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Artist Ruth Weisberg Explores
Redemption Through Memory
13.2
from a portfolio of
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DRIL 8, 1988
Weisberg's lithograph "Disparity Among the Children". She appears twice in the work — once as the
artist and again as an observer.
SUSAN LUDMER-GLIEBE
Special to The Jewish News
R
uth Weisberg's paint-
ings, drawings and
prints are filled with
faces — of family and friends,
of nameless souls, of her own
visage. They are an important
element to her work and a
signature of her intentions.
"I work a lot with ar-
chetypical stories re-enacted
with contemporary persons,"
explains Weisberg from her
home in Santa Monica,
California.
One day, about seven years
ago, Weisberg discovered an
image of a boy in one of her
works which bore a striking
resemblance to her son,
Alfred. That shouldn't have
been unusual for she often
uses her son and daughter,
Alicia, in her works. What
was noteworthy was that the
painting had been completed
several years before Alfred's
birth.
Many people who know
Weisberg like to tell this story
and it's easy to see why.
Weisberg is above all an artist
concerned with the necessity
of translating the ephemeral
nature of life, by the use of
memory, into a kind of
permanence.
This isn't merely an
aesthetic decision; for
Weisberg ' there's a moral
obligation to bear witness
this way. That one face found
in an image was found again
in her own flesh and blood
just reaffirms her life-long ex-
ploration of the interlocking
themes of transcendence, of
generations, and of time's
passage.
"Ruth draws on both our
common cultural heritage
and her own personal ex-
perience as a mother and a
Jewish woman to portray
universal themes of extraor-
dinary force," says Marion E.
Jackson, associate dean at
the University of Michigan's
school of art. "In her work,
she captures time and
memory through imagery,"
Jackson adds. "I think in all
of her works she speaks of the
past and the present," says
Michelle Russel, assistant
director of the Alice Simsar
Gallery in Ann Arbor. "I find
the timelessness — it happen-
ed in the past, it happens
still, and it will be there in
the future — most compell-
ing," she adds.
Both the U-M and the Sim-
sar Gallery have strong ties to
Weisberg, and she to them.
When she was 16, she entered
the University of Michigan.
She met many friends and
her husband-to-be in Ann Ar-
bor during the 1960s when
she was deeply involved in
the causes of the day —
equality and social justice.
Weisberg maintained a stu-
dio, complete with a Euro-
pean intaglio press, in a
rented house on Division
Street. Her first works were
exhibited at what is now the
Simsar Gallery. "Ann Arbor
always gave me a sense of
community," Weisberg
recalls.
If Ann Arbor has given
something to Weisberg, it has
now received something
special in return. Two
overlapping exhibits of her
work have been shown in
town. One, at the U-M's
"I am a branch, a
resting place for
their souls.
Slusser Gallery' on the north
campus was the first major
survey retrospective of
Weisberg's oeuvre. The other,
at the Alice Simsar Gallery,
consists of recent prints and
drawings.
The two exhibits reflect the
increasing attention that is
being paid to Weisberg as a
significant contemporary ar-
tist. Certainly this has been
a very productive and special
time for her. Weisberg's most
recent large-scale work, a
94-foot-long ink and wash
drawing called "The Scroll,"
has received considerable
praise in and out of the art
world. The New Yorker even
said that the only thing one
could compare it to was the
Bayeux Tapestry. That's a
complement not to be taken
lightly.
One of the great pleasures
of Weisberg's works is their