ITALIAN GRILL
at the time of her personal discovery.
Another work at The Jewish Museum,
Study for Mourning Requiem with
I needed to speak because I had spent
Kaddish, is a detail from a painting
a lot of anxiety-ridden years as a child
and teenager. Having seen nothing or
owned by the Rose Art Museum at
then knowing not much about art, I
Brandeis University. It's from the years
her attention was focused on the world-
took a course and suddenly started
wide abuse of children, whether maimed
making expressionist paintings.
by land mines or sold into slavery.
"I went to graduate school, and I
Snyder's paintings also reference her
painted and painted and showed my
work to one gallery [director]. He kept
companion, and her daughter, Molly, a
college senior who has picked up on her
looking at it, and every six months, he
would tell me to bring more paintings.
mother's political fervor and is studying
He would come to my studio,
and, at one point, said I was
ready to be in a group show.
That was really thrilling
because it was a big gallery,
and that's how I got started."
Earlier paintings by Snyder
are being featured at
Revolution, but 1997's A Sad
Story Told by an Optimist is
the exhibit's centerpiece.
Ultimately about Snyder's
mother, with a text identifier
in the bottom right corner,
the work is a large triptych
with a sea of masks at the cen-
ter, patterned squares to the
"Tracking the Angels," 1994; silk, oil, acrylic on
left and a garden of red flow-
canvas. Snyder's paintings reference aspects of
ers at the other end.
her life, including her Jewish heritage, femi-
Landscape paintings also
nism, love, sex and the cycle of life and death.
hold their own at the exhibit.
Summer Painting 1991, for
to be a documentary filmmaker.
example, is loosely based on a pond in
Concurrent with her exhibit at the
the woods but becomes very abstract.
Revolution Gallery, another segment
There are a few paintings that deal
of Snyder's work will be featured at a
with mourning, referencing the death
New York gallery.
of her parents, the AIDS crisis as it
"I think I probably am kind of a
affects people she knows and the loss
revolutionary because of the different
of a friend's children.
themes that I've addressed and because
"When I was doing all these mourn-
of not being afraid to leave the
ing paintings, the theme of the Kaddish
abstract metier and go to Jewish
kept coming up," recalls Snyder, who
places, feminist places, angry places
works out of a studio in a converted
and places of mourning and grief,"
carriage house behind her Brooklyn
says Snyder, who slashed, stuffed and
home. "I actually used the words from
sewed her canvases in the early years.
the Kaddish in quite a few of my prints
"I am still seeking clarity, a purity,
and quite a few of my paintings.
an essence, but have never been will-
Requiem, one print in this show, has
ing to sacrifice the ritual, the need for
some Hebrew at the bottom of it.
the deep, the rich, the thick, the dark
"Religion is not important in if,y
— the wild wake of the brush and the
life, but I think I have a very strong
often organic application of materials
Jewish identity and certainly roots
from my Orthodox Jewish grand-
— and [I'm] always working con-
sciously to be in control and out." ❑
mother. Once in a while, I go to syna-
gogue, but I think [the connection] is
cultural more than religious."
"Joan Snyder: Paintings and
Snyder has made cultural connec-
Works
on Paper" will be shown
tions with The Jewish Museum in
11
a.m.-6
p.m. Tuesdays-
New York, where she was commis-
Saturdays
through May 26 at
sioned to do a print still sold in the
Revolution
Gallery, 23257
museum shop. Based on considerable
Woodward, Ferndale. An opening
research, Our Foremothers represents all
reception will be held 5-7 p.m.
the women in the Bible, Jewish or not.
Saturday, May 5. (248) 541-3444.
Brightly colored, it names each one
and gives a little bit of history.
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2001
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