Cabessa was conceived in Casablanca in Morocco in 1966. She immigrated to Israel in 1969 with her family. They settled in Tiberias. She moved to Kibbutz Sha’ar Hagolan, Jordan Valley at the age of 13. She was raised in an artistic family: her father was a jazz pianist and her mother ran Tiberias’ “Maskit”, a state-owned business that promoted locally-produced fashion and crafts. Her mother also founded the “Helen School,” a sewing school. Cabessa began taking private drawing lessons when she was six years old and continued her studies at Tel Hai College. She was also a trainer of horses at Kibbutz Sha’ar Hagolan. She was 17 when she became a brown belt in Karate. After that, she worked as a Kibbutz Afikim karate coach. She was also among the first to learn windsurfing on the Sea of Galilee. After completing her military service, she joined the Israeli army in mid-1980s. She then moved to Tel Aviv.

Cabessa had exhibited at Dvir Gallery, a series of paintings depicting New York City’s imaginary urban landscapes, before she left for New York. In October 1999, she moved to Manhattan and joined the ISCP studio residency program one year later. She began working with Stefan Stux Gallery in 2001, which helped her work gain greater exposure on the New York arts scene. She participated in a group show curated by John Yao at Maryland Institute College of Art in 2002. Yao and Cabessa began to have a dialogue about Cabessa’s work, including its method of action, pictorial language, and bodily presence. Yao discovered the feminine qualities in Cabessa’s work, as well as the ingenuity that it avoids masculine motion. These are some aspects of Cabessa’s practice, which only got stronger over time. Cabessa started to think about her work as language. She wanted to create a unique language for painting movements through tapping into a wider context. In this stage of her life, spiritual and personal investigations were more prominent in her work and life. She was involved in various spiritual groups in New York (“Circle Paintings”), a solo show at Alon Segev Gallery in Tel Aviv in 2003. Sufi Whirling was a major influence on her work. The loss of direction and sense of ecstasy this practice produces allows for a shift in consciousness that guides the artist when she paints. Cabessa would spend hours walking around the canvas, making a circular motion that went on forever.

Between 2005 and 2009, Cabessa participated in group exhibitions in the United States and in Europe. In 2008, she exhibited at Slate Gallery a series of 30 paintings entitled “79” and entirely made with oil and gold dust. 79 is the atomic number of the chemical element of gold which pigment Cabessa used in her paintings.

In 2009 she performed for the first time in front of an audience. In a performance called “Slow motion action painting,” she painted on a 15-meter- long canvas using a keffiyeh and a tallit (Jewish prayer shawl). The performance was supported by Artis and presented at Pulse Art Fair on its opening day for 12 consecutive hours. In choosing a keffiyeh and a tallit as painting tools, Cabessa neutralized the highly symbolic charge of those traditional garments while simultaneously uniting them into a harmonious form through the act of painting. They give in to each other and follow each other’s motion, in a dialogue that is both formal and conceptual.

Cabessa created “Mummies” in 1998. It was a series that featured powerful works made with a hot and cold iron. The series is reminiscent of ironing, which seems to be a desperate attempt to smoothen the painting’s surface. It brings to mind modernism as well as the tradition of flat painting. Cabessa’s selection of painting tools is part her conscious effort to transform domestic appliances into feminist instruments. She takes housewares out of their original purpose and repurposes them in a new context. Cabessa transformed garbage cans, rags, and squeegees in to painting tools. She is now associated with feminist artists such as Cindy Sherman, Barbara Krueger and Sherry levine from the 1980s, who, rather than trying to master painting, have sought to ask how women can enter the male-dominated art world of painting. Ironing is a personal act that brings back memories, such as the smell of ironing at Cabessa’s childhood home. It also reflects a larger feminist goal: to transcend gender and social limitations.

Miriam Cabessa Net Worth

Miriam Cabessa is one of the richest Painter from Morocco. According to our analysis, Wikipedia, Forbes & Business Insider, Miriam Cabessa 's net worth $5 Million. (Last Update: December 11, 2023)

Cabessa was a student at the Kalisher painting school in 1988. She then studied privately for three years with Tamara Rickman. Cabessa continued her studies at the Midrasha Art School in Fine Art from 1991 to 1993 and Theory and Criticism at Camera Obscura, 1997. After completing her Midrasha degree, Cabessa was invited to take part in an exhibition group at Tel Aviv Art Museum, curated by Ellen Ginton. In 1993, she had her first solo show at Dvir Gallery. She presented a series on masonite paintings that set the stage for her artistic identity. Using household items like plates, cups, and mops, Cabessa developed a unique technique to paint three-dimensional pipes. The works are complex and seemingly computer-generated but they were made by Cabessa. Many people were intrigued by the gap between these images, and their production process. The exhibition’s works were well-received by the Israeli art market, and Cabessa was positioned as a promising young artist. She was the first recipient of the Gottesdiener Prize in 1995, which is sponsored by Tel Aviv Art Museum. It is considered one of the most prestigious prizes available to Israeli artists. She presented graphite and masonite works on paper at the Gottesdiener Prize Exhibition. A catalog was available to accompany the show.

Sarah Breitberg Semel selected Cabessa to represent Israel in 1997 at the Israeli Pavilion of the Venice Biennale. She was joined by Israeli artists Yossi Berer and Sigalit Landau. Cabessa displayed a series paintings that notably refined and consolidated the artist’s pictural language. The presented black-and white oil paintings on masonite with abstract swirls, stripes and swirls confirmed the artist’s artistic precision, virtuosity, and control. While her Dvir Gallery show had shown her imagination and creativity, her Biennale exhibit demonstrated her ability to control her emotions and be disciplined. The series includes a “30 second painting”, named after the time Cabessa engraved her mark on the painting. Plastik Magazine published a reproduction and an interview with the artist. Cabessa can reformulate the painting process as conceptually-driven and process-based by using self- instructions and performative constraints. The military-inspired “30-second” constraint was borrowed. However, the instruction to touch the surface of the painting with your eyes closed transforms a masculine principle to a feminine, intimate, and sensual act. Later, Cabessa will be able to perform public painting performances that expose the intimacy of her painting process to the public.

In 2004, Cabessa’s painting process was filmed for the first time in a series of five video works, each lasting a few minutes, documenting her painting action from start to finish.

Height, Weight & Body Measurements

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Who is Miriam Cabessa Dating?

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In 2015, Cabessa exhibited at the Jenn Singer Gallery in New York. For this painting series, Cabessa laid out books she had read and especially liked onto an oil-covered plywood surface, leaving the imprint of their open pages on the surface and at times even inverted letters from the text. She presented close to fifty paintings bearing the imprints of books by authors such as Nabokov and Kafka, selected from Cabessa’s collection of most influential books. The produced images deliberately resemble a series of vaginas: like spread-out legs, the imprints of the open books symbolically serve to feminize the books’ mostly male writers. The surprising aspect of this process consisted in the wide variety of images produced from similar-looking books.

Facts & Trivia

Miriam Ranked on the list of most popular Painter. Also ranked in the elit list of famous people born in Morocco. Miriam Cabessa celebrates birthday on June 2 of every year.

In 2018, she presented her first collaborative project “Night Painting” at the Uri and Rami Nehoshtan Museum, a contemporary art museum located in Kibbutz Ashdot Yaakov in the Jordan Valley, curated by its director Smadar Keren. The work was created in collaboration with theater director Noam Ben Azar and his group of actors. Over the course of a year, they met for a series of improvisation exercises based on the “Grid technique”. This technique acts as a framework for producing incidental interactions and compositions, and allows the actors to reach a deeper intuitive state from which to draw material for their performance. During the sessions, actors were directed by Ben Azar to move around the space following imaginary vertical and horizontal lines on the canvas, tuning themselves to their own body and feelings while maintaining an acute awareness of others’ movements in the space; during that time Cabessa worked with diluted oil paint on the canvas, alternately adding and subtracting paint. This resulted in a four-hour live performance, video and large-scale painting.