A Response to “Gaza: Mowing the Lawn” 2014-15

#11 of 51 works by artist Jaime Scholnick in response to 2014's Operation Protective Edge, from her 2015 solo show "Gaza: Mowing the Lawn" (courtesy of the artist).

14 JULY 2021 • By Tony Litwinko
#11 of 51 works by artist Jaime Scholnick in response to 2014's Operation Protective Edge, from her 2015 solo show
#11 of 51 works by artist Jaime Scholnick in response to 2014’s Operation Protective Edge, from her 2015 solo show “Gaza: Mowing the Lawn” (courtesy of the artist).

 


A writer reacts to the 51 painted photographs by artist Jaime Scholnick in her 2015 exhibit  in Los Angeles, “Gaza: Mowing the Lawn,” following Israel’s brutal 2014 Operation Protective Edge, the onslaught on Hamas and Gaza that cost many lives.

 

Tony Litwinko
 

You cannot go there now, and when you were there in 2009 it was too brief to take it all in. Barely twenty-four hours. Yet the first impressions are still strong. The broken American School, the demolished cement plants, the apartment buildings with their folded floors and rubble sliding into the streets as if from a scoop, a plastic tent covering a family, the administrative building with the burned windows on the third and fourth floors, its blackened walls where the missile had entered precisely. The divided boulevards with the donkey-drawn wagons with auto tires, the vista down to the Mediterranean. When you were in Gaza six months after Operation Cast Lead, the rubble was still there, the holes in the stucco, and yet: you could stand on that boulevard separated by a dusty divider with broken trees and imagine what peace might bring — a seaside vacation spot with thriving tourism, the beach down below the hotel looking out over a rebuilt tiny harbor like the one in Jaffa, the fisherman casting for an unpolluted dinner. But now all you can remember — no, because of pictures you imagine — are children playing soccer on the beach in 2014 then struck by shells from offshore and torn apart.  


Visit “Gaza: Mowing the Lawn” and read a critical review of the exhibit.


In the gallery where the artist placed her exhibit, your first impression was that these are so small, so dwarfed by the wall on which they hang, double rowed, leading to and around the far corner, so that you have to approach and zoom in as if you were on Google maps to drill down and look hard at these images, barred and threaded and strung instruments of grief, the screams and wails silent, the fierce steadfastness, roads to nowhere passing between disintegrating rubble. Dead children, dead mothers, the screaming fathers, the dead children.  

But go closer. These taut threads of color keep you from seeing the images in their journalistic mode, truly the size of the news photos they are built on, providing only the slimmest of narrative for this most recent of Israel’s vicious attacks on the Palestinians enclosed in Gaza since 1994-96. Haven’t you had enough of those photos by themselves? Haven’t you seen, since the Vietnam War, the naked torment of a running girl scorched in a napalm flash? Or some other version of her? Of the father holding his dead child in a pink bathrobe in Baghdad, her spindly leg dangling from a tendon. And for us, the empathizers, seeing their inner pain of loss?

When you stand back you see them as photos no longer, but you know the stories are behind the bright primary colors, the way reality is behind the images. The way death is immediate in the arms of the loving survivor in pain, or the fear of another death that brings the scalpel in the white gloved hands of a surgeon excising shrapnel from a child’s gut.

For almost all Americans these 51 images have evaporated in time. A picture for each day of the war, now hidden by fast currents of the news — so here, says the artist, here, work into your commitment, struggle with it, because you must know that only those who feel the empathic pain, that is, only we Americans who have rejected the clichés of the media (“terrorism,” “the right to defend themselves”) are coming to this gallery to experience the grief of these condemned and brutally ignored victims and defiant steadfast Gazans. It seems at moments like these that only those who know want to know more, want to see how someone else knows, how an artist knows.

Ironic, is it not, that all of us who have come to see these images understand and assume that it is not a member of AIPAC next to us shaking his head in grief. We know that Hillary Clinton will not be here. We know that Haim Saban will be off electronically transferring funds to the Friends of the IDF. They will not be looking at the images of Jaime Scholnick, although we wish they were.

These photographs bear witness to the latest violence against this concentration of ill-nourished and captive people, classified by their prison administrators, as if they are vegetation, growing and growing until “the lawn must be mowed.” The Israeli thug who first used the phrase “mowing the lawn” has dehumanized the Gazans as if they were a cosmetic nuisance for a slumlord who wants to keep things neat and trimmed and manageable, who does it with machinery, blades of shrapnel, weed whackers with wings and missiles supplied by his US benefactors.

Operation Rainbow (2004). Operation Days of Penitence (2004). Operation Summer Rains (2006). Operation Autumn Clouds (2006). Operation Hot Winter (2008) Operation Cast Lead (2008-2009). Operation Pillar of Cloud (2012). Operation Protective Edge (2014) aka Operation Strong Cliff (“Miv’tza Tzuk Eitan”). Nine years after Israel bussed out the illegal settlers to help reinforce the occupied West Bank settlements,  stationed its Gaza occupation soldiers around the Gaza border fence, its Marines out in the Mediterranean, its helicopters and drones and American-supplied fighter/bomber jets in the air above the destroyed Gaza Airport (and then insisted that it was not “occupying” the Gaza Strip) — nine years after that withdrawal Israel launched its last and most vicious infiltration, “mowing the lawn” of the 27.4 square mile Gaza Strip — including, of course, the almost half-kilometer wide killing strip inside the fence that nullifies a good deal of Gaza’s best agricultural land, that is to say, the soil farthest away from the encroaching salt water of the sea.

Come with me, my fellow Americans, come with me for a tour of this proscribed acreage. You won’t as a private citizen enter Gaza easily. I know. I have friends who have been patiently waiting for years. So let us enter Gaza as a photograph, courtesy of Google. You can find the perimeter fence easily, and then see how the perimeter road runs on the Israeli side, how the land to the West looks spotty and greyed, with some patches of green. But to the East, observe the Israeli farmland, green, blue-green and yellow-green butting right up against the perimeter road. Observe the difference in action. Patchwork fields like in the American Midwest or all over the world, and an occasional irrigated circle. Observe them from Sderot in the northern edge to Kfar Aza, Alumin, Kfar Masrion, Be’eri, Re’Im, Kissufim, Nirim, Magen, Yedea, Ein Ha’Besor, Yesha, Nir Yitzhak, Holit — down to the Egyptian border, all these settlements or villages created since 1948, or having been occupied, renamed — and you will see that the land within the fence could be very productive for all. Could be feeding Gazans. Could be producing exports to the EU. Rolling agricultural land.

Please observe how Google gives us bonus photos, ironically usually without people, since landscape images seem more serene without them. Does this remind you? Click on Nir Yitzok to see the photo of a purple iris in front of a field of mustard and trees in the distance, as if this were a pastorale. Scan the “Phoenician Style Modern-art Colonnade” with greening hills in the distance covered with trees from the New Israel Fund.  Check out the “Wonderful World of Beery Vale” filled with idyllic grass. Or the “Green Road Border of Gaza.” Click and you will see cultivated land on the Israeli side. Is this not wonderful scenery?

And in the same exercise observe how you can safely hop over the fence without an entry permit to see a plume of evil smoke issuing from a fire near the Gaza power station. Could this be from the July 29th tank attack on the fuel depot near the plant? (Google maps never says.) That was the attack that in turn disabled the water treatment facilities for Gaza. The plume is ugly, thick and black. The shadows of the smoke stacks fall on the ground. There are patches of plowed land within the Gaza confines — as far away from the encroaching polluted sea as can be and edging right up and into the no-man’s land where brave farmers and belligerent frustrated shouting youth are shot for their livelihood or their defiance. And as more than one person has commented, notably Noam Chomsky, the no-man’s land could have been placed on the Eastern side of the border fence. The No-Man’s land is a systemic encroachment that drives us nuts when we know the reality. In Sara Roy’s revised edition of The Gaza Strip: the Political Economy of De-Development, she reprints a warning from the Israeli “Defense” Forces and a rough translation (p. xlvii): “To the People of the Strip: The Israel Defense Forces repeat their warning about the danger of approaching within 300 meters of the borderline. Henceforth, the Israel Defense Forces will take all necessary measures to eliminate anyone who gets close to the zone. If necessary the IDF will open fire without hesitations. No excuses will be accepted now that you have been warned.”

Google maps will show the detail but not the motion and life needed to understand the texture of ruin and rubble, death and pain, defiance and terror. We can only go so far into the pixels of the image or the pointillist graphics of a news photo. One pixel equals a smashed bedroom.

So, let us return to the gallery of the chosen scenes of Gaza.

The artist emphasizes the borders of empathy, and has deliberately added to the limits of visualization, reminding us that you have to be there to understand the 2014 onslaught on Gaza, reminds us, shows us what we will see when we zoom in — the anguished father’s eyes clenched tight while his clenched fists rend his jalabiyah; a father tenderly carrying the corpse of his eight year old; mourning families; anger and frustration; blackened corpses lying in sheets; a screaming father near the drawers of a morgue that hold his wife and children. Is there not enough sadness? Then think of the children. The children. And then there is too much sadness. 

If in those 51 days of terror, of “mowing the lawn” — and I know how some religious people of conscience will recall Isaiah’s “all flesh is grass and all its loveliness is like the flower of the field. The grass withers and the flowers fade when the breath of the Lord blows upon it” (40:6-8) — and no doubt well-read partisans of self-defense will see in this most recent mowing of the lawn that the Israeli onslaught was like the “breath of the Lord.” Perhaps that will be the military title of the next mowing… Operation Breath of the Lord.

Because you know, the Lords of the Land, as they have been called, appear in Scholnick’s last picture element, which she has made to stand alone on its own wall. Apart. Distant. But always there.

And by this means of separation the artist makes the final commentary on the lords of that constricted land. She shows Israelis enjoying the show as if they were on a hill above a Fourth of July celebration in this city. We zoom in and see the calm figures of Israeli photographers and sightseers on the hill outside of Sderot, looking down on the plumes of smoke and destruction, but at a safe distance, lords of the land looking down on the out of sight flesh as if it were grass, being whipped and shrapnelled to blood and entrails, far, far off in the distance, where the explosions are immediate and lethal but the blast is heard much later. Please note the seconds of silence between smoking reality and sound. Observe how you never, never hear the screams of the children.

Tony Litwinko

Tony Litwinko After teaching Victorian literature and writing, and publishing some poetry, Tony Litwinko aka AJ Litwinko left academia in 1979 and reluctantly moved to California, where he remains until today. He made a career in the insurance and risk management field,... Read more

After teaching Victorian literature and writing, and publishing some poetry, Tony Litwinko aka AJ Litwinko left academia in 1979 and reluctantly moved to California, where he remains until today. He made a career in the insurance and risk management field, retiring early in 2006 when he became active in the peace and justice movement, traveling in the Middle East and Europe, and studying modern history. When he’s not cooking, reading, loving his daughters and wife, family and friends, he records the injustice and devastation in the occasional poem or essay, draws or sketches in ink, and works in fits and starts on a memoir.

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15 NOVEMBER 2021 • By Hadani Ditmars
The Vanishing: Are Arab Christians an Endangered Minority?
Film Reviews

Will Love Triumph in the Midst of Gaza’s 14-Year Siege?

11 OCTOBER 2021 • By Jordan Elgrably
Will Love Triumph in the Midst of Gaza’s 14-Year Siege?
Latest Reviews

The Limits of Empathy in Rabih Alameddine’s Refugee Saga

15 SEPTEMBER 2021 • By Dima Alzayat
The Limits of Empathy in Rabih Alameddine’s Refugee Saga
Latest Reviews

Shelf Life: The Irreverent Nadia Wassef

15 SEPTEMBER 2021 • By Sherine Elbanhawy
Shelf Life: The Irreverent Nadia Wassef
Weekly

Palestinian Akram Musallam Writes of Loss and Memory

29 AUGUST 2021 • By khulud khamis
Palestinian Akram Musallam Writes of Loss and Memory
Weekly

Reading Egypt from the Outside In, Youssef Rakha’s “Baraa and Zaman”

24 AUGUST 2021 • By Sherifa Zuhur
Reading Egypt from the Outside In, Youssef Rakha’s “Baraa and Zaman”
Book Reviews

Egypt Dreams of Revolution, a Review of “Slipping”

8 AUGUST 2021 • By Farah Abdessamad
Egypt Dreams of Revolution, a Review of “Slipping”
Weekly

Heba Hayek’s Gaza Memories

1 AUGUST 2021 • By Shereen Malherbe
Heba Hayek’s Gaza Memories
Memoir

“Guns and Figs” from Heba Hayek’s new Gaza book

1 AUGUST 2021 • By Heba Hayek
“Guns and Figs” from Heba Hayek’s new Gaza book
Weekly

Wafa Shami’s Palestinian Mulukhiyah

25 JULY 2021 • By Wafa Shami
Wafa Shami’s Palestinian Mulukhiyah
Weekly

Fadi Kattan’s Fatteh Ghazawiya الفتة الغزاوية

25 JULY 2021 • By Fadi Kattan
Fadi Kattan’s Fatteh Ghazawiya الفتة الغزاوية
Columns

When War is Just Another Name for Murder

15 JULY 2021 • By Norman G. Finkelstein
When War is Just Another Name for Murder
Fiction

Gazan Skies, from the novel “Out of It”

14 JULY 2021 • By Selma Dabbagh
Gazan Skies, from the novel “Out of It”
Art

Malak Mattar — Gaza Artist and Survivor

14 JULY 2021 • By Jordan Elgrably
Malak Mattar — Gaza Artist and Survivor
Essays

The Gaza Mythologies

14 JULY 2021 • By Ilan Pappé
The Gaza Mythologies
Columns

The Semantics of Gaza, War and Truth

14 JULY 2021 • By Mischa Geracoulis
The Semantics of Gaza, War and Truth
Latest Reviews

No Exit

14 JULY 2021 • By Allam Zedan
No Exit
Essays

Gaza, You and Me

14 JULY 2021 • By Abdallah Salha
Gaza, You and Me
Latest Reviews

Four Poems from Mosab Abu Toha

14 JULY 2021 • By Mosab Abu Toha
Four Poems from Mosab Abu Toha
Essays

Alive in Gaza

14 JULY 2021 • By Ramzy Baroud
Alive in Gaza
Columns

Gaza’s Catch-22s

14 JULY 2021 • By Khaled Diab
Gaza’s Catch-22s
Essays

Making a Film in Gaza

14 JULY 2021 • By Elana Golden
Making a Film in Gaza
Essays

Gaza IS Palestine

14 JULY 2021 • By Jenine Abboushi
Gaza IS Palestine
Latest Reviews

A Response to “Gaza: Mowing the Lawn” 2014-15

14 JULY 2021 • By Tony Litwinko
A Response to “Gaza: Mowing the Lawn” 2014-15
Centerpiece

“Gaza: Mowing the Lawn” by Artist Jaime Scholnick

14 JULY 2021 • By Sagi Refael
“Gaza: Mowing the Lawn” by Artist Jaime Scholnick
Essays

Sailing to Gaza to Break the Siege

14 JULY 2021 • By Greta Berlin
Sailing to Gaza to Break the Siege
Latest Reviews

Review: Open Gaza: Architectures of Hope

14 JULY 2021 • By Hadani Ditmars
Review: <em>Open Gaza: Architectures of Hope</em>
Essays

In Retrospect: An American Educator in Gaza

14 JULY 2021 • By Diane Shammas
In Retrospect: An American Educator in Gaza
Weekly

“Hot Maroc” Satirizes Marrakesh, Moroccan Society

11 JULY 2021 • By El Habib Louai
“Hot Maroc” Satirizes Marrakesh, Moroccan Society
Weekly

The Unfinished Presidency of Jimmy Carter

4 JULY 2021 • By Maryam Zar
The Unfinished Presidency of Jimmy Carter
Book Reviews

ISIS and the Absurdity of War in the Age of Twitter

4 JULY 2021 • By Jessica Proett
ISIS and the Absurdity of War in the Age of Twitter
Weekly

A New Book on Music, Palestine-Israel & the “Three State Solution”

28 JUNE 2021 • By Mark LeVine
A New Book on Music, Palestine-Israel & the “Three State Solution”
Latest Reviews

Wasta on Steroids: Speculative Finance & the Housing Market

14 JUNE 2021 • By Mischa Geracoulis
Wasta on Steroids: Speculative Finance & the Housing Market
Weekly

Spare Me the Empathy Tantrum: Rafia Zakaria’s “Against White Feminism”

6 JUNE 2021 • By Myriam Gurba
Spare Me the Empathy Tantrum: Rafia Zakaria’s “Against White Feminism”
Weekly

Palestine in the World: “Palestine: A Socialist Introduction”

6 JUNE 2021 • By Jenine Abboushi
Palestine in the World: “Palestine: A Socialist Introduction”
Weekly

Arab Women and The Thousand and One Nights

30 MAY 2021 • By Malu Halasa
Arab Women and The Thousand and One Nights
Weekly

The Maps of Our Destruction: Two Novels on Syria

30 MAY 2021 • By Rana Asfour
The Maps of Our Destruction: Two Novels on Syria
Weekly

War Diary: The End of Innocence

23 MAY 2021 • By Arie Amaya-Akkermans
War Diary: The End of Innocence
Book Reviews

I was a French Muslim—Memories of an Algerian Freedom Fighter

23 MAY 2021 • By Mischa Geracoulis
<em>I was a French Muslim</em>—Memories of an Algerian Freedom Fighter
Weekly

Midnight in Cairo: The Divas of Egypt’s Roaring 20s

16 MAY 2021 • By Selma Dabbagh
Midnight in Cairo: The Divas of Egypt’s Roaring 20s
Book Reviews

The Triumph of Love and the Palestinian Revolution

16 MAY 2021 • By Fouad Mami
Art

Beautiful/Ugly: Against Aestheticizing Israel’s Separation Wall

14 MAY 2021 • By Malu Halasa
Weekly

Beirut Brings a Fragmented Family Together in “The Arsonists’ City”

9 MAY 2021 • By Rana Asfour
Weekly

Why Mona Eltahawy Wants to Smash the Patriarchy

2 MAY 2021 • By Hiba Moustafa
Why Mona Eltahawy Wants to Smash the Patriarchy
Weekly

In Search of Knowledge, Mazid Travels to Baghdad, Jerusalem, Cairo, Granada and Córdoba

2 MAY 2021 • By Eman Quotah
In Search of Knowledge, Mazid Travels to Baghdad, Jerusalem, Cairo, Granada and Córdoba
Book Reviews

Three North African Novels Dance Between Colonial & Postcolonial Worlds

25 APRIL 2021 • By Rana Asfour
Three North African Novels Dance Between Colonial & Postcolonial Worlds
Weekly

“I Advance in Defeat”, the Poems of Najwan Darwish

28 MARCH 2021 • By Patrick James Dunagan
“I Advance in Defeat”, the Poems of Najwan Darwish
Book Reviews

Being Jewish and Muslim Together: Remembering Our Legacy

28 MARCH 2021 • By Joyce Zonana
Being Jewish and Muslim Together: Remembering Our Legacy
Poetry

A visual poem from Hala Alyan: Gaza

14 MARCH 2021 • By TMR
A visual poem from Hala Alyan: Gaza
TMR 7 • Truth?

Secrets, Leaks, and the Imperative of Truth and Transparency

14 MARCH 2021 • By Stephen Rohde
Secrets, Leaks, and the Imperative of Truth and Transparency
TMR 7 • Truth?

Truth or Dare? Reinterpreting Al-Harīrī’s Arab Rogue

14 MARCH 2021 • By Farah Abdessamad
Truth or Dare? Reinterpreting Al-Harīrī’s Arab Rogue
TMR 7 • Truth?

The Crash, Covid-19 and Other Iranian Stories

14 MARCH 2021 • By Malu Halasa
The Crash, Covid-19 and Other Iranian Stories
TMR 7 • Truth?

Allah and the American Dream

14 MARCH 2021 • By Rayyan Al-Shawaf
Allah and the American Dream
TMR 7 • Truth?

Poetry Against the State

14 MARCH 2021 • By Gil Anidjar
Poetry Against the State
Weekly

Faïza Guène’s Fight for French Respectability

7 MARCH 2021 • By Melissa Chemam
Faïza Guène’s Fight for French Respectability
TMR 6 • Revolutions

Ten Years of Hope and Blood

14 FEBRUARY 2021 • By Robert Solé
Ten Years of Hope and Blood
Book Reviews

The Polyphony of a Syrian Refugee Speaks Volumes

25 JANUARY 2021 • By Farah Abdessamad
The Polyphony of a Syrian Refugee Speaks Volumes
Book Reviews

The Howling of the Dog: Adania Shibli’s “Minor Detail”

30 DECEMBER 2020 • By Layla AlAmmar
The Howling of the Dog: Adania Shibli’s “Minor Detail”
Film

Threading the Needle: Najwa Najjar’s “Between Heaven and Earth”

14 DECEMBER 2020 • By Ammiel Alcalay
Threading the Needle: Najwa Najjar’s “Between Heaven and Earth”
Weekly

Assaulting Free Speech in the Israel/Palestine Debate

6 DECEMBER 2020 • By TMR
Assaulting Free Speech in the Israel/Palestine Debate
TMR 3 • Racism & Identity

Isabel Wilkerson on Race and Caste in the 21st Century

15 NOVEMBER 2020 • By Monique El-Faizy
Isabel Wilkerson on Race and Caste in the 21st Century
Book Reviews

An American in Istanbul Between Muslim and Christian Worlds

15 NOVEMBER 2020 • By Anne-Marie O'Connor
An American in Istanbul Between Muslim and Christian Worlds
TMR 3 • Racism & Identity

Is White Feminism the De Facto Weapon of White Supremacy?

15 NOVEMBER 2020 • By TMR
The Red and the Blue

The “Surreal Hell” That Made Tahar Ben Jelloun a Writer

15 OCTOBER 2020 • By Rana Asfour
The “Surreal Hell” That Made Tahar Ben Jelloun a Writer
The Red and the Blue

Arabs & Race in America through the Short Story Prism

15 OCTOBER 2020 • By Malu Halasa
Arabs & Race in America through the Short Story Prism
Book Reviews

Falastin, Sami Tamimi’s “Palestinian Modern”

15 OCTOBER 2020 • By N.A. Mansour
Falastin, Sami Tamimi’s “Palestinian Modern”
Beirut

Salvaging the shipwreck of humanity in Amin Maalouf’s Adrift

15 SEPTEMBER 2020 • By Sarah AlKahly-Mills
Salvaging the shipwreck of humanity in Amin Maalouf’s <em>Adrift</em>
Book Reviews

Poetic Exploration of Illness Conveys Trauma

14 SEPTEMBER 2020 • By India Hixon Radfar
Poetic Exploration of Illness Conveys Trauma
Book Reviews

Algiers, the Black Panthers & the Revolution

1 OCTOBER 2018 • By TMR
Algiers, the Black Panthers & the Revolution

2 thoughts on “A Response to “Gaza: Mowing the Lawn” 2014-15”

  1. FRANCISCO ARTEAGA

    Impresionante relato..increíble en pleno siglo XXI un genocidio trasmitido por la redes sociales y no hacemos nada!!!

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