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The Parrish Art Museum in Water Mill currently has 73 works of contemporary Photorealist painters on view in its exhibit, From Lens to Eye to Hand: Phootrealism 1969 to Today. Included is the work of Israeli Photorealist painter, Yigal Ozeri, who is the subject of filmmaker Vincent Zambrano’s latest documentary, Yigal Ozeri: The Chameleon. The film will be screened at the Museum on Friday, December 1 at 6 p.m. and will be followed by an artist’s talk with Zambrano and Ozeria. The 102 minutes documentary, which contains brief moments of nudity, was produced in 2016 and is described as a “rags to riches story” of Ozeri and his creative process. It depicts his changing techniques, ideas, genres, and features archival footage of the artist in his earlier days. Also included are interviews with those closest to Ozeri. “The film and the conversation will add another layer to the understanding of Yigal Ozeri’s life and work: his unique sense of fantasy, imagination, and ethereality,” said Corinne Erni, Curator of Special Projects at the museum.

Look at this photograph. Beautiful, right? Now look again: only this time knowing that it's actually a painting. Yes, REALLY. And it's just one of the extraordinary, hyper-realistic pieces by NYC-based artist Yigal Ozeri that are now on show at the Opera Gallery on New Bond Street. Painted using thousands of tiny brushstrokes, the works blur the line between fantasy and reality: at once idealised yet gritty, dreamlike yet true to life. Go, see, and never again be impressed by any Instagram filter.

The walls of the Zimak Gallery in State Square in Tel Aviv are currently adorned with paintings by Israeli New York artist Yigal Ozeri. The exhibition called "The Storm" has two main characters: Sonia, a peony model, and Krystal, a young African-American who my assistant met by chance and asked her to model for his paintings. In the background of the figures is Bar Mountain Park next to the Hudson River, north of the New York metropolitan area. The characters wear little or no clothes at all, and each one appears in several paintings that are reminiscent of each other. The exhibition catalog also includes paintings by actress Whoopi Goldberg and Chinese artist Ivy - "a powerful and wonderful political artist," according to Ozeri.

Some people don’t like to get their picture taken, but you won’t believe your eyes when you see this next story because Israeli-born artist Yigal Ozeri makes everyone look good. Culture Correspondent Maya Margit sat down to talk with him about his amazing art. (Video)

"People today go crazy over paintings of fruit or eggs - still life. I deal with life itself and return the intimacy to the painting," is how Israeli hyper-realism artist Yigal Ozeri describes his feelings about his works. For years, Ozeri has been known to blur the boundaries between photography and painting. Many celebrities have already passed under his brush - Whoopi Goldberg, artist Ai Wei Wei, Lizzie Jagger, Mick Jagger's daughter, and also Uri Geller. His paintings are so accurate that it is difficult to see that this is not camera work but oil paints. Now Ozeri, who lives in New York, is coming to Israel for his new exhibition - "The Storm", which will be displayed at the Zimak Gallery in Tel Aviv starting tomorrow (Thursday).

Photorealism, a painterly style that emerged in the late 1960s and privileged hyper-real depictions of mundane circumstances, had a quick rise and a quick fall: Celebrated at the seminal 1972 edition of Documenta as the next phase of Pop, the deadpan paintings of cars, diners and street corners quickly came to seem traditionalist. An ambitious museum show, reckoning with the place of photorealism within the larger history of painting, would be a welcome endeavor — and audiences who still see technical acuity as a principal marker of artistic accomplishment might lap it up. (Consider the many context-free slide shows on traffic-hungry blogs, à la “27 Stunning Works of Art You Won’t Believe Aren’t Photographs.”)

The conversations between the artist friends Eugene Lemay and Yigal Ozeri, however different they might be, resulted in impressive collaborative results before. Their artist studios are adjacent, located at the large arts center and artist community Mana Contemporary in Jersey City. It is at Mana where both are exposed to a great number of impressions, expressions, as well as a variety of discourses. It is in such an environment where dialogue, influence, and thoughts, become a springboard and help push boundaries of one’s artistic practice. Art fans can thank Andreas Binder for having the vision to juxtapose the works of Lemay and Ozeri at his Munich gallery where they are currently on view. This is an great opportunity to survey their latest works - their ‘state of the art’ if you will - side by side in Europe.

Photorealism—the process of replicating a photograph through a different medium — was once considered a fad, but the 1970s arts movement has stood the test of time. Now, nearly five decades after the term was first coined by art dealer Louis K. Meisel, the works of some of the movement's most influential artists are being displayed together at "From Lens to Eye To Hand: Photorealism 1969 to Today," a new exhibition at the Parrish Art Museum in Water Mill, New York. The show features 40 paintings and 33 works, including "Hotel Empire" by Richard Estes, one of the fathers of the movement, as well as more recent contributions from the likes of Yigal Ozeri, Raphaella Spence and Bertrand Meniel.

Photorealists embarked on a new way of seeing and depicting that relied on taking the photographic image, quite literally, as the starting point in their creative process,” explains Parrish director Terrie Sultan, curator of “FROM LENS TO EYE TO HAND: PHOTOREALISM 1969 TO TODAY,” on view through January 21. The exhibition explores the remarkably cohesive and influential yet under-recognized art movement through 75 works by 32 artists, including Bechtle, RICHARD ESTES, RALPH GOINGS, CHUCK CLOSE, AUDREY FLACK and CHARLES BELL.

They might look like they belong on the cover of a magazine, but these beautiful model shots are not actually photographs – in fact, they are the handiwork of a talented Israeli-born artist. Yigal Ozeri spent months painstakingly creating these large-scale portraits of young women posed in dream-like landscapes, with thousands of tiny brushstrokes.

THIS stunning selection of pictures seem to be perfectly shot photographs - but look a little closer and you'll find that the images are not the work of a camera. In fact, the images are not photographs at all - they’re paintings by photorealist artist Yigal Ozeri. Yigal, an Israeli who is now based in New York, specialises in producing incredibly lifelike portraits that blur the lines between fantasy and reality. The talented artist works from photographs that he takes himself before editing them in Photoshop. He then uses prints of these images as a reference point before painting his portraits on canvas.

The reaction to Yigal Ozeri's astonishing paintings, composed of thousands of tiny brushstrokes, has two elements to it. There's an immediate hit of 'holy shit, that's not a photograph' and then a sense of hollowness, of sadness - perhaps even existential unease, as you realise how a combination of paint can look just as alive and present as a real human being.

Surrounded by nature, these women all strike thoughtful poses. Some of them look straight out from the image, while others gaze into the distance as they stand amid woodland, snow and in front of a picturesque-looking lake and hills.But the photos all carry an intriguing secret. They are not photos at all. They are all paintings by photorealist artist Yigal Ozeri. He specialises in producing incredible lifelike portraits, with no brushstrokes to be seen. Explaining his technique, Oddity Central reports, each shoot begins by photographing beautiful women, before altering the images in Photoshop. Ozeri, an Israeli artist based in New York, then uses these prints as a reference point when he creates images with oil on canvas. He told Young Masters: 'I work on it in a free painting technique, whereas most photorealistic artists work on the far and the close with similar level of accuracy and assessment.